# How long should my demo reel be?



## CalebAuston (Aug 11, 2013)

Hey guys,

I have a pretty important opportunity coming up and want to make sure that I have both a video and audio demo reel. However, I'm not sure how long either should be...hence my dilemma. Also, I was wondering if I should send the reel out to get mastered before sending it to anyone? Thoughts, advice, feelings....whatever....Cheers!

-Caleb


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## dgburns (Aug 11, 2013)

always best to target the client 's needs as best as possible,if you know what they are looking for.I'd keep the number down,say ten cues or less.

I think what is equally important is your past work titles,imdb link or anything else that lists all the work and experience you've done.

others might disagree,but I feel I never got hired solely based on my demo reel.It is more like confirmation that you can do the gig.do a follow up to make sure they heard what they wanted in the cues you sent.If not,you can adapt and offer up to meet/send over some alternate options.In any case,it opens up some dialog ,which is always a good thing for you.

imho as usual


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## RiffWraith (Aug 11, 2013)

To add to what dgburns said....

Depends what the gig is, but assuming it's a film-scoring gig:

1) No need to make it too long; they aren't going to listen to everything anyway. 3-4 good, solid cues will do the trick. If you can include some video as well, and make it a vid and aud demo, all the better.

2) The music should be somewhat along the lines of what the movie calls for. You can have 4 top-notch great sounding cues in the vein of TSFH and Epic Score, but if the movie is similiar to 'Depserate Housewives', you aren't going to get the gig.

3) Mastering? Maybe - depends how the cues sound already. If they sound really good, no need for mastering, as that won't make a huge difference. Certainly not to the extent of "make it or break it". But, if they don't sound that great, mastering can defintely help. Let me know if you need a recommendation there - I have someone who does top-notch work for a decent price.

4) Always include contact info (duh! - but some people really are that stupid, believe it or not!), and IMDB credits. Most composers don't want to hear this, but most dirs. care more about the IMDB cerdits than the actual demo reel. It's true, like it or not.

5) Always *ALWAYS* offer to do a short scene as a demo. This shows motivation, and will give you a leg up on all of the other idiots who don't make that offer. :lol:




> I feel I never got hired solely based on my demo reel.




Yeah - most of the time, you don't get hired solely based on your demo reel. It's your personality, and how you relate to the dir. that is oh-so important. Hans talks about this all the time. It's about the relationship as much - and sometimes more - than the music.

Good luck!


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## Guy Bacos (Aug 11, 2013)

8 hours.


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## dgburns (Aug 12, 2013)

Guy Bacos @ Mon Aug 12 said:


> 8 hours.



jeez Guy,that explains alot! :mrgreen: 

(just don't complain about Hans and co getting all the work!)


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## Guy Bacos (Aug 12, 2013)

Oh, I omitted to mention, I add subliminal messages every 20 sec, so by the 8th hour they are completely sold.


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## snowleopard (Aug 14, 2013)

Jeff Rona tells a story about getting hired for Exit Wounds. About how he sent a really polished demo over to the producer before a meeting. When they met the producer said something like, "I didn't get a chance to listen to the reel, but have heard good things about you..." He got the job. 

I don't get much work, but once sat in on a session where a busy producer listened to a demo. He put a (then) CD in, hit the first track. Listened for about 20 seconds, clicked to the next track, listened for about 10, clicked to the next track, 5 seconds...you get the idea.


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## reddognoyz (Aug 14, 2013)

less is more


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