You can download the SoundTrack_Cologne 16 programme flyer >here.


Wilbert Roget, II writes scores with memorable themes for several diverse titles, including Call of Duty: WWII, Mortal Kombat 11, Lara Croft and the Temple of Osiris, and Star Wars: The Old Republic. His scores have earned him several awards and nominations from the Game Audio Network Guild, the Academy of Interactive Arts and Sciences (D.I.C.E. Awards), and others. Roget also co-founded Impact Soundworks, a successful music software company and gives lectures about games music at the Game Developers Conference, SF Conservatory of Music and the Yale University among others.

Wilbert Roget II, Helge Borgarts

Jack Wall is an ASCAP award-winning and BAFTA nominated composer best known for his scores for popular video game franchises such as Call of Duty: Black Ops II, III & IIII, Mass Effect I & II, the Myst series, Jade Empire and several other franchises winning multiple awards for his work. Most recently Wall scored the supernatural drama television series Shadowhunters: The Mortal Instruments. He was co-founder of The Game Audio Network Guild and is a frequent speaker at various educational institutions such as Columbia College and Berklee College in Boston.

Jack Wall, Helge Borgarts

Michael McCann is currently working on Borderlands 3, the highly anticipated sequel to one of the best-selling franchises in gaming. As lead composer, he has scored games such as Deus Ex: Human Revolution & Mankind Divided, XCOM: Enemy Unknown & Enemy Within and Splinter Cell: Double Agent. His 20 year long career in music includes work for some of the biggest companies in entertainment, including Ubisoft, Discovery Channel and Paramount Pictures. For his music for games, television and film he received a Clio Award and nominations for prizes like the BAFTA or the Hollywood Music In Media Awards.

Michael McCann, Helge Borgarts

Panel discussion with Jack Wall (“Call of Duty: Black Ops II-IIII”), Wilbert Roget, II (“Call of Duty: WWII”, “Mortal Kombat 11”) and Michael McCann (“Deus Ex: Human Revolution”) and Helge Borgarts.

Wilbert Roget II, Jack Wall, Michael McCann, Helge Borgarts

Talk by Natalie Gravenor

Music clips are commonly associated primarily with the late capitalist music industries of the 1980s and later. However, music-based short films have a long tradition in many Eastern European countries, developed independently of Western trends and were produced in subversive or avantgarde contexts as well as part of the mainstream media ecology. They fulfilled similar purposes to Western clips – providing media exposure for acts who couldn't always appear live in concert or the TV studio – and were commissioned by comparable entities - record labels, state-owned in this case.

This program will introduce a small selection of music-based shorts produced until 1989. The clips will illustrate particular aesthetic trends and provide insight into the media ecosystems and reception structures in various Eastern European countries.

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Natalie Gravenor

Talk by Natalie Gravenor

Post-1989, the music markets in Eastern European countries strived to catch up with Western counterparts while retaining their individual specific identities. In some countries local music enjoys robust market shares (indie and pop-rock in the Czech Republic, hip hop in Poland) but only recently do acts from the East figure more prominently in concert halls and clubs abroad, and not just winners of the Eurovision Song Contest which is somewhat derisively considered to be East-dominated. Music videos from Eastern European countries are even less represented in relevant international festivals and the „clip canon“ than their corresponding sounds are on the airwaves, playlists and stages. Worldwide dissemination through video platforms like YouTube is changing the game, but do only clips that draw dramatic pictures of society in their countries of origin have a chance to break the language barrier and break out internationally? Or does the music video harness a potential for political commentary and community building which can overcome restrictive media barriers?

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Natalie Gravenor

Social media platforms and streaming providers are increasingly outstripping traditional media such as radio and television. What is practical and up-to-date for users, namely the consumption of content on demand, is still associated with a justified concern for content creators about the appropriate remuneration of content made available online. Labels, publishers and other exploiters also have great difficulty in accurately pricing licences for online providers. Sascha Peters (Warner Chappell), Anja Braune (GEMA), Peter Wiechmann (SWR), Eva-Lotte Hill (RTL) and Matthias Krüger discuss what creatives as well as exploiters or collecting societies can do to work towards the fairest possible remuneration for the use of creative content. This panel will be held in german.

