Content Partners


Animation | Live Action | Mixed Media | Experimental

Have a little time on your hands and looking for a new project? Why not try a piece of Visual Music? We welcome submissions of any type. Below you will find some guidance and suggestions to help you pick a musical title, design your work, and submit it. Need extra help? Don't hesitate to contact us. 

Ion Concert Media reserves the right to select or decline any Ion Content Library submissions for any reason both now and in the future. Nothing on this website should be construed as a promise of inclusion in the Ion Content Library.

Here are some musical compositions for which we are seeking a visual pairing. 

  • Saint Saens, Camille -  "Carnival of the Animals"
  • Mussorgsky, Modest - "Night on Bald Mountain"
  • Whitacre, Eric - "Seal Lullaby" (Pre-approval required from composer and Ion; talk with us)
  • Bryant, Steven - "Dusk"
  • Smith, Robert W. - "The Inferno"
  • Holst, Gustav - "The Planets"
  • Reineke, Steven - "Rise of the Firebird"
  • Smith, Robert W. - "The Tempest"

The Ion Content Library is seeking submissions in any style, mood, topic, or format. In general we do not accept materials that would receive an Adult rating or materials with overt political or religious messaging.

If you are interested in having your work considered for inclusion in the Ion Content Library we suggest the following guidelines, though exceptions in each case are possible.


Traditional cinema places an emphasis on the film and dialog, relegating the soundtrack to a supporting role. Keep in mind that films in the Ion Content Library will be presented as part of live concert events where the music is the central component. We are seeking submissions that treat the film as a visual expression of the music. Ideally the film and music will be made artistic equals, but in all cases the music should not be reduced to a supporting role for the film.


Visual Music is, by definition, a visual expression of a musical idea. The best Visual Music achieves a perfect balance between music and film where each supports and reinforces the other. This requires a shift in thinking from traditional cinematography and film editing. Consider these abstract works set to Khachaturian's Sabre Dance (film by Alexi Moriarty) and  Xian Xinhai's Defend the Yellow River (film by Mike Zeng).

Obviously note every film needs to be a pure abstract visualization of the music, but allowing the music to guide your design and editing process is very important.


Music is a rhythmic experience. In our work we have discovered that the visual accompaniment can behave very much like an extra rhythm instrument onstage, reinforcing each musical pulse or even the over-arching rhythmic flow of the musical form. Again, not every beat needs to be represented in the film and some films may lack a sense of rhythm altogether. Let the music guide your decisions, but remember the rhythmic power of the visual.


Using sound effects and even dialog in your Visual Music work is acceptable. The Muséik software has pitch correction built in so audio files will not sound distorted in live performance. However, keep in mind that audio elements that drown out the live performers or distract from the artistic whole will likely not be appreciated by show producers.

To submit a film for approval in the Ion Content Library simply send us an email with a link to the film that includes the soundtrack of the music to which it pairs.

If approved for inclusion in the library we will ask for the following materials:


  • Uncompressed file(s) with the highest resolution possible. We have found .mov to work very well.
  • A version of the film that includes the music soundtrack showing the exact synchronization intended between the music and the film.
  • Film credits information as it should appear in printed materials.


  • Separate high quality .wav files of each audio track (sound effects, dialog).
  • A version of the film that includes the music soundtrack showing the exact synchronization intended between the audio files and the film.
  • Sound credits information as it should appear in printed material.


  • Details about the score used in the film including title, composer, publisher, and any cuts made.