SoundTrack_Cologne 15

You can download the program flyer >here.

Pieter Schlosser is an award-winning composer with games music credits to his name such as Gears of War 3, The Sims 3 and Transformers: The Game. For the past two years, he has been working on the score for the hugely successful sequel to the Destiny franchise. He also composed music for tv series like You, Me And The Apocalypse and The Lying Game, for which he won the ASCAP Award for Top Television Series. Pieter worked in Hans Zimmer’s studio for five years alongside Steve Jablonsky on many projects such as Desperate Housewives and Friday The 13th.

Mod.: Helge Borgarts

Pieter Schlosser, Helge Borgarts

Takeshi Furukawa's music has accompanied some of the world's most recognizable franchises and brands: the tv series and same-titled game Star Wars: The Clone Wars and the Cannes Lions-winning global campaigns for Mercedes-Benz or Apple. He won multiple awards like the Premio Drago D’Oro and the Game Audio Network Guild Award for his appointment on the PlayStation 4 title The Last Guardian. Thus, he established himself as one of the most exciting new voices in the video game industry.

Mod.: Helge Borgarts

Takeshi Furukawa, Helge Borga

BAFTA Award-winning composer Garry Schyman has most notably given the universe of the hugely successful game series BioShock its musical identity with his award-winning scores, latest BioShock Infinite: Burial at Sea. With his music for the action-adventure game Destroy All Humans! and two sequels, he paid playful homage to ‘50s sci-fi. Most recently he’s been in the fantasy world of J.R.R. Tolkien for the adventure game Middle-earth: Shadow of Mordor and its latest sequel Middle-earth: Shadow of War.

Mod.: Helge Borgarts

 

Garry Schyman, Helge Borgarts

Panel Discussion with the Games Music Composers Gareth Coker, Helge Borgarts, Takeshi Furukawa, Richard Jacques, Pieter Schlosser, Garry Schyman and Inon Zur.

 

Gareth Coker, Helge Borgarts, Takeshi Furukawa, Richard Jacques, Pieter Schlosser, Garry Schyman, Inon Zur

Media companies largely supplement their audiovisual content with music and draw from a large pool of providers. Authors, interpreters, labels and publishers are always entitled to a fair share of the exploitation success of their works and music recordings. Media companies and collecting societies increasingly rely on fingerprinting for reporting and billing music. The panel participants discuss the challenges that accompany this technology.

Mod.: Anselm Kreuzer

Johan van der Voet (BUMA), Martin Berger (TuneSat), Arne Kammhöfer (Sonoton), Iñigo Ugarteburu (BMAT), Jens Kindermann (GEMA), Anselm Kreuzer

Audiovisual content is being consumed less and less in the linear medium of television, but via digital online platforms. However, established standards for the remuneration of music usage via collecting societies often have to be re-established and negotiated with the platform holders, and collecting societies are also confronted with major challenges in the billing of digital uses.

Matthias Krüger (Composers Club), Jens Kindermann (GEMA), Markus Rennhack (Kick The Flame), Anselm Kreuzer

What’s happening in media music education? The European Education Alliance for Music and Sound in Media, EEAMS, a SoundTrack_Cologne initiative, is headed by Yati Durant (University of Edinburgh). EEAMS supports educators, students and industry professionals in the areas of filmmaking, sound design and media music composition and seeks to forge an inclusive framework to bridge interdisciplinary boundaries. For participation please e-mail to durant@soundtrackcologne.de.

Mod.: Yati Durant

Yati Durant

What’s happening in media music education? The European Education Alliance for Music and Sound in Media, EEAMS, a SoundTrack_Cologne initiative, is headed by Yati Durant (University of Edinburgh). EEAMS supports educators, students and industry professionals in the areas of filmmaking, sound design and media music composition and seeks to forge an inclusive framework to bridge interdisciplinary boundaries. For participation please e-mail to durant@soundtrackcologne.de.

Mod.: Yati Durant

Yati Durant

From MIDI to Live: A helpful lesson for stunning and time-efficient mockup programming vs. the real orchestral recording and its mixing. Get real-life examples of music that starts virtual in the box and goes on to the scoring stage with its final polish. This workshop is fully packed with many tips and tricks from the founders of Orchestral Tools and Scoring Berlin.

Hendrik Schwarzer, Tom Rußbüldt

”Adaptive music for an adaptive world – starting with game music”: Elias started as a tool for making adaptive game music. After making over 100 talks and keynotes about adaptive game music and meeting clients all over the world I’ve discovered one thing: There is not such a thing as adaptive game music – Only Adaptive music. Games, films, VR, AR, sound branding, parks etc. They all need some level of adaptivity. To be a composer today you need to know your tech, your tools. The best starting point for any composer is to understand game music.

Kristofer Eng

BMG - The New Music Company: What does it mean when it comes to the connection of music and film? Regina Reis (Senior Music Supervisor) and Lisa Humann (Senior Manager Synch & Licensing) will share some insight into their approach to connecting Music and Film. BMG’s ambition is to be “the best company in music to do business with” – for songwriters, artists and those who want to use their music. So, what’s their secret?

Lisa Humann, Regina Reis

Music Supervisor Maggie Rodford is going to talk about how to contract a composer in an insightful and useful session. She is Managing Director of the Air-Edel Group, incorporating one of the world’s leading music publishing and production companies, representing composers worldwide. She has worked as music producer and supervisor on many feature films including Murder on the Orient Express and The King’s Speech. In coop. with UK & European Guild of Music Supervisors.

Mod.: Hansjörg Kohli

Maggie Rodford, Hansjörg Kohli

Industry veteran Jeff Jernigan joined the Kraft-Engel Management team in 2016 as an agent representing composing and songwriting talents. A former director of ASCAP’s Film & TV music department, Jeff today represents top composers and songwriters in film, theatre, television , and new media, providing them with career development services and support.

Mod.: Hansjörg Kohli

Jeff Jernigan, Hansjörg Kohli

In this concert the live music adapts according to the course of the game - an exciting challenge for a new kind of Live-to-Game concerts. 18 musicians of the gRoBA orchestra perform the soundtrack of an action RPG, while a player plays the game on stage.

Get your ticket >here. Free entry with an accreditation of the day.

Rodrigo Lopez Klingenfuss in Koop. mit Next Level Festival unterstützt vom NRW Kultursekretariat

Jed Kurzel is an award-winning composer and musician. His feature film debut for the critically-acclaimed Australian movie Snowtown was named Feature Film Score of the Year at Australia’s 2011 Screen Music Awards. He has since gone on to score feature films including: Assassin’s Creed, Alien: Covenant and Jupiter’s Moon, which premiered in competition at Cannes in 2017. Jed’s work will next be heard onscreen in Overlord for producer J.J. Abrams and in the Focus Features film, Mustang.

Mod.: Gary Yershon

Jed Kurzel, Gary Yershon

Joseph Trapanese is best known for his electronic score work for blockbuster films like Oblivion, TRON: Uprising, Straight Outta Compton and the Raid series (with Linkin Park’s Mike Shinoda). He has collaborated with musicians like Dr. Dre, M83, Moby and Kendrick Lamar. His breakthrough came in 2010, when he worked with Daft Punk on the reboot/sequel to Disney's TRON: Legacy. For The Greatest Showman, Trapanese worked alongside Pasek & Paul and John Debney, producing songs and co-composing the score, which currently is the best selling album of 2018 in the U.S. so far.

Mod.: Vasco Hexel

Joseph Trapanese, Vasco Hexel

Singer-songwriter Tamar-kali made her debut as a film score composer in 2017 with the score to the Oscar nominated Mudbound, which premiered to rave reviews at the Sundance Film Festival. Her score led her to be selected by The Hollywood Reporter to appear in the Composer Roundtable and IndieWire listed the composition as one of the Top 25 Film Scores of the 21st Century. She recently composed the score for Joshua Marston’s Sundance film, Come Sunday, released by Netflix and her next work can be heard in Veena Sud’s upcoming Between Earth and Sky.

Mod.: Chandler Poling

Tamar-kali, Chandler Poling

Since the mid-nineties, Craig Armstrong has created scores for both Hollywood and independent films, including Baz Luhrmann’s Romeo + Juliet, Moulin Rouge! and The Great Gatsby. Armstrong has composed also scores for director Oliver Stone; World Trade Center, Wall Street: Money Never Sleeps and Snowden. His scores were honoured with numerous awards, like the Bafta, Golden Globe, Novello, AACTA (Best Original Music Score Award) and the Grammy. At the Award Ceremony on Saturday, August 25th, 2018, he will receive the SoundTrack_Cologne Lifetime Achievement Award.

Mod.: Daniel Kothenschulte

 

Craig Armstrong, Daniel Kothenschulte

Justin Smith and Emily Caston talk about the british music video industry from its beginning in the 60’s to the MTV and Youtube era. The basis is a research programme of UK Arts and Humanities Research Council about the historic relevance of music videos as a commercial art form and autonomous audio visual format.

Get your ticket >here. Free entry with an accreditation for that day.

Justin Smith, Emily Caston

This presentation is in german language.

Get your ticket >here. Free entry with an accreditation of the day.