Sascha Peters, Anja Braune, Peter Wiechmann, Eva-Lotte Hill, Matthias Krüger

The storage media levy is a fixed component of the copyright remuneration in Germany. Providers of USB sticks, smartphones, etc. pay a share of the proceeds to the ZPÜ - Zentralstelle für private Überspielungsrechte (Central Office for Private Transfer Rights) as compensation for copies of copyrighted works. For cloud storage, such a levy is still under discussion. Other questions of copyright remuneration also arise against the background of current market developments: would it be appropriate, for example, for film music composers to participate in the sales proceeds of the films and not only via the collecting society in the exploitation proceeds? Micki Meuser (DEFKOM, GEMA board) talks about how far the right of authors goes inside the copyright contract law to information about the sales and exploitation of their works. This panel will be held in german.

Micki Meuser, Anselm Kreuzer

The new EU Copyright Directive, finally adopted in April 2019, provides new regulation and unifications in the copyright contract law and a revision of the platform liability. From now on, platforms with user uploaded content have to buy licences for content and pay creators and publishers. The concrete implementation is up to the EU countries within the framework of the national legislation. Marc du Moulin (ECSA), Micki Meuser (DEFKOM, GEMA board), Christoph Rinnert (Composers Club) Helga Trüpel and John Groves discuss chances, risks and models on how to implement the EU Copyright Directive, as well as the likely impact on creatives.

Helga Trüpel, Micki Meuser, John Groves, Marc du Moulin, Christoph Rinnert

Almost every film and media composer is also co-interpreter and author of his own musical works. For these activities he is entitled to royalties from the Neighbouring Right, which can be received in Germany by the GVL (Collecting society for neighbouring rights). However, the reporting of musical contributions to the collecting society involves considerable effort for the participants, and GVL's distribution plans do not yet cover all types of use. Moreover, the perception of rights exploited abroad is difficult. Dr. Tilo Gerlach(GVL), Einar Helde (NRG Agency) and Chris Kennedy (Rident Royalties Inc.) discuss about “Neighbouring Copyright”. They elaborate perspectives and practical possibilities for music interpreters, so that money can actually be distributed to them. 

Einar Helde, Chris Kennedy, Dr. Tilo Gerlach, Anselm Kreuzer

For participation please send an e-mail to

Yati Durant

For participation please send an e-mail to

Yati Durant

Composer Maxime Luft introduces different perspectives on sampling, such as recording true crescendos vs. simulating crescendos with crossfades. In the context of a live composition session, he will show his personal use of the Orchestral Tools instruments and present libraries such as Time Micro, Metropolis Ark III and the Organic Samples. In cooperation with Orchestral Tools.

Maxime Luft, Orchestral Tools

Christian Hein and Bernd Keul will demonstrate the MIDI production of an orchestral composition: Christian will explain techniques with his orchestral instruments and give general arranging tricks using sample libraries to achieve a realistic performance. The panel will focus on special articulations like trills and runs, the handling legato and much more. Bernd will demonstrate the use of different MIDI controllers like the RoliSeaboard or Leap-Motion controller. In cooperation with Chris Hein.

Christian Hein, Bernd Keul

This workshop is a ‘getting started’ on creating and preparing music in the DAW Nuendo 10 before transferring both audio and MIDI into the middleware Wwise. Sebastian Mönch will cover topics such as segmentation, vertical vs. horizontal adaptive structures and how to deal with changes. To complete the pipeline, the participants will also have a brief look on the code required to trigger musical events from within a game engine. In cooperation with Steinberg.

