Synch license, the conjugal union of Afrobeat and Nollywood

By Obinna Osisiogu

Synchronization (synch) rights constitute an unexplored terrain in our entertainment industry. You may have heard some songs by A-list artistes in a few movies and thus wonder what my perspective really is.

The truth is, our music and film industries have not exploited the full benefits of synch licensing and the few music and film execs who have explored it have not put it to strategic use.

The definition of synch rights by ASCAP is apt for the purpose of this write-up: ‘A synchronization or ‘synch‘ right involves the use of a recording of musical work in audio-visual form: for example as part of a motion picture, television program, commercial announcement, music video or other videotape.’

‘Often, the music is ‘synchronized’ or recorded in timed relation with the visual images. Synchronization rights are licensed by the music publisher to the producer of the movie or program.’

Over the years the concept of synch licensing has evolved, especially with the proliferation of digital technology in our lives. Synch licensing now extends to use of a musical work in video and app games, mobile apps, YouTube or Vimeo videos, etc.

However, as much as I might digress in my thoughts below, my focus today is on synch licensing as it pertains to the relationship between our music and our film industry, Nollywood.

Before I proceed, I must appositely lay to rest any confusion as to who is entitled to grant a synch license. Synchs often comprise of the licensing of the rights in a composition and the rights in a master recording. The composition pertains to the lyrics and melody musical notes penned by the songwriter.

This right is in most cases reserved and administered by the music publisher. On the other hand, the rights in a master recording (master use) allow the use of the actual sound recording and is often controlled by the record label.

The latter right means that a movie director/producer for instance, can use the actual recording of Eva’s ‘War Coming’ in his movie or movie trailer as opposed to a situation where he is limited to the use of a rendered cover if he only obtains a license in the composition.

Indie movie directors/producers on a tight budget tend to prefer composition licenses, that way they can get a regular person to render a cover of the song for their project.

The composition is usually owned by the music publisher and the master use is usually controlled by the record label. However, most indie artists tend to control both rights.

Synchs For Revenue

Because concerts, RBTs, endorsements and the meagre income generated from CD and digital music sales are the popular sources of revenue for the Nigerian music industry, synchs and the workings thereof are little understood by most of our music execs.

The relegation of synch licensing to the bottom of the revenue ladder is a major reason our entertainment industry, as much as it is developing, isn’t doing so in leaps and bounds.

It is pertinent to appreciate the fact that the entertainment industry comprises of music and film and both must work hand in hand to benefit each other and the industry at large. History is after all replete with successful models of such symbiosis.

For instance, even with a cult following from the comics, Transformers saw the need to reach a wider audience by leveraging on the success of Linkin Park.

With quite a cult following of its own, Linkin Park provided the theme music for the Transformer movies. New Divide, one of Linkin Park’s highest charting songs till date was the theme for Transformers: Revenge of the Fallen.

It was certified Platinum within two months of the movie’s release and by 2010 it had reached 2 million paid downloads. Daft Punk’s production for Tron Legacy is another example of a successful collaboration of music and film.

Anybody remember how huge Celine Dion’s My Heart Will Go On was? Remember Titanic? Chances are that you can’t think of one without the other.

Celine Dion and James Cameron (Titanic’s movie director) made legends of themselves and their works by that collaboration.

The successes of synching strategy are not farfetched. Even within our industry, 2face made history when he launched himself globally by licensing the use of his award winning hit, ‘African Queen‘ in the movie, Phat Girlz.

Nollywood is doing well, our Afrobeat even better. Both generate a lot of money individually, but as much as Phyno and Olamide are ever willing to collaborate on a track, Afrobeat and Nollywood urgently needs to start considering the perspective of a joint venture business relationship of sorts.

It is after all, a trite example of commercial symbiosis.

Synchs For Marketing

Our music industry tends to see synchs as more of a backup revenue stream than a marketing tool. The truth however, is that the opportunities and uses for synchs are boundless in entertainment because it extends beyond the movie industry.

As a Nigerian music exec, consider for a moment the reach and exposure to be enjoyed by your artiste and business where his music is used in TV shows, commercial adverts, video and app games, YouTube videos, etc. Think exposure to an international audience.

As a savvy businessman, from the onset it shouldn’t only be about the immediate advance or one-off licensing fee. Synchs are a powerful marketing tool.

The average Nigerian artiste enjoys limited reach or exposure as a result of his market or consumer demographic because Afrobeat is enjoyed mostly by Nigerians, within and in diaspora with a few westerners taking cognition of, or a likeness to our music.

With a synch license however, a virgin audience can be reached. The average western gamer suddenly has to listen to Afrobeat on his favourite video or app game every day and the whole of Canada is exposed to an Afrobeat song just by one commercial advert.

Consider also the fact that Nollywood movies reach a much wider audience than most of our music. Most people are set in their choice of music but are more open to different types of films and visual entertainment.

Much in the same way we enjoy manga, Indian movies and Spanish soaps (telemundo shows etc.), there are foreigners who enjoy our movies but have little or no interest in our music.

As much as I am not a fan of Bollywood movies, I remember how much theme songs like Dhoom Machale Dhoom from the movie Dhoom was stuck in my head for months.

Most of us can’t even remember the name of the movie from decades ago but we all remember the theme song, Jamina (I really hope it is the actual song title).

Fortunately, we live in an age where the mystique of colossal music companies has been neutralized. Independent artists and music businesses have unbridled access to so much knowledge, opportunities and marketing solutions for their music.

As far as I’m concerned, as an artiste or music exec, there is hardly need to engage in payola with radio DJs and OAPs. The breakthrough of your music career or business most likely lies in brilliant synch licensing strategies. Method of approach? Simple!

1. Study the thematic patterns of Nollywood movies.
2. Get creative; make quality songs that could fit into this pattern. (Enough with the shake your behind, whine am, low waist and booty songs. Really!)
3. Build direct and strategic relationships with movie directors.
4. Get an entertainment attorney to deal with the fine lines of the synch because you could easily get screwed over in synch deals. (I heard of an artiste who sadly negotiated a meagre one-off fee of about $10,000 for use of his song in a movie that would later go on to be nominated for the Oscars.)

There is a network of entertainment lawyers in Nigeria, take advantage of that.

*Obinna Osisiogu is a young and brilliant entertainment lawyers ready to light the path further in the Nigerian entertainment sector.