In the most common form, characters from Fandom A may meet characters from Fandom B (i.e., a Stargate Atlantis story in which The Doctor visits Atlantis, perhaps with a Companion or two in tow). Fans will frequently make rec lists for well-written crossovers, or else post requests asking for crossover works from particular fandoms that they'd like to see combined.Ĭrossovers have also been the subject of numerous communities and dedicated events (such as fests or exchanges), so that crossover lovers can connect and share the works that they love to create and consume.Ĭrossovers may take place in many ways. Some fans adore the possibilities they bring, while others believe they are rarely written well - or are simply uninterested in reading about the characters in any fandom except the one they originate from.
In story notes, a crossover is frequently notated with an 'x', so a Star Trek story crossed over with Star Wars is sometimes written as ST/SW and sometimes written ST x SW.Ĭrossovers can be a love/hate topic among fans. Crossovers are an old story trope of fanfiction as soon as fans started writing stories in multiple fandoms, they started crossing those sources together. In rare cases, a music supervisor may act as the music director for the project, hiring the composer and overseeing the direction of the score in addition to the soundtrack.A crossover is a fanfic or other fan-created work in which two or more fandoms are combined in some way. If the project necessitates recording a cover version of a song-often the case for famous songs with expensive or unattainable licenses-the music supervisor oversees the entire process, including recruiting and contracting musical talent, booking the studio, and attending the recording sessions. In addition to selecting and licensing music, music supervisors might also draw up a production's list of musical credits, maintain cue sheets, and take part in spotting sessions-meetings with the project's director, composer, and music editor during which the details of the music's placement, style, tone, and duration are discussed. When music placements are successful, the results typically benefit both camps: the songwriters, artists, and record label receive exposure and royalties, while the movie, television, or video game producers piggyback on the value of the artist's brand, or simply use the emotional depth and poignancy of the music to tell their stories.
Crossover definition movies license#
Sometimes these negotiations are purely about cost, whereas others it's about convincing the artist-who may not like the project or the music's context within it-to license the song at all. In order to use a piece of pre-existing music-a song or recording- music supervisors must negotiate the rights and costs with licensing representatives employed by record labels, music publishers, and the original artists or songwriters themselves. Music supervisors must possess a natural sense of the emotional and narrative nuance of music, lots of experience with music synchronization and licensing, and strong verbal communication skills. Music might be selected based around a central guiding aesthetic, a sense of how the music would complement a specific scene, or knowledge that a certain new track is well positioned to succeed.
A skilled music supervisor might choose the perfect song to enhance a dramatic television moment, help an advertising producer make smart, inspired music choices, or find a cost-effective workaround when a film's plot requires a particularly expensive, hard-to-license recording. A recently popularized field, music supervision is the art of selecting and licensing preexisting songs or recordings for use in visual media like film, television, video games, and advertising.
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