Fitore Muzaqi

Lucy Bright, Director at Music Sales Creative, has music supervised some of the most critically-acclaimed British films of recent years: The Unloved which won a BAFTA Award, The Arbor, The Swimmer and Slow West which debuted 2015 at Sundance Film Festival where it won the Jury Prize for World Cinema – Dramatic. International projects have included the blockbuster Assassin’s Creed and award-winning Marjorie Prime. Recently, she has also music supervised the TV series McMafia.

Mod.: Tina Pepper, Lika Alekseeva

Lucy Bright, Tina Pepper, Lika Alekseeva

Grammy-winning Music Supervisor Steven Gizicki is best known for his work on the musical La La Land, which won the Academy Award and Golden Globes for Best Original Song and Original Score. His recent projects include the Cannes film Arctic and on-set supervision of the music sequences in the upcoming romantic comedy Crazy Rich Asians. Steven was also the sole music executive at Lucasfilm for five years and served as an in-house Music Supervisor at Disney Animation.

Mod.: Milena Fessmann

Steven Gizicki, Milena Fessmann

Many audiovisual films and clips contain music provided by specialized publishers, sorted and organized according to the musical character and mood. Which changes are currently emerging in the music needs of broadcasters and media companies? What does the future of billing music look like? How do providers of music deal with direct awards of music (in the field of so-called sync rights)? With Erika Oltmanns, Alexandra Eichhorn and Sascha Peters.

Mod.: Anselm Kreuzer

Erika Oltmanns, Alexandra Eichhorn, Anselm Kreuzer

Meet International Music Supervisors, Agents, Labels and Film Music Professionals in intensive 10-minute One-on-One Meetings.

Limited number of participants- Separate Registration required.

Working internationally often causes a problem for composers, Music Supervisors and their collaborators; discussing in a foreign language and finding a shared language to talk about music. Drawing on a range of music examples for illustration, the seminar explores building blocks of music (melody, harmony, instrumentation) and musical attributes (tempo, rhythm, volume, dynamics, timbre), offering the vocabulary required to discuss these aspects with non-musicians.

Vasco Hexel

A somewhat encompassing description of how to achieve the desired results when dealing with live musicians and all the issues that can develop and evolve during the cooperation between them and composer/orchestrator or arranger. From attitude differences to tuning issues, players’ capabilities and other pertinent matters and many more will be covered during this presentation with L.A.-based violinist Dimitrie Leivici, who recorded more than 1000 film scores as a musician.

Mod.: André Feldhaus

Dimitrie Leivici, André Feldhaus

In videogames the music adapts to the actions of the player – an exciting challenge for a new type of live-to-game-concerts. The gRoBA orchestra performs the score of the action-RPG Stories: The Path of Destinies as live-to-game world premiere, while a player on stage plays the game. Following the concert, the next day the composers FX Dupas and Mathieu Lavoie explain their innovative concept of an interactive games music concert. In coop. with Next Level Festival supported by NRW KULTURsekretariat.

This workshop discussion is in German language only.

This panel will talk about the typical process of a Game Music Production: Starting with the first contact between composer and developer, over to exchanging first drafts via the DAW, up to the first implementation into an Audio Middleware and the actual Game Engine. Florian Füsslin (Audio Director at Crytek), Helge Borgarts (Composer) and Sebastian Mönch (Senior Product Specialist at Steinberg) will show all the necessary steps to get the game music into the product.

 

Sebastian Mönch. Florian Fuesslin, Helge Borgarts

More details to follow...

Homay Schmitz, Oliver Patrice Weder

Everything started with monotonous beeping tones and a 64 kilobyte internal memory. Since then, game soundtracks have become as impressive as its imagery. In „Heart of Gaming“, the great orchestra will mirror the fight between good and bad by imposing sound creations - with classics like „Tomb Raider“ and new sounds from „Assasin’s Creed“ and „Fallout“.

In cooperation with WDR.

Get your ticket >here.

Evan Christ

„European Talent Competition“ shows, how different a soundtrack can tell a story. The nominees of this competition created their own soundscapes and music for the animation film „Blue Honey“ by Constance Joliff, Daphné Durocher and Fanny Lhotellier.

Mod.: Yati Durant

„Peer Raben Music Award“ dignifies the best music in a short film, with focus on a strong conjunction of picture and narration. The award is reminiscent of composer Peer Raben (1940-2007), who became famous for the films for Rainer Werner Fassbinder. Last year’s winner Martin B. Janssen is seen in the film, with his music „Still“. 

Mod.: André Feldhaus

This presentation is in German language.

Get your ticket >here. Free entry with an accreditation of the day.

Fitore Muzaqi

This presentation is in German language.

Get your ticket >here. Free entry with an accreditation of the day.