Sebastian Mönch, Steinberg

Christian Henson discusses the merits of using a small number of musicians even when trying to create wide and rich sounding scores. On the basis of the forthcoming fifth series of the BBC comedy-drama Inside No.9, Christian will first discuss his emotional approach to his musical work and then present his MIDI only demo, followed by what he recorded with a few musicians in a small studio and how he went about blending samples and live-recording to create a widescreen cinematic sound. In cooperation with Spitfire Audio.

Christian Henson, Spitfire Audio

Catherine Grieves is an experienced music supervisor and composer agent. Recent music supervision credits include the BAFTA nominated drama Killing Eve, critically acclaimed dramas Brexit: The Uncivil War for HBO, Collateral for BBC/Netflix, and BAFTA winning London Spy. Films include The Inbetweeners Movie and The Counselor. Catherine also worked on award winning musical film adaptions such as Les Misérables and Sing Street. In 2017 she joined Faber Music as Head of Film and TV.

Catherine Grieves, Lisa Humann

Robert Williams and Paul Pilot break down the Hollywood Composer Agreement in their presentation ‘Scoring for Hollywood’. Their discussion will include both a legal and practical overview of European composers working with U.S. productions and will explain U.S.-style agreements, what publishing rights you should ask for, and the work-for-hire concept for productions in the U.S.

Robert Williams, Paul Pilot

An expert panel discusses chances and challenges of artificially composed music: Dennis Braunsdorf is a music composer, technologist and co-founder of the audio technology company Prolody, which aims to bridge the gap between humans and technology through sound. Prof. Dr. Francisco Tigre Moura researches on listeners’ perspectives on music that was composed with the help of AI. Composer Wout Bremer is the creator of the virtual artificially intelligent composer Aimée.

Prof. Dr. Francisco Tigre Moura, Wout Bremer, Dennis Braunsdorf, Helge Borgarts

Members of the track15 female composers collective speak about composer teams. The key topic will be how successful acquirement and development of projects can be achieved within a team while preserving each artists’ individuality. They will speak about their own formation process and present work samples of projects they have completed as a collective. 

Kindly supported by WIFT Germany and the Alliance for Women Film Composers.

Hanna Sophie Lüke, Franziska Pohlmann, Zeina Azouqah, Susanne Hardt, Maxi Menot

D: Carolina Hellsgård, GER 2018, 90’

Feature Film with live-commentary by film composer Franziska Henke. In cooperation with WIFT Germany.

Germany, two years after the zombie apocalypse: the cities of Weimar and Jena are the last safe havens for humanity. Between the two cities: zombies, death, and 22-year-old  Vivi and 26-year-old Eva. The two women must fight their way to safety, all while struggling with their own demons.

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Franziska Henke

John Murphy composed film scores as prominent and diverse as Kick-Ass, Sunshine, Lock, Stock and Two Smoking Barrels, Miami Vice, Snatch, 28 Days Later… and 28 Weeks Later. He has worked with some of the industry's most respected and luminary filmmakers, including Danny Boyle, Guy Ritchie, Stephen Frears, Matthew Vaughn, and Michael Mann. His latest project is the critically acclaimed BBC/PBS Masterpiece mini-series Les Misérables.

John Murphy, Milena Fessmann

Amelia Warner is a British neo-classical composer, who made her debut as a film composer 2016 with the feature film Mum’s List. The score for her second film Mary Shelley, which premiered at Toronto International Film Festival, was nominated for ‘Discovery of the Year’ at the World Soundtrack Awards 2018. This year she won the title of ‘Breakthrough Composer of the Year’ with the International Film Music Critics Association (IFMCA) Awards. Before starting her career as a film music composer, she first made a name for herself as an actress and indie musician Slow Moving Millie. At SoundTrack_Cologne she is going to speak in a case study about her film Mary Shelley.

