Q&A with Music Supervisor Rosie Styczynski- Ep. 5

This week we talk with Rosie Styczynski, Producer, Music Supervisor & Director of Post Production at InSync Plus.

InSync Plus has created trailers for some of the top shows and movies including Perry Mason, Charm City Kings and Trolls World Tour.

Interview Q&A:
Q: Let’s talk about your three titles, Producer, Music Supervisor, and Director of Post Production. Does that mean you are both on the Music side and on the Music Production side? [4:16]
Q: But you also sound like looking very holistically in this campaign? [6:11]
Q: What kind of training or background do you have? [8:25]
Q: So, while all of this is going on where’s music coming into this? [11:45]
Q: Where did you grow up? [16:30]
Q: What is your major in school? [17:07]
Q: Upon graduation, did you go right away to insync? [17:38]
Q: Are you doing all things from the beginning or music supervision? [23:24]
Q: Walk us through with the process of sound quality or music mixing for trailers [28:29]
Q: Your environment is so high pressure, how do you keep moving forward keeping people comfortable? [36:55]
Q: Talking about trailers, how many projects per year that you can occupy is it in a few months, or a new one every week? [38:40]
Q: As the project comes up, on what point are you going to look more holistically at everything, where does music come into those processes, is it from the very first thought? [40:11]
Q: So, you have music in your mind, where do you find the music, do you have a regular place that you go to, are you dealing with independent composers or agencies? [42:15]
Q: We had a talk with Kelsey, a lot of independent artists sending to her email and because of how email is kinda built up realistically, it’s hard for someone to sending their song to her in email to end up in a trailer, so she go-to the music library, are you the similar or different? [44:05]
Q: How open are you when you see someone email you with no particular relationship onset? [48:26]
Q: When it comes to an exclusive or non-exclusive agreement, that you end up pitching the same music from two different sources or agencies, is that an issue for you? [51:33]
Q: Even as you chose the music, you guys don’t track it down and do the clearances? [53:37]
Q: What is your favorite 90’s or 2000’s music video? [56:05]

Audience Q&A:
Q: For people who are applying for roles in music supervision, what important skills should be highlighted in the cover letter essentially? [1:02:14]
Q: How important for supervisors, do you think it is to have, the kind of stuff that no one else has? [1:06:48]
Q: How many libraries should have your music put into? [1:10:01]
Q: How long should I be comfortable waiting before I pull my music out of that sync library? [1:25:19]
Q: Would it be appropriate to say, “Hey can you connect me to your music supervisor, or How do I build a relationship or when is the point wherein asking a point to connect me to someone or a music supervisor? [1:35:15]
Q: How do I connect with music supervisors and send my songs? Any suggestions on that like an initial email? [1:42:42]
Q: What are the timeline In trailer, in film, tv, ads? [1:46:29]
Q: For music supervisors, when do you actually start looking for music? [1:54:20]
Q: Is there any platform that can differentiate artists from supervisors like have a rating system? [1:55:37]

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