How do songs & sources find their ways into films? The conference category “Reality Check/Sync” marks the seven events SoundTrack_Cologne 14 dedicates to this question. Among those, Music Supervisor Sessions with Robert Kraft (Executive in Charge of Music for TitanicSlumdog MillionaireWalk the Line), Sarah Bridge (The Theory of Everything), Andrea Lässig and Andreas Suttner from the public broadcaster Bayerischer Rundfunk. Further topics are Tools and SolutionsProduction Music Libraries and the music concept of the second season of the TV series Schuld (“Guilt“).

TitanicMoulin RougeGarden StateWalk the Line and Slumdog Millionaire are just a few examples of the more than 300 films, for which Robert Kraft was responsible during his time as president of Fox Music. In 2013, the award-winning songwriter, film composer, recording artist and record producer, started his own film production company Kraftbox Entertainment. His recent projects include the independent documentary SCORE! The Film Music Documentary.

Andrea Lässig, music journalist and musician, is a Music Supervisor for the public broadcaster Bayerischer Rundfunk since 2012. Andreas Suttner joined the BR in 2004 and besides being a Music Supervisor, he is also working as a musician, cellist and independent film composer. They are going to focus on Music Supervision for Radio, TV and net programmes of the BR – and how composers can be considered for a collaboration.

The music concept of the 2nd season of the acclaimed ZDF TV series Schuld (“Guilt”) combines the score of Richard Ruzicka, and songs that were laboriously produced by Robot Koch. Together with Christoph Becker, CEO of Constantin Music GmbH and Hansjörg Kohli, director of the music editorial office of the ZDF, they are going to talk about the challenges of their collaboration.

Jon Skinner is Music Supervisor and founder of Music Gateway, an online platform for networking, storing and managing multimedia files and sync licensing. In a workshop discussion, he reflects on the latest Tools and Solutions between creation and administration. The knowledge how Music Supervisors store music digitally, tag it and make it searchable, helps to understand the importance of meta data as well as aids to make strategic decisions on how to make one’s own repertoire available to others.

Before her career as Music Supervisor, Sarah Bridge worked as a music journalist and A&R manager. Her credits include among others the “Academy Award” winner The Theory of Everything and the TV series Glue, for which she was awarded both British and International Music and Sound awards for best use of existing music in a TV show. Recently, she has been working for the feature film Goodbye Christopher Robin and the Sky Atlantic/Showtime mini-series Guerilla.

Reliable Production Music Libraries serve as creative power houses, offering fast solutions and legal compliance. In an expert talk about opportunities, obstructions, traditional business models and new developments, Martin Sponticcia, composer, music producer, founder of Klanglobby, film composer Marcel Barsotti, founder of TUNESforMOVIES, and Erika Oltmanns, Director Music Licensing at SONOTON Production Music, talk to fellow composer Dr. Anselm Kreuzer.

The final round table assembles the accumulated knowledge of music supervisors Jon Skinner (Music Gateway) and Iain Cooke (AmyCollideCall the Midwife), who represent together the UK & European Guild of Music Supervisors, Robert Kraft (Executive in Charge of Music for TitanicSlumdog Millionaire) and Andrea Lässig (Bayerischer Rundfunk). Hosts are composers Andreas Grimm and Matthias Hornschuh. The event is presented by the UK & European Guild of Music Supervisors.

Get your Accreditation now to participate in the studio discussions, workshops and presentations!

Posted by Peter F. Ebbinghaus

Based in Berlin, Germany. Co-Founder & Editor-in-Chief. Music Producer at Eon Sounds Productions. Founder of Composers for Relief. Keeps Moving.

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