There has never been a greater battle for music usage in media than now. Films, TV shows, documentaries, adverts and games are being bombarded with pitches from music rights holders — from composer agents to production music libraries to artists looking at revenue from sync. Film directors like Martin Scorsese and Quentin Tarantino have historically commissioned very little composer-delivered music for their features, relying almost 100% on the work of music supervisors. At the same time, many feature documentaries and film trailers rely completely on production music. Finally across genres like video-on-demand platforms — producers often use composed music as it is easy to clear and rights can be negotiated in perpetuity. The question, then, is what is the future of music usage in media?