Amelia Warner, André Feldhaus

Pianist, musician and composer Davíð Þór Jónsson is this year’s winner of the HARPA Nordic Film Composers Award, the joint Film Prize of the Nordic countries. His music is carried by a special passion for improvisation. He received numerous awards for his compositions, including both the Icelandic Music Prizeand the Icelandic Theatre Prize as well as international awards for his original soundtracks for the films Of Horses and Men and Woman at War.

David Thor Jonsson, Franziska Pohlmann

The SoundTrack_Cologne Lifetime Achievement Award 2019 goes to Klaus Doldinger ("The Boat", "The Neverending Story", "Tatort").

Klaus Doldinger is not only the composer of Germany's most famous main title theme music for the cult series Tatort - he has also become an international star of the film music scene with global successes writing music for Das Boot and The Neverending Story. As a symbol of extraordinary achievements in the art of media composition, Soundtrack_Cologne honours an artist each year for their life's work. During the Theme Day: Film Music at SoundTrack_Cologne on Friday, 30th August, Klaus Doldinger will talk to Dr. Rolf Moser from Bavaria Media about his body of work and will then be available to answer audience questions. On Saturday, 31st August 2019, he will then be honoured with the SoundTrack_Cologne Life Achievement Award at the closing gala. This panel will be held in german.

Klaus Doldinger, Dr. Ralf Moser

SEE THE SOUND presents a selection of contemporary music short films and music videos, such as the Edinburgh-based short film Instruments in the Architecture: Building the Pianodrome that follows the construction of an amphitheater made from pianos, or singer and director Maya Lavelle’s video House on a Rocky Road. Guests include singer, producer and art director Maya Lavelle.

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Maya Lavelle

Interview with director/producer Anna-Lisa Himma.

If you live in the World of 2019 and somehow come in contact with music, fashion or art scene, you could not help but hear the name of the most controversial Estonian rapper and conceptual artist.

His "dazed and confused" persona, cheeky and grotesque lyrics and music videos have become the quintessence of today’s ever-changing world with all its beauty and vices. Tommy Cash erases the borders between music with the help of manager and director Anna-Lisa Himma.

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Anna-Lisa Himma, Alina Gordienco

In this talk Stefan Randelshofer, audio director at Ubisoft Blue Byte, will offer an in-depth look at how the advanced soundscape of Anno 1800 was designed and implemented. Stefan will be joined by Sebastian Mönch, senior product specialist at Steinberg, who will talk about workflow aspects regarding Nuendo. Questions will be welcome.

Stefan Randelshofer, Sebastian Mönch

Production music has long ceased to be a field for the exploitation of leftover tracks from film, popular and media music. More and more, production music is developing into a highly specialized field. During the workshop Anselm Kreuzer, Martin Häne and Sebastian Parche will present two music libraries with different orientations and give practical insights into Do’s and Don'ts of production music, current trends, exploitation opportunities and future perspectives.

Sebastian Parche, Martin Häne, Anselm Kreuzer

Meet International Music Supervisors, Agents, Labels and Film Music Professionals in intense 10 minute One-on-One Meetings · Limited number of participants – Separate Registration required. For more information:

Helge Borgarts, Milena Fessmann, Martin Häne, Chris Hein, Lukas Middelmann, Sebastian Mönch, Sebastian Parche, Chandler Poling, Lolita Ritmanis, Robert Williams, Chris Kennedy, Maxime Luft

An anonymous phone number invites outsider Mira to download the App “Wishlist” promising to fulfill all of her dreams, but there is a catch: she must give a deed in return, more difficult and dangerous depending on the complexity of the initial wish. In 2016 director Marc Schießer and composer Marcel Becker-Neu founded the film production company Outside the Club, that had its first big success with the mystery web series Wishlist. At SoundTrack_Cologne they are going to talk about their successful collaboration.


Marc Schießer, Marcel Becker-Neu, Hanna Sophie Lüke

After the zombie apocalypse: Weimar and Jena stand as last bastions of humanity. Between the two cities: the undead as far as the eye can reach. With a nearly all-female film crew, director Carolina Hellsgård („Wanja“) made the zombie film Ever After. She will chat about her work, together with film composer Franziska Henke. The award-winning composer won the German Film Music Award as Best Newcomer for the score for her debut Nelly’s Adventure.
In addition to the panel, Ever After is screened on Thursday evening, August 29th , in the Fritz Thyssen Stiftung within the scope of SoundTrack_Cologne’s SEE THE SOUND festival. Composer Franziska Henke will comment the film music live.
In cooperation with WIFT Germany.

Carolina Hellsgård, Franziska Henke, Cornelia Köhler

Because of a typing mistake, an e-mail from Emma Rothner accidently arrives in the mailbox of Leo Leike. He replies immediately – and very soon they entrust each other their secrets. This is the plotline for Gut gegen Nordwind, the screen adaption of the bestseller Love Virtually. The secrets of a successful work collaboration will be discussed by director Vanessa Jopp („Tatort: Amour Fou”), composer Volker Bertelmann (Hauschka) and Music Supervisor Milena Fessmann („25 km/h“). Volker Bertelmann (Hauschka) is known for his compositions at the prepared piano. In 2017 he was nominated for an Academy Award for Lion (together with Dustin O’Halloran).

Vanessa Jopp, Volker Bertelmann (Hauschka), Milena Fessmann

Two outlaws on the run discover an abandoned space ship with a mysterious past in the desert. At the last minute they escape from their persecutors into space and start to search for a new home. But as time goes by they are increasingly torn in different directions. The collaboration between director Marcel Barion and composer Oliver Kranz was really exceptional as Barion also did the sound design for The Final Land, his first feature film. Oliver Kranz has been working as freelance film composer since 1994 and since has scored more than 60 projects for cinema, tv and tv series, including In aller Freundschaft (“In all friendship”).

Marcel Barion, Oliver Kranz

D: Marilina Gilménez, AR 2018, 83’ OmeU

Agressive and sensual, loud and unconventional - and yet ignored. A Girl’s Band is a musical manifesto following female bands and their fight against inequality in the male-dominated music scene of Buenos Aires.

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Kindly supported by Orchestral Tools.

Orchestral Tools

Christoph M. Kaiser and Julian Maas met in 2003 while recording an album in Venice and since have been composing music for more than 50 feature films and series for television, various shorts and commercials. They have composed soundtracks for a variety of German films including RememberanceThis Is LoveWolfskinder (“Children of the Wolf”), Jack and the 2015 German film award winner The People vs. Fritz Bauer by director Lars Kraume. In 2018 they received the European Film Award (European Composer 2018) as well the German Film Award (Best Music) for their score to 3 Days in Quiberon. Their recent projects include Lars Kraume’s new ZDF series Bauhaus – A New Erawhich earned them the Best Music Award at the Canneseries Film Festival 2019. They will discuss this series at SoundTrack_Cologne.

Mod.: Hansjörg Kohli

Christoph M. Kaiser, Julian Maas, Hansjörg Kohli

Emmy Award winning composer Lolita Ritmanis is one of the most sought-after composers for animated series and superheroes. She (and her scoring partners Kristopher Carter and Michael McCuistion) are best known for memorable themes and underscores they have created for fan-favourite productions such as Justice League vs. the Fatal Five, Marvel’s Avengers Assemble, Warner Bros. Young Justice and Batman and Harley Quinn. Together they also composed the scores for the animated series The Spectacular Spider-Man and Batman: The Animated Series. In addition, she is writing music for series like Flip the Script and documentaries like Wild Daze. Lolita is one of the founders of the Alliance for Women Film Composers, serving as president from 2016 to 2018.

Lolita Ritmanis, Milena Fessmann

Panel in German language.

In the past 25 years, Stefan Will has established himself as an assured player in the German film and television business and was consequently awarded with two television prizes for the TV series 4 Blocks and the TV film Berlin One. Since 1995 he has been composing music for films of German writer-filmmaker Christian Petzold, such as the TV series Polizeiruf 110 (“Police Call 110”) or the drama Transit that premiered in competition at Berlinale 2018. Furthermore, he was responsible for the Swiss Pavilion at the Expo 2012 in Yeosu or the Mobility Pavilion for the Expo 2020 in Dubai, as composer and musical director. In a case study at SoundTrack_Cologne, he will talk about his series 4Blocks. This panel will be held in german.

Stefan Will, Hanna Sophie Lüke

International award-winning composer Maurizio Malagnini burst onto the scene in 2009, bringing stunning scores to numerous BBC hits. His work on The Paradise has been recognized with an EMMY Award Nomination. Other projects include music for seasons 4 to 8 of Call The Midwife, which is the most watched Drama in British Television and distributed internationally in 202 territories. Maurizio’s success over the recent years have resulted in winning him the title of Breakthrough Composer Of The Year from the International Film Music Critic Association and four Music+Sound Awards. He also composed an epic orchestral score for the TV drama Peter and Wendy. Together with his orchestrator Jehan Stefan, he will speak about their work on Call The Midwife.

Maurizio Malagnini, Jehan Stefan

D: Frank Scheffer, NL 2019, 90’

In a modern world characterised by the demise of old music traditions, two artists strive to bring the chinese opera ‚Si Fan’ to the stage. The Dutch conductor Ed Spanjaard attempts to combine western and chinese elements with composer Wenjing Guo. Inner Landscape provides a fascinating look into Chinese and western music and their different concepts. 

Tickets: 7,50 Euro
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

D: Michał Merczyński, UK 2018

Concert movie with Portishead Leadsinger Beth Gibbons

Which is more important: technique or emotion? Portishead lead singer Beth Gibbons was faced with the same question when she rehearsed Henryk Górecki’s "Symphony No. 3 (Sinfonie der Klagelieder)" in 2014. 

Tickets: 7,50 Euro 
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Tom Ammermann has created Kraftwerk’s complete catalogue in 3D audio (immersive audio): every song was mixed again and made available 3-dimensionally in Dolby Atmos and Headphone Surround 3D (binaural format) on blu-ray and streaming providers. The workshop will offer a lot of insights and mixing strategies for such immersive audio productions. In cooperation with SAE Cologne and Studioszene.

Tom Ammermann

Saturday, 31.08., 9:00am - 6:00pm

This hands-on workshop takes place every other year with the focus on videogame scoring. This year Jeff is joined by music composer and video game producer Helge Borgarts.

The full-day masterclass is aimed at beginners as well as experienced composers who want to learn different composing techniques for video games. Participants will expand their skills to compose emotional and effective interactive music for different genres and styles.

After registering, they receive a short sequence from a game to which they have to compose music with the help of detailed producer's notes in the run-up to the masterclass.

In order to be able to work on their music on site at Soundtrack_Cologne and implement it as a test in an interactive audio engine, the participants will have to bring along their own mobile music rigs.

Jeff Rona composed music for games like God of War 3, Devil May Cry 5, Far Cry 4 and Du Lac and Fey as well as for numerous movies and TV series. Helge Borgarts provided music and sound for games like The Surge 2, The Surge: The Good, the Bad, the Augmented, The Climb and Bring Them Home.

The Jeff Rona Masterclass is limited to 12 active participants, selected in order of registration. The price is 175 €.

In addition to the active participation, there is the opportunity to participate as an observer. The number of observers is limited to three. Tickets cost 85 €.

>>> For participation click here! 

Sound designer and media composer Patrick Leuchter will walk the audience through his recent work on two advertising campaigns that put emphasis on the use of non-musical sounds in a musical way. Together with Lukas Middelmann (SAE Institute), he will discuss the significance of voice, music and sound in current advertising and creative freedom in sound design. In cooperation with SAE Cologne and Studioszene.

