SYNCSUMMIT HOLLYWOOD – September 24-25
V Lounge, Santa Monica- 

AGENDA AND WORKSHOPS 

Main Sessions and workshops are below.  We run these in an interactive, conversational format – a cross between a talk show and a master class.

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Agenda – Day One – 24 September 2015

 7:30 AM – 8:30 AM:
REGISTRATