Brian Larson

We’re often asked about our Sync division. Yes, we’re extremely active in sync. Yes, our Sync team operates out of Los Angeles. That said, one of the biggest misconceptions about sync is that it exists separately from administration. In reality, clean data makes sync possible. Music supervisors need clear, accurate information on ownership, splits, and rights before anything can be licensed. That’s why Unisound’s Disco and SourceAudio integrations allow you to normalize metadata, run global PRO scans, autofill missing information, and keep your catalog ready to be placed.

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🎙️ Human voice or AI voice? Here’s the thing… AI can do some impressive things. I use it myself for research, organization, and creative brainstorming. But when it comes to voicing something that’s meant to connect with actual human beings? That’s where the gap becomes pretty obvious. A human voice talent can take your script and deliver something nuanced, intentional, and emotionally aligned in 10 minutes. Sometimes less. Why? Because we don’t just copy sound… we interpret meaning. We bring lived experience, emotional understanding, timing, and musicality that AI simply doesn’t have access to. AI can sound “correct.” But humans sound  TRUE. And here’s the funny part: people know the difference immediately  -  especially in sales messaging. YouTube is full of “AI Slop” in pre-roll ads. It’s technically a voice, but it’s not a conversation. Not a connection. Not a moment. Brands who want to be remembered still choose humans. Because humans trust humans. If your next project needs clarity, emotion, nuance, and something you didn’t even realize you wanted until you heard it… that’s where I come in. 🎤

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Budgets are tight, and more film productions are moving out of the U.S. Our latest report found 66% of scripted features are now shot internationally. That's why I'm especially proud to support Wrapbook 's Film Grant Program. If you’re working on a U.S. production, definitely worth checking this out 👇

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As an Xbox Master Trainer, I know that strong partnerships aren’t just valuable—they’re essential. As Xbox continues to expand across alternative platforms and innovative devices, my mission is to spotlight our incredible #partners and elevate their presence both in-store and online. Our recent collaboration with Backbone is a perfect example of partnership done right. Not only did they provide a killer sample for our explainer video, but they also went the extra mile for our field team—supporting us with tools, enthusiasm, and real-world impact. This is the kind of synergy that drives the Xbox ecosystem forward. When partners show up like this, we all win. Huge thanks to Mark Foster, MBA for securing our samples!! Now... Enjoy the Backbone Pro!! #Xbox #Backbone #GamingEverywhere #RetailReady #TeamworkWinsv

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This move by Universal Music Group is more than a settlement. It marks a fundamental shift in how the music industry is choosing to engage with generative AI. By partnering with Udio Universal didn’t just make peace with AI technology. They reshaped the battlefield. The deal brings Udio’s technology into a closed circuit ,a licensed and rights-cleared environment built together with UMG. In doing so, Universal shut down the wild and uncontrolled version of Udio and replaced it with one that operates fully within the industry’s framework. It is the same transformation we saw when Napster and Pirate Bay became Spotify. What began as disruption eventually evolved into structure, scale, and new opportunity. The message is clear: The future of AI music isn’t outside the system, it’s inside it, re-engineered for rights, revenue, and responsibility.

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Great work by David Wille and team - "Swedish music and tech company MAIA Universe recently closed a EUR €1 million (USD $1.3m) investment round and welcomed new investors – including superstar Swedish writer-producer Max Martin. The company said that it also signed licensing agreements with major rightsholders including Sony Music Publishing UK, Sony Music UK, and Warner Chappell Music Publishing." https://lnkd.in/dSjgF_Xq

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Producer/Director James Pratt discusses strategies on attaching marketable and "name" talent to your film (Big Apple Film Festival Industry Networking Sessions). James Pratt is an award-winning director and producer residing in Los Angeles, California. His most recent work includes being executive producer on 4-time academy award nominee Edward Norton's Longevity Hackers (2024) and associate Producer on Harland Williams new comedy Film, Wingman (2025) which stars Kayla Wallace (Landman) and Jamie Kennedy (Romeo + Juliet). #BigAppleFilmFestival #FilmIndustryNetworking #JamesPratt #FilmDirector #FilmProducer #IndependentFilm #FilmmakingTips #AttachNameTalent #CastingStrategies #FilmProduction #HollywoodFilmmakers #LongevityHackers #WingmanMovie #IndieFilmmakers #FilmmakerNetworking #BehindTheScenes #MovieMaking #FilmFestivalSeason #CreativeProducers #DirectorLife

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I’m thrilled to share that CashorTrade has officially partnered with Sweetwater Music Hall in Mill Valley, CA. This partnership goes beyond just tickets—it’s about protecting the fan experience while also supporting venues and artists. By making CashorTrade the official secondary marketplace, Sweetwater is ensuring: ✅ Tickets stay in the hands of real fans at face value ✅ Fewer no-shows and chargebacks ✅ Fuller rooms, which means more energy for the artist and increased revenue for the venue through concessions, merch, and beyond We’ve long proven the value of a fair, community-driven secondary market for fans and festivals—and now we’re expanding this program to venues across the country. Sweetwater is an iconic step forward in this journey, and I couldn’t be more proud to grow this partnership program. This is the future of ticketing: fair, transparent, and sustainable for everyone involved.

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More good news coming out of California! On July 3rd, California Legislature approved a supplemental bill further expanding the Film and Television Tax Credit Program. Below are some key updates: ▪️ Increases tax credit to 35-40%  ▪️ Expands allowable project types to include animated films, live-action or animated television programs with episodes of at least 20 minutes & with a budget over $1M per episode, and large-scale competition TV shows with a budget over $1M per episode ▪️ Increases per project caps  ▪️ Allows for a refundable tax credit for Program 4.0 applicants

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Why Independent Films Are Leaving California - new video: https://lnkd.in/gTAAwNGD - California just doubled its film tax credits to $750 million annually, but there's a problem - While the state courts big-budget productions, thousands of independent filmmakers making movies under $1 million are being left out entirely, impacting the entry point for new directors, writers, & crews - Independent filmmaker & professor Jeff Deverett breaks down why this matters for the next generation of Hollywood talent & what California risks losing if it doesn't act - plus Post-Production Film Workers Don’t Want to Be Left Out of the Tax Credit Conversation - article: https://lnkd.in/g-vyY4BB

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A hopeful sign that feature films may soon return to California in greater numbers. According to the ProdPro Report on Active Development, there are 95 titles in active development or preproduction in California for the first half of 2025, with budgets over $10 million. This is presented as "more than New York, Georgia and New Mexico combined,” signaling a strong pipeline. Note, California also just had the 1st application window for TV earlier this month, and with animation, competition shows, and TV/Less than 30 minutes now qualified, we should expect even more production in California in the next 6 to 12 months. Entertainment Partners California Film Commission FilmLA California Production Coalition ProdPro https://lnkd.in/gJf8W7fe

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48 new film projects are the latest recipients of tax credits under the Film and Television Tax Credit Program. California Film Commission #FilmCalifornia #indiefilms

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I tuned into Jed Sundwall's latest Great Data Products episode with Earth Genome’s Brad Andrick and Kwin Keuter about the Storm Events Database. The Storm Events Database (EP 6): https://lnkd.in/dgcNkuYR Storm Events Database: https://lnkd.in/d6UZPJ3R More context: https://lnkd.in/d2FPNkgB There was a lot of interesting talk about what it actually means to build a data product, not just publish data. You can tell they put real thought into taking 70+ years of NCEI storm records and turning them into something people can explore and use. And, as with pretty much anything I’ve read or listened to from Jed, the discussion naturally touched on data governance too. One point I hadn’t really thought about before was the "marketing" side of (open) data products. Promoting the data and making it accessible is part of the job. If people can’t find it, it doesn’t exist. (Also, I can’t believe the word "democratization" wasn’t uttered. :P) It was also encouraging to hear how much they focused on users, building user personas and user stories for how the data product is actually going to be used. And in that context of how people use it, making it discoverable, getting it in front of the right people, and supporting users, I do have a “funny” idea. Similar to how companies have account managers, there should be someone helping users… use the data. Not selling anything, obviously. This is open data. No idea who would fund it, but someone should be on the other end of the line helping people actually get value out of these open data products. But here’s the twist: do it like the old Nintendo hotline. You call, or book a time slot, and have a chat. Users get the support they need, and at the same time you collect feedback. What people were trying to do, what broke, what was confusing, and yes, more user persona fuel. A quick survey at the end, too. The Radiant Earth Open Data Product Hotline. And if you’re lucky, Jed answers the phone. https://lnkd.in/dh2xZ9KC

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🎬 Vertical Storytelling: The Future of Film - with Angela Liu In this episode of The IndieCoach Podcast, I sit down with Angela Liu, a filmmaker, storyteller, and cross-cultural creative voice, to talk about the next evolution of storytelling: vertical content. Angela brings a fresh and global perspective to filmmaking in the age of short-form, mobile-first storytelling. We dive into how vertical dramas are changing the way audiences consume stories, and how indie filmmakers can thrive in this new landscape. 🎧 In this episode, we cover: • How to adapt traditional storytelling to vertical and short-form formats • Building emotional depth in 60 seconds or less • Monetizing vertical content and finding the right audience • The future of decentralized and creator-owned media • Angela’s creative process and advice for up-and-coming filmmakers Whether you’re a filmmaker, content creator, or simply curious about the changing entertainment landscape, this episode offers a glimpse into where storytelling is headed, and how to stay ahead of it. 📺 Watch more episodes at https://lnkd.in/euWTdkPk https://lnkd.in/eywU552M 🔗 Follow Angela Liu → angelaliuchen.com 🔗 Follow Ron Newcomb → conceptcompass.com #IndieCoachPodcast #VerticalContent #Filmmaking #ShortFormVideo #Storytelling #AngelaLiu #IndieFilm #CreativeEconomy #MobileFirstStorytelling #FilmPodcast #IndieCoach #FilmmakerTips #CreatorEconomy

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Ever wonder how films get off the ground? What does it really take to bring a story to the screen? In Long Beach, a conversation unfolds around securing development capital for "La Matadora," a project requiring an investment between $5 to $15 million. It’s a meeting of minds, bringing together publicity and private equity to turn a creative vision into reality. Securing funding is a critical step, and one that proves that even in creative fields, strong business acumen and financial backing are crucial for success. It's a reminder that every project, regardless of industry, requires not just passion but also strategic investment to thrive. Curious to hear, what are some unconventional ways you've seen projects get funding or find the support they need? #FilmFinancing #PrivateEquity #FilmInvestment #MovieMaking #CreativeFinance

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Fixing music metadata is impossible without access. And right now, access is priced out of reach for the innovators trying to solve the problem. This week I was reviewing the cost of accessing ISWC data, the global standard for identifying musical works. CISAC, the non-profit that administers the ISWC, offers API access on a cost-recovery basis (and I believe their intent is good). But the entry point is steep:  • €10,000 onboarding  • €20,000–€36,000 per year For big organizations, that may be manageable. For early-stage startups working to solve metadata problems? It’s simply not possible. And that highlights a deeper industry paradox: We all agree that metadata problems cost creators billions - but the tools and identifiers needed to fix those problems are often inaccessible to the very people building solutions. This isn’t about blame. Standards bodies have real operational costs. CMOs have real responsibilities. But if we truly want to pay every songwriter, composer, and contributor… we need an ecosystem where innovation is actually feasible. Startup-friendly tiers, low-volume access, research sandboxes, or grant-supported integrations could unlock a wave of tools focused on attribution, accuracy, and long-tail royalty recovery. I’m committed to building in this direction. And I’d love to see more of our industry move toward empowering the innovators who are trying to make creators whole. Creators deserve better data. And better data requires accessible infrastructure.

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“The preference, researchers argue, isn’t about escapism, but about connection.” I’ve argued for a while now that there’s a narrative paradigm shift happening with younger audiences, where their entertainment consumption is predicated less on the Freudian/Campbellian wish fulfillment of transposing yourself onto the protagonist, and more about wanting to spend time with characters who feel like your friends. Pandemic isolation + normalcy of social media parasocial relationships = a desire for connection with nuanced characters. Anime has capitalized successfully on this shift better than any other filmic medium. Isekai (a genre which I personally find redundant) holds down the fort on the Campbellian self-insert storytelling (similarly to the way U.S. action procedurals do), while Japan’s successful action/adventure franchises feature ensemble casts that audiences can both see themselves in AND befriend. Commissioning multiple cours means more time to spend with your character-friends. Robust consumer products rollouts means you can invite them into your home. The question for younger audiences is less “do I see myself in the main protagonist” and more “can I see myself in one of these characters and spend meaningful time with the rest of them?” It’s a question anyone developing in this space should consider as well.

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The difference between scattered marketing and a successful growth strategy is data. Research confirms that every stream, save, and playlist add is a signal artists can use to their advantage. Learn how to stop relying on assumptions and use platform insights (from top cities to engagement rates) to make every decision about your next single, tour, or ad spend highly strategic. https://lnkd.in/g522QQAX #MusicMarketing #MusicStreaming #IndependentArtist #MusicArtist