Patrick Leuchter, Lukas Middelmann

Emergency room doctor Rike is torn from her contented world when she discovers a trawler with refugees during a sailing trip. Styx is an authentic and sincere film with a powerful sound design that was consequently awarded with the Lola for Best Sound Design at the German Film Awards. Re-recording mixer Tobias Fleig and sound mixer Andreas Turnwald will speak about their work in a case study with Manfred Banach (bvft) at SoundTrack_Cologne. In cooperation with bvft.

Tobias Fleig, Andreas Turnwald, Manfred Banach

Diego Baldenweg with Nora Baldenweg & Lionel Vincent Baldenweg, also known as GREAT GARBO, are a multi award winning composer team. The siblings have composed music for over 300 international TV campaigns and for over 20 films like The Little Witch, that earned them the Swiss Film Music Prize), Head full of Honey and the Oscar nominated La Femme et le TGV. At SoundTrack_Cologne they will speak about their ABC/Netflix sci-fi thriller series The Unlisted, that will be published in autumn and follows two 13-years old identical twins who try to stop a powerful corporation from imposing control over the world’s youth.

Photo: Muriel Hilti - Zürich Film Festival

Diego Baldenweg, Nora Baldenweg, Lionel Vincent Baldenweg, Hansjörg Kohli

The list of Chad Hobson’s compositions for film and TV is long: he composed the music for films like Adulthood, Manchester: The Night of the Bomb and Dom Hemmingway, along with the BAFTA Award winning BBC series Our War and The Paedophile Hunter. At SoundTrack_Cologne he will talk about the HBO documentary Leaving Neverland, following the alleged sexual abuse cases of two young boys by singer Michael Jackson. 

Chad Hobson, Thomas Mikusz

D: Darya Ivankova, RUS 2019, 72’

Doc. about Anatoly Krupnov, Leadsinger of russian Heavy Metal Band The Black Obelisk

Anatoly Krupnov was one of the stars of the post-sowjet era. With his band, The Black Obilisk, Krupnov highly influenced the rock music of the 1990’s decade. Anatoly Krupnov: He was is an intimate portrait about the rock legend, presenting his persona and his art in a reflection of his generation.

Tickets: 7,50 Euro 
Ticket sales at and half an hour before the start of each performance in the respective cinemas.

Daria Ivankova, Olga Filonova

What effects has different music on the cinematic image? The European Talent Competition shows twelve different score and sound design variations. The task was to complete the short film Do you like Godard? by Florian Vey with an independent, original approach to interpret and support narration and picture level with a new soundtrack.

The results will be presented on the big screen to audience and jury, moderated by Yati Durant. Jury-members are conducter Enrico Delamboye of WDR Funkhausorchester, Sound Designer and director Josef Steinbüchel of TORUS GmbH, composer Iva Zabkar, producer Erik Winker and music supervisor Catherine Grieves. The winners will be announced on August 31th, 2019 at SoundTrack_Cologne’s festive Award Ceremony.

The Peer Raben Music Award is awarding a prize for the best music in a short film. Honoured will be a film score where the relationship between the narration and the music is innovative and dramaturgically striking. The prize is awarded in memory of the great German film composer Peer Raben.

André Feldhaus

Original sound recordings on set are a science in their own right, having a significant influence on the cost and length of sound post-production. Production sound mixer and recorder Manfred Banach (You are Wanted) will introduce a mobile sound equipment such as sound carts and follow cart, recorders, mixers, receiver racks and comtecs. In practical exercises, the participants learn how to use the technology correctly and gain insight into topics such as noise reduction, reverb reduction, pre-production, sound crew on set, playback, in-ear playback, thump tracks and sampling. In cooperation with bvft

Manfred Banach

WDR Filmscore Award
European Talent Award 
Peer Raben Music Award (short film)
Best Music Documentary of the SEE THE SOUND competition
Lifetime Achievement Award: Klaus Doldinger

Ill-Young Kim