Sync coordinator
| Highest | $5,000 / mo · United States |
|---|---|
| Experience | 2–4 yrs |
| Degree | Required |
| First paycheck | 3-4 years bachelor's + 3-6 months internship |
Pay in the destination countries
Monthly, in US dollars. Each country is an Imora admission package — open one for that route's fees, language requirement and deadline.
| Country | Monthly |
|---|---|
| United StatesTOEFL 80–100 · $10–70k | $5,000max |
| Hong KongIELTS 6.0–6.5 · HK–200k | $4,250 |
| SingaporeIELTS 6.5 · SGD 18–35k | $4,250 |
| United KingdomIELTS 6.0–7.0 · £11–38k | $4,250 |
| CanadaIELTS 6.0–6.5 · CAD 20–40k | $3,900 |
| AustraliaIELTS 6.0–6.5 · AUD 30–50k | $3,600 |
What does the day look like?
A sync licensing coordinator spends 85% to 90% of working hours on administrative, legal, and operational tasks, with only 10% to 15% spent on creative music listening and pitching. Daily duties involve processing incoming sync quote requests from film, television, video game, and advertising music supervisors, confirming whether the company controls 100% or fractional shares of composition and master rights, tracking down split sheets with co-publishers, and drafting synchronization agreements with Most-Favoured-Nation (MFN) clauses. Coordinators also tag catalog metadata in platforms like DISCO, Synchtank, SourceAudio, and Songspace with tempo (BPM), key, moods, ISWC, and ISRC codes, assemble playlists of 5 to 15 pre-cleared tracks under turnarounds of 2 to 24 hours, submit broadcast cue sheets to PROs like BMI, ASCAP, PRS for Music, GEMA, and SACEM, and chase overdue invoices.
Standard hours are 40 hours per week, typically 09:30 to 18:30. There is no shift work, but unscheduled evening and weekend overtime is common around film festivals like Sundance, Cannes, and TIFF, major retail advertising cycles, and broadcast deadlines. Everyday software includes Music Maestro, Counterpoint Suite, Vistex, Airtable, Monday.com, DocuSign, Microsoft Excel, and audio inspection tools such as Audacity, Logic Pro, or Pro Tools.
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