Fitore Muzaqi

Everyday scripted crime thrillers are broadcast on German TV. This genre booms and guarantees high ratings. How does it work to get hired as a composer for popular series such as Tatort? Why are the scores for more than 1,000 episodes of this popular series rarely composed by women? Which aspects are important when composing for a crime film or series? And how to communicate with director, production and editorial team? In coop. with WIFT.

Mod.: Cornelia Köhler

Iris Wolfinger, Jasmin Reuter, Iva Zabkar, Martina Eisenreich, Cornelia Köhler

On New Year's Eve in Hamburg, a young club owner is struggling to keep the party going when a violent ex-pimp, the police, a former rock star and the love of his life are all coming for him. Right Here Right Now (OT: SO WAS VON DA) is an extraordinary film with an extraordinary sound. Valentin Finke (dialogue editor, re-recording mixer), Jakob Lass (director) and Michael Schlücker (composer) are going to explain the sound layers with the help of film excerpts.
Presented by bvft.

Mod.: Patrick Schmitz

 

Valentin Finke, Jakob Lass, Michael Schlücker

How does an enduring war and an extreme religious faith affect a whole generation? Of Fathers and Sons shows this in an impressive way against the background of the situation in Syria. Consequently, the film won numerous awards like the Deutscher Dokumentarfilmpreis and the World Cinema Documentary Grand Jury Prize at Sundance. Karim S. Elias (composer) and Sebastian Tesch (sound designer) are going to explain how closely music and sound design are intertwined in the film.
Presented by bvft.

Mod.: Hansjörg Kohli

Karim Sebastian Elias, Sebastian Tesch, Hansjörg Kohli

Two of the five awards of the first edition of “Canneseries”, the international series festival in Cannes were awarded to State of Happiness – one for the script and one for the music by Ginge Anvik. The Norwegian composer started out in electronica in 1990, composing for radio-theater, dance performances and performing at raves and festivals. After 15 years meandering around in Oslo's musical underground, he accidentally ended up scoring the comedy drama Tommys Movie in 2005. Since then he has scored 23 feature films like Sons of Norway and Julekongen in addition to TV-series such as Varg Veum and documentaries.

Mod.: André Feldhaus

Ginge Anvik

When a composer and a showrunner already work together from the conception of the series, this is a very lucky chance for both and often leads to outstanding results. Hence it is no wonder, that the Belgian crime series The Break aired in several countries before being distributed internationally by Netflix. The series also won the “Award for Best French-Speaking Series” at Seriesmania in Paris 2016. It is also a lucky chance for SoundTrack_Cologne, that composer Eloi Ragot and showrunner Stéphane Bergmans provide insights in their workflow during the conception of the series in a workshop discussion: Since Eloi wrote around half of the themes already on basis of the script, they were able to work without temp tracks. Since 2008, Eloi Ragot has composed, arranged and produced music for many films and series such as EUH and Lucas etc. As a passionate sound tinkerer, he likes to combine field recording, sampling, electronic and acoustics sounds and instruments in order to design exciting textures and soundscapes.

Mod.: Vasco Hexel

Eloi Ragot & Stephané Bergmans

Audiences worldwide have been captivated by the unique musical stylings of Emmy-winning and Grammy-nominated composer, Mac Quayle. His credits comprise more than 40 films and TV series including Ryan Murphy’s new ‘80s NYC ball scene drama, Pose, USA Network’s Golden Globe-winning Mr. Robot, for which Mac won an Emmy, FOX’s 9-1-1 which Mac composes with Todd Haberman, and Feud: Bette and Joan, for which Mac received two Emmy nominations for his main title and score. Mac also scored American Horror Story seasons four through seven, and received his first Emmy nomination for his score on American Horror Story: Freak Show. Additionally, he scored FX’s Emmy-winning The People v. O.J. Simpson: American Crime Story, and The Assassination of Gianni Versace: American Crime Story.

Mod.: Tina Pepper

Mac Quayle

Honored with multiple Emmy and Annie nominations, as well as 12 BMI  awards, Kevin Kiner is one of the most versatile and sought-after composers in Hollywood. In creating intimate soloistic guitar music over the grim realities of the Juarez Cartel, to grand orchestral music for a galaxy far, far away, Kevins wide musical range has allowed him to take on such diverse projects as Netflixs hit series Narcos: Mexico, Disneys Star Wars: Rebels, AMCs Hell on Wheels, CWs Jane the Virgin, CBSs CSI:Miami, Netflixs Making a Murderer and Star Wars: The Clone Wars. Kevin is nominated for a Primetime Emmy this year with Star Wars Rebels. He created over 78 hours of outstanding music for the Star Wars universe.

Mod.: Thomas Mikusz

Kevin Kiner

This presentation is in german language.

Fitore Muzaqi

This presentation is in german language.

Fitore Muzaqi