Below Deck Down Under Season 4
BDDU4
Explores the complex, often explosive dynamics of the crew and a rotating group of demanding charter guests on a yacht in northeastern Australia.
Project ID (Series Initials): BDDU4
Project Description: The show is the third spin-off of Below Deck, following Below Deck Mediterranean and Below Deck Sailing Yacht.
More info on the Production Companies below:
The production company 51 Minds, just moved under Bunim's Umbrella, so Bunim (we) are doing the music and production for this series moving forward.
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I'm sure a lot of you have got things down on how these TV cues go.
With that said, I will be having a meeting this week for any other details, but in the meantime, it looks like we are ready to go!
With that said, check out the brief below. It is nothing different from what we have been doing already, with a lot more clarity. Since we are picking up from the last season, we will keep the Same Momentum and Sound Pallets from the previous series, which the playlist is below.
If you placed cues on that series, feel free to use some of your works as templates (sounds, etc), as this can help start a new cue in that mood with a palette ready to go.
TEAMS
We are handling this series in 2 TEAMS. If you have not been assigned to a team, please let us know and we will get on that immediately!
PROJECT OVERVIEW
We're now working on Below Deck Down Under Season 4, the Australian spinoff of the Below Deck franchise.
This season’s sound should feel intentional, energized, and elevated.
Project Initials: TBD - This is used in all cue titles, folders, and file names.
Production Company:
- Bunim-Murray: https://www.bunim-murray.com/shows
TERMS AND CONDITIONS
Writers retain 100 percent of the Writer’s Share.
No upfront fees at this time.
Writers must be affiliated with ASCAP or BMI.
Music must be exclusive to Bunim.
Placements span across 60+ Bunim shows, including reruns and primetime airings.
Paperwork for approved cues will be processed after the season airs or is registered.
Passed cues remain with the writer unless otherwise agreed.
Cues will be registered post-airdate.
o (Usually following Universal’s blanket license registrations, since Bunim is still under this, we just go with the flow, but rest assured it will/does get done.)
NOTE: There are Links throughout the Brief. Please visit the links for full walkthroughs and guidelines.
SUBMISSION PROCESS
Cues are submitted through a FOLDER and shared through the Dropbox system.
If you don’t have a folder, email us to get set up.
Each submission must include a completed Composer Info Sheet with correct formatting and naming, kept in an Excel sheet.
Batches are updated weekly. Confirm your current batch as per your team before uploading.
Full Guidelines on Submissions: HERE
MUSIC NEEDS AND REFERENCES
Focus on cues from PTN’s NEWER APPROVED reference playlist.
· Needs include Tension, Hip-Hop with Strings, and Upbeat Energy.
· PTN Approved Playlist: https://s.disco.ac/kmfbsntphmew
o Avoid copying any melodies or arrangements. Keep all cues original.
o Legacy Reference Folder (older cues throughout the series) stick to updated link above:
§ https://www.dropbox.com/scl/fo/b378ax86xly3akblxhvzm/ANaieVW0gxn0Xrs8khPabrQ?rlkey=ir9d876ndmt42kph12vwiqd85&st=bpsykoww&dl=0
MUSIC STRUCTURE GUIDE
This is VITAL to every cue that gets written for PTN & BUNIM.
We have had multiple meetings about this, so please take note of this section, as this will determine if your cues make the submission process. The structure for all cues is crucial.
I have taken the time to really explain and fully demonstrate this process. These guidelines are NOT meant to limit you as a creator in any way, rather, it should be seen as a specific framing and not barriers.
Think of a room with 4 walls. That space within can be anything (a gym, an office, a diner, a church, a store, etc.) But the walls serve as the “structure” and should not determine the space within itself. That is the same perspective to look at the specific “structure” when it comes to these cues tailored for visual media/tv.
Each cue should follow a dynamic arc:
Intro,
Hook,
Verse (split into 2 parts)
Pre-Hook,
Hook
build-up. - “ramp up”
Strong Stinger (ending).
Start/Stops and musical builds are also essential for edit points.
· Use visual and musical 'peaks and valleys' for structure.
For an in-depth walkthrough and Guidelines, I have put together these Links below:
STRUCTURE of CUE
Flow & Movement
Common Issues with Cues
Best Practices
Using References
Examples Explained
Another Direct Link to Structure Walkthrough Video: https://youtu.be/uTD2isJmBgY?si=CmxX0qUxXh5rVWIJ&t=51
NAMING AND UPLOAD INSTRUCTIONS
Use the naming format:
Cue title_Vendor Name_Your Initials_Show ID_Style of Cue/catagory
Example:
The Stars are On_Gilde_GF_BDDU4_Afropop
Avoid vague filenames like song1 or v2_final or anything not as the above example. Each place in that cue speaks to the editor and curators handling the cues. Anything that is not properly submitted can be returned for correction during the prescreening phases.
DELIVERY TIMELINE AND FLOW
Prescreen submissions are reviewed Wednesday night through Thursday morning.
The final submission deadline for pre-screened cues is Friday by noon CST.
After Submissions are Completed:
Immediately prep your deliverables (in case of approval).
We have a 24-hour turnaround for any revised or approved cues (explained below).
So, please create accordingly
APPROVALS AND REVISIONS
Notes (via Bunim) will be sent as soon as Bunim reviews the cues. We will then let you know via an Excel sheet through email the same day.
Notes will include the submitted cues status in:
Approved,
Needs Revisions, or
Passed.
Revisions
Please make corrections and return the cue within 24 hours.
When submitting the revisions, please create a separate folder labeled Revision Approvals
FULL info on REVISIONS here
DELIVERABLES
Once a cue is approved, you will be preparing its Deliverables.
Deliverables consist of “Alt Mixes” (versions, all are mastered):
Full,
Underscore,
Drums & Bass,