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Come build with us

Ion Concert Media is more than revolutionary digital sync technology. It is also a unique library of rentable digital assets for live events. We like to think of the Ion Content Library as Netflix® for live event producers. That library would be nothing without our fantastic Content Partners - the people and studios and other entities that work with us to produce and present stunning digital content. This section of the website is just for you.

Frequently Asked Questions

What is a Content Partner?

Ion Concert Media is expanding the Ion Content Library rapidly to keep up with demand from our customers. We are seeking content creators that can deliver compelling content to be screened during live events like band and orchestra concerts. There is a whole new marketplace developing out there. Ion Concert Media is growing a community of creative people who want to tap into the opportunities. And we would love to have you join us.

Who can submit content?

Submission is open to anyone. We represent films created by amateur high school students as well as content produced by professional film studios. If you are able to create content - photography, painting, animation, edited stock footage, or just about anything else - in a way that speaks to the musical ensembles we serve, then please read on! 

 Ion Concert Media will accept submissions from anyone but reserves the right to accept or decline submissions for any reason it its sole discretion.

How much does it pay?

In most cases we do not pay up front to license content. But we do pay royalties for each successful sale of the title through the Ion Content Library. How much you can earn from a title depends on the price we can charge for screenings of the content and the number of screenings the content can generate.

What type of content is needed?

IT MUST BE VISUAL MUSIC. Most traditional film making utilizes music as a soundtrack, or an aural enhancement to the action and dialog on screen. The music may be wonderful, but it fills a supporting role in service to the film. Our customers, who are conductors of bands, orchestras and choirs, do not have a strong appetite for films that treat the music as a sound track. Instead, they are seeking digital media that allows the music to stand as an equal or dominant component of the event. Remember that the audience paid for a ticket to listen to music, not watch a film. While there are exceptions to this rule, we place it at the top of this section because we have seen so many valiant film making efforts fall flat due to missing the required aesthetic. 

 MEDIA STYLE. You are welcome to submit cinematography, animation, motion graphics, stop-motion photography, or any other media type in any style. The only stipulations we set are: 1) Your media must suit the music, and 2) Your content must be appropriate for families. 

 One of the best parts of creating visual music is that it invites creativity and pure expression. If you approach your project like a traditional film shoot you are probably doing it wrong.

OK, I'm hooked. Now what?

That is entirely up to you. You are welcome to dig right in and see what you come up with. We might recommend that you spend some time reading the Helpful Tips section on this page to better understand what our customers are seeking before getting started. 

 But you do not need to stay anonymous. We invite you to reach out and make contact with us. We prefer it, actually. We use the term Content Partner because we really believe that we are partners working together in a unique art form - and making some money along the way. The more successful you are, the more successful we will be. We are always happy to discuss ideas, offer suggestions or feedback, or even answer the most basic questions. 

 We have set out to build a community of like-minded content creators and communication is a huge part of any community. So please, drop us a line!  

I've submitted work. What happens next?

Once we receive your submission we will confirm receipt and then review it immediately. Please allow up to ten business days for us to make a determination and reply. If your work is accepted we will negotiate with you on the terms of a licensing agreement. Once the agreement is signed we can begin production to convert your file into a .ion file. Refer to the Submission Specs page for details about file format, etc. If your work is not accepted we will let you know by email. You are welcome to submit revisions or new content as often as you like. Ion Concert Media will accept submissions from anyone but reserves the right to accept or decline submissions for any reason it its sole discretion. 

What is the Software Premium?

The Software Premium is a small fee the company takes to help fund the development and maintencance of the Muséik software.

JUSTIFICATION: We recognize and firmly believe that the strength and value of our company is tied closely to the strength and value of the content included in the Ion Content Library. We could not be successful without your unique and valuable Digital Media Products. At the same time, we believe that your Digital Media Products sold through the Ion Content Library gain value and broader distribution by being driven by our Muséik digital sync platform.

Developing and maintaining performance grade software is an expensive endeavor. We recognize that many of our customers use Muséik just once or twice a year. Instead of charging a flat purchase price or a subscription fee for Muséik, we instead charge a Software Premium on a per Show File basis.  We split the Software Premium between our customers and Content Partners. Here's how it works:

All our products are priced to include a Software Premium in addition to the cost of the Digital Media Product. After a sale the company deducts the portion of the Software Premium paid by the customer. Then we deduct the Content Partner's share of the Software Premium to arrive at the Base Revenue, which is used to calculate royalty payments.

The Software Premium rate is adjusted from time to time. As of August 1, 2023 the current rate is: 

• 10% of the Digital Media Product cost is added to the list price and paid by customers.
• After the sale Content Partners pay the lesser of 10% of the Digital Media Product price or $50.


Selecting Music

Selecting the music that will be the basis of your work is the most critical step in the process. Some considerations include: 

1.  Is the music in a market that Ion Concert Media serves? While Ion Concert Media will accept any submission for review, we currently focus on digital media for concert bands, orchestras and choirs. We do not accept content syncd to electronica music since our Muséik platform cannot be useful. 

