The marriage between visual and audio is a very delicate one.  It takes a great deal of patience, attention to detail, and communication to make it a success.  Whether you are a seasoned songwriter or a new artist, a student filmmaker or an award winning director, our music supervision services aim to provide you with just what you're looking for.

looking for music?:

If you are looking for music, visit our music request page.

Have music:

Licensing your music in film and television is the best way to gain exposure and earn some extra money.  

About Our Service:

When you submit music for the FFHE Contention Catalogue, you will be asked to enter into and agree with our Terms of Service.  This is where you agree to allow us the rights we need to pitch and license your work on your behalf.  This is a universal non-exclusive contract and you will retain full ownership of all copyrights.  When your music is licensed, you will earn 65% of the licensing revenue as well as 100% of all public performance royalties.  There is no fee to use our service, and you can terminate your contract with us at any time.

We ask that you have all necessary permissions required to enter into the agreement. This means that you have the permission from all of your co-writers, publishers, producers, record labels, musicians, and vocalists involved with the composition and recording.  We also ask that you share as much of your work with us as possible - you never know what is being asked for!  Communication is everything, so giving us updated, accurate information is essential for a successful partnership.

Still have questions or concerns? We don't bite:

Below we'll list any specific genres we are looking for or requests that we've gotten.


We are happy to accept any raw demo material for the opportunity to align with recording artists.  Please tag the file as 'DEMO'.


We are currently accepting submissions specifically for film composers.  Please upload highlights from your portfolio with the tag 'COMPORT'. 


We are currently accepting submissions from all genres.

Publishers & Labels

You may submit on behalf of your artist or writer. 


There are a lot of important elements involved in the protection of your original works.  Have a question? Worried about our process? Don't be shy - ask!  We're here to help!  Send any questions or concerns to: 

Contention catalogue submission form

Interested in joining the FFHE catalogue? Fill out the form below and send us a link to a track that best showcases your work.  Once we check it out, a Homie will reach out to you about the next steps, so make sure you give us an up to date e-mail that is checked frequently.

If you have any questions, we're here for you:

Song Information
All Fields marked with an asterisk (*) are required.
Include a direct link to the song that best showcases your work. YouTube, SoundCloud, BandCamp, Apple Music, ect.
In five words or less, describe your sound
City, State, Country
Are you currently included in an exclusive publishing or recording agreement? (i.e. TuneCore Publishing, Downtown Music Publishing, Sony, Warner, or Universal)
Student Project Exclusions *
We welcome projects by students in all different capacities. Many times, these films have a minimal budget and may not be able to compensate the artists and songwriters with an upfront fee. However, there is always an opportunity to collect future royalties, depending on the scale of the production. Please select whether you would like to considered for student projects or not.
Contact Information
List information for a primary contact. This should be an e-mail account that is checked frequently, as it is important that we are able to contact you regarding any licensing opportunities. Your info is safe with us!
Primary Contact *
Primary Contact

Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings
— Howard Shore

Far From Home Entertainment is excited to partner with content creators on projects extending from feature films, animated shorts, and student films, to television series and everything in between.  Each and every project will be a unique collaboration between our creative team and your production staff.  

Please take a moment to tell us a little bit about your project: the stage it is currently in, what your budget for music is, and what level of distribution you are aiming for.  From there, we'll get down to just what you need and how we can help.

We have opportunities for placements in student projects.  We've compiled a list of frequently asked questions, which we encourage you to visit here.  When completing this form, please list your school or institution as the production company.

Name *
Production Company Address
Production Company Address
Film, TV, Game, Other Media, Ect
Deadline *
Student Project?
Tell us a little bit about your project. Give us your elevator pitch, plus your scale of production, and aimed distribution. Also include any ideas you might already have for music.
Please note FFHE's service fee will be reflective of your music budget.

The process of music licensing can feel redundant and tortuous to film and media students.  Our goal is to make it as painless as possible and help you gain a better understanding of the importance of securing these permissions.

Ask us ALL the questions!  

We've compiled a list of the most frequently asked questions, but this list is in no fashion exhaustive, so please, drop a line to say hello, tell us how stressed out you are, and send us your favorite meme:


"Frequently Asked Questions", by student content creators

I'm totally interested in utilizing your services, but I am literally flat broke and have no budget whatsoever for music.  Can you work with that?

Definitely.  We have all been there - eating ramen noodles and pb&j for dinner every day like its a graduation requirement.  We've tailored our service fees to squeeze into even the tightest student budget.  Our fees include both clearance and licensing and are determined by the number of songs your project calls for:

  • 1 to 3 songs - $50
  • 4 or 5 songs - $75
  • 6 to 9 songs - $100
  •  10 or more - $200

I can totally handle that.  Wait - what does clearance and licensing mean?

Clearance is the process of gaining permissions.  This is usually done by communicating with the songwriter, their publisher, the artist performing the song and the record label that owns the sound recording.  All four have to agree to the terms of the licensing deal which is outlined in the synchronization and master use contracts, respectively.

