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The Social Media Planning Guide

just came across this online while looking for the Stanford Media Plan Guideline


website inspiration

People have different views on how to build the Media@IU website although what they basically want is the same thing:an easy-to-use aggregator. Some think that it should be trendy, cause, it’s a trendy project; some suggest it to be made without coding (e.g. through Adobe Muse or WordPress) in order to achieve the total control of the maintenance; some, more interestingly, want it to be a sheer facebook page. Meaning that not only should we get rid of traditional websites making process, but also leverage on the fancy widgets, multifunctional plug-ins available for facebook page to create the community sort of feel page. We thank those brilliant idea-throwers for giving us such great and out-of-box inspirations. We will keep those things in mind, and integrate them into the right spots of our project as we see fit along the way.

Google Effect/谷歌效应 – Facebook的IPO项目




虽然谷歌的IPO给人留下的惨痛回忆久久不能忘却,但这并不意味着投资者应当冒险参与新的创业企业。投资者虽然对Facebook等企业投入了巨 资,但对其运营状况却不甚了了。在Facebook的案例中,投资者只被告知了该公司过去两年的收入和利润,这根本无法满足多数投资者的要求,大客户亦如 是。

“实话实说,这是一场不折不扣的山寨IPO。”美国风险投资公司德丰杰(Draper Fisher Jurvetson)董事总经理巴里·叔勒(Barry Schuler)针对Facebook上周的融资行为评论道。





Getting Permissions of Music Rights for Films

This is a sketch I made based on the impression I got from readings for what we need to do to obtain the copyrighted music under proper law restrictions. Generally speaking, I think we have three parts of things to do to obtain the permissions of copyrighted music.

During the next two weeks, I plan to discuss the questions written in Part One with producers. Also, I will start looking for 3D modelers, audio designers, and website designers. If Jennifer needs help with the contracts, I would like to work with her as well.

Part One: Describing the context in which the music will be used in the film

There are certain things we need to do before contacting music publishers:

1. decide whether we need the existing recording or to re-record the music (the latter is normally cheaper than the former). I am not really technically informed here so I can’t tell the difference. That’s probably the call of producers. But just different ways of dealing with the two types of clearance.

2. there are couple questions the producers need to give answers to in order to inform the publisher and they will weigh the project and price the right of the requested music. Those questions are:

  • How long is the music I wish to clear? (note the exact timing — including at which second in the recording your use will start and stop, if you’re buying rights to the recording. If you’re using a short clip of the music rather than the entire piece, the rights are less expensive to purchase.)
  • What is the duration of time I want to use the music? This is called the term. (I don’t if this means “frequence”, because the producer does need to decide how many times he wants to use the same music clip through the film)
  • What is the territory I want to cover? The U.S., the U.S. and Canada, worldwide? Consider that the more extensive the coverage, the more costly it will be.
  • the type and scope of media rights being requested (e.g., free, basic cable and satellite television, all forms of television and home video, Internet – streaming and/or downloading, mobile, all media) and any requested options
  • the type of film (student, documentary, theatrical, independent or major studio release)
  • the actual song being used (e.g., independent, current hit song, famous song),
  • the duration of the proposed use (e.g., 15 seconds, 1 minute, 3 minutes),
  • as well as the use of the song in the film (e.g., background, foreground, or in some special manner such as opening or closing credits).

This is actually the part that the publisher will take into consideration when negotiating a fee for a requested music. Because there is no set fee for a given music, for different usages, different producers, different purposes, the price will be varied. That’s why it is important to depict delicately the context in which the music will be used.

Also, we need to consider the major usage of our film. Do we want to use our film in:

  • television or radio
  • theatrical or non-theatrical (Non-theatre rights allow you to use the presentation in a non-public context, such as at a conference or a festival and are the least expensive to obtain.),
  • Internet,
  • and video rights (video rights allow you to use the music in a video if you don’t get the film distributed to theaters.) (and also, “full rights” is expensive)  Ref:

Besides, there is an option that we can get help from agencies to get the paperwork done. But it costs a portion of money so I don’t know if we need to do that. just FYI.

Part Two: Contacting publishers

Once we have the said information collected, we can start out locating publishers’ information and roughing out our request letters. I have already found some samples/templates online.

Note that the requesting process may take several weeks to months. For not very famous or smaller publishers, the responding process will normally be faster, and easier to negotiate.

Part Three: Getting the license and negotiating the fee

Once we get the response from publishers, there are three types of licenses we will seek:

  • synchronization music (sync music for short) from each publisher (sometimes the music has multiple publishers and need to obtain the right from each of them). this license allows the producer to re-record but not use the original music. if the producer just needs to re-record the music, he or she does not to obtain the “master use license.”
  • master use license, this license gives the producer the right to use the original music but has to obtain the sync music license as well.
  • in addition, if the producer plans to release the film for digital downloading, he or she must obtain another right called “videogram license.”


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