2. Can you gain the permission of the composer or music publisher to create syncd media for the work and is the music something that ensembles will want to play? We encourage you to use our Wish List page as a guide in selecting music. These compositions that have been vetted for salability and permissions have been secured from the composers and music publishers. 

3. Does my concept honor the spirit and intent of the music? This is an important consideration. Remember that our customers are conductors wanting to present impactful concerts, not theaters wanting to show compelling films. In the end style and topic really don't matter; if your content truly meets the music on its own terms it will likely get programmed. 

4. Will the music benefit from the addition of digital media? This last consideration should be the first that you ponder. Not all music will benefit from added digital content, no matter how good it is. Important: the issue here is not whether the music has a clear narrative that can be expressed on screen. There is lots of absolute music (music without a program or storyline) that would benefit from digital pairings. 

If you have questions or could use some help considering what music to select, please feel free to drop us a line. We want to help. 

The Audio Sync File

Selecting the audio sync file is the most important and often overlooked part of your project planning process. This is the audio file you will select to act as your sync guide as you build your content. Picking the right file, especially if there are many audio recordings available, is critical. 

 We will make this easy for you: let us select the audio sync file. We know what our Muséik platform needs to do its job well and we know how detrimental it can be to select a poor candidate as your audio sync guide. We are happy to help you identify the best possible audio sync file; just ask us for some help. 

 Ideally you will let us know what project you plan to undertake before you begin. We will add the project to our production pipeline and work with you through the whole process to ensure that your file can be easily converted to a .ion file when you are finished.

Muséik and the Role of Rhythm in Your Work


 Muséik can perfectly synchronize your content down to the 16th note running at 120 beats per second. No other sync solution out there can make this claim. This rhythmic precision has led us to coin a new term: micro-sync. A micro-sync basically means that your digital content is participating rhythmically with the music in a detailed way. Done well, your visuals can be experienced by the audience as a type of percussion instrument. We have seen audiences react very strongly to micro-syncd video and we encourage you to not hold back when creating your sync.  

Adding A Credits Roll

We recommend and encourage you to add a short credits roll to your films. We think this is the best way to ensure that your efforts receive the public credit they are due and that your film asset is protected by intellectual property law.

To add a credits roll please follow these style guidelines:

1. Remember that you are creating credits that will be screened as part of a live concert. At all times be respectful of the event and recognize that - no matter how good it is - your film is probably not the main attraction. Takle steps to minimize any negative impact on the audience experience.

2. Do not use motion during the credits roll unless they occur while the music is playing. Instead, fade them in and out and then use static text and imagery during the credit roll so that the Muséik operator can pause the video if desired to allow the credits to hang longer.

3. Whenever possible, give the composer and the musical score top billing and consider using slightly larger font sizes to credit them. 

There are a few logical places to incorporate a credits roll. They are,

1. Before the music begins. Start with a black screen and fade the credits in, hold them as a static image for 5-8 seconds, then fade to black. Leave 2-3 seconds of black screen, then start the main film. This credit placement is tricky and not recommended.

2. As the music begins. In certain instances where the score has an obvious introduction you may want to build the credits roll right into the main body of the film. This placement would not be common.

3. As the music ends. If the score has an obvious outtro you can synchronize the credits roll to the end of the score. Again, the music needs to support this placement decision and is not likely to be a common solution.

4. After the music ends. End the film, then leave 2-3 seconds of black screen. Fade the credits in and leave them as a static image for 5-8 seconds, then fade to black. THIS IS THE RECOMMENDED PLACEMENT.

1. Give the title of the score and the composer top billing.

2. Place film credits below; if the film title is different from the score insert it here.

3. If appropriate, add a copyright notice at the bottom of the screen. The format should be: © [year] [copyright holder name]. Example:  © 2023 Ion Concert Media

4. We ask that you add some Muséik branding to your credits page. Place a version of the "Driven By Muséik" logo on the screen. The size does not need to be large. Here is a link to a folder with the logo in several formats: https://we.tl/t-dY3jAC5QD8

Niagara Falls. Score by Michael Daugherty, film by Joshua Gillen. https://youtu.be/IdhBWFSkU3M

Squirrel Chase. Score by Randall Standridge, film by Scott Winters. https://youtu.be/1PXGKqCJN24

Parade of the Wooden Soldiers. Music by Leon Jessel, film by Fleischer Studios. https://youtu.be/rjtcokuiQcw

Bethany Lutheran College

Bierer, Evan

Blackhawk Films

Brian Gaukel Productions

COFA Productions

Criss, Eric

DeJonge, Rick

Evensen, Erik

Gillen, Josh

Giroux, Julie

Hartman-Mart, Stew

Jocelyn Hagen Music

Lopez, Manny

Markow, Robert

McGarry, Jacob

Moriarty, Aleksi

New World Symphony

Paulsen, Kurt

Triangle Wind Ensemble

USC School of Cinematic Arts

Winters, Scott