Licensing is the actual amount paid to the artists.  For the purpose of student projects, many of these artists have allowed Gratis Placements, which literally translates to Free Placement, in exchange for exposure and credit.

Does gratis placement mean that the songwriter, publisher, artist, and record label get absolutely no money out of the deal? That doesn't seem fair...

Not exactly.  There are still a few ways that the Artists can collect from this licensing deal:

  • If your project is viewed outside of the United States, for example as part of an international film festival or through a distribution deal, the songwriters and publishers will collect performance royalties.  These are paid out by that country's performing rights society. In the US performance royalties are not paid for film - yes, it sucks and is unfair.
  • In the event that you anticipate gaining major distribution, there is a part of the contracts that you will want to pay very close attention to.  It is called a Step Deal.  The Step Deal guarantees additional payments if production reaches agreed-upon landmarks regarding net profits or distribution.  If/When your film becomes a success, your producer will be responsible for paying these additional licensing fees.
  • The licensing contracts also specify exactly how the songwriter, publisher, artist, and record label will receive credit in your project.  Traditionally, these credits are included at the end of the film.  While this isn't monetary compensation, it is essential and cannot be overlooked.
  • Finally, FFHE has a system in place to annually pay out gratis artists based on the number of times they are placed and the nature of each use.  This is kind of like a nice holiday bonus.

I only have two songs in my short.  Why do I need to sign four contracts?

Each song has two sides: the Underlying Composition, or the script, and the Master Recording, or the finished product.  The Underlying Composition requires the Synchronization Licenseand the Master Recording gets its own as well - the Master Use License (creative name, we know).  Under a small budget, there is really no room for negotiating one without the other, after all, you can't make the film without the script.

I have my mind made up on using a Kanye West song.  It's written into the script and there is absolutely no way I can make this film without it.

I have some unfortunate news for you.  If the song is widely known, played on the radio or in a popular curated playlist, chances are you are going to have to put up some serious cash for licensing permission.  Both the songwriters and artists work with major labels, and they won't sign off on anything for free.  If you are fortunate enough to be able to spend the money on that song, Kanye's licensing fees are going to start at $30,000 - per side.

Also, you want to be cautious about how you use popular lyrics in a script.  This will can also require a completely separate license.

Some of my classmates have told me that I can use whatever I want under Fair Use.  I mean, I'm a student, so why should I have to pay any licensing fees?

"Fair Use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances.  Section 107 of the Copyright Act provides the statutory framework for determining whether something is a fair use and identifies certain types of uses - such as criticism, comment, news reporting, teaching, scholarship, and research - as examples of activities that may qualify as fair use." - The United States Copyright Office.

Fair Use exists so your professor can show film clips in class, not so you can "borrow" someone's work.

Considering Fair Use in place of proper licensing permission requires also admitting to Willful Infringement.  If the songwriter, publisher, artist, or record label decides to sue you for Copyright Infringement, you could be forced to pay up to $150,000 in statutory damages, and your project may be completely scraped.  The Fair Use fight isn't pretty, and you should avoid it whenever possible.

More information on Fair Use can be found here:

My buddy is a songwriter, and he wrote a song for the film.  I'm just going to use that.

Excellent.  We are totally glad that you've found a strong community of artists that are willing and able to work together.  That is the basis of all art - our people.

Here's the reality.  Things can happen, and who knows what you or your buddy might go through in the next fifty to eighty years of your lives.  Unfortunately for you, as the producer/editor/director/jack of all trades, you are the one who will be on the hook.  Get this permission in writing.  It won't hurt either of you to be cautious, and if your friend is someday no longer your friend, he will keep his song, but you might lose a lot more than just a drinking buddy.

I graduate this year.  Do you provide professional services?

Why yes, Alex, we do.  The rates are different, but we are able to do more for you.  We work within the scope of your music budget, with both the clearance and licensing fees. (Our fee is a percentage of the total licensing, but we keep it within what you are willing and able to spend.)  We recommend reaching out to use the earliest stages of production - the sooner we can secure the music, the more creative you can get with it.


This has been fun.  I hope you learned something, but if not we're still here: . 


Music submission

Each track must be submitted individually.  Please complete this form to the absolute best of your availability, as all of this information will be required prior to licensing.

You will be notified as soon as the song has been approved or denied by the publishing and review team.  Please allow 2-3 weeks for this process to be completed.

Fields with an asterisk are required.

  • Song Information

  • Songwriter Information

    Please list the legal first and last name for each songwriter, including their PRO affiliation, nine-digit CAE#, and percentage of song ownership. If you have less than three writers, leave the remaining spaces blank. If you have more than 3, please list them in the space at the bottom of the form. This information must coincide with your PRO registration.

  • Publishers

    Please list all publishers who are currently acting as an administrator on this song. Also include their PRO affiliation, CAE#, and percentage of administrative ownership.

  • Licensing Details

  • Primary Contact Information

  •  -

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