Clear the right song, fast.
Music licensing for film, OTT, advertising, trailers and games. Outwrite sits on both sides of the clearance, the master and the publishing, so one conversation gets you a cleared record instead of a paper chase.
One desk, both licenses.
200+ credits across Hindi and English, every track streamable on the discography, cleared from one desk.
We administer the composition and, on much of the catalogue, the recording too. One negotiation, one paper trail, no chasing third parties for the other half.
If the brief needs a new song, an adapted lyric or a re-record, the writers and producers are in house.
Placement history across Netflix, Amazon Prime Video and theatrical releases, built on global sync licensing infrastructure.
Brief to cleared, in three steps.
The scene or cut, the mood, the territory and media, and the budget band. A reference link helps.
A tight, streamable shortlist from the catalogue, or a custom direction if nothing existing fits.
Sync and master licensed together, paperwork issued from one desk, cue sheet support included.
What a sync licence actually covers.
A sync licence is permission to pair music with picture. Every placement needs two of them: one for the composition, from the publisher, and one for the master, from whoever owns the recording. Miss either and the film is not cleared. In India the two halves often sit with different companies, which is where clearances go to die.
The licence itself comes down to a handful of decisions. Media: where the film runs, from theatrical and OTT to broadcast and digital. Territory: India only, or worldwide. Term: how long the use lasts. Exclusivity: whether a competitor can use the same song while your campaign is live. Price follows those four choices, which is why a clear brief gets a faster and fairer quote than a vague one.
Because Outwrite administers the composition and, on much of the catalogue, the recording too, both licences come out of one negotiation and one paper trail. Cue sheet support is part of the job, so performance royalties keep flowing to the writers after your film airs, without another email thread.
For music supervisors and editors, the practical difference is time. A shortlist where every option clears from one desk beats a perfect song you cannot close, and the catalogue behind this desk is searchable by language, mood and genre on the discography, every track streamable before you send a single email. Pick as you listen and the tracks collect into a shortlist you can play back, annotate and send, either to us as a brief or to whoever on your side makes the call.
Cleared means these are answered.
Most clearance pain is one of five questions nobody answered in week one. We put them on the table in the first call, so the licence that arrives matches the film that ships.
Named platforms and markets in the licence, wide enough for the media plan, priced for what you actually use.
A defined licence period with renewal terms agreed now, so extending a campaign is a signature, not a renegotiation.
Whether the song is locked to you within your category and for how long, decided before the edit falls in love with it.
Writer and artist credits specified, cue sheets filed, so the placement pays everyone it should long after delivery.
A budget band in the brief gets a shortlist that can actually close. We would rather requote than send you songs you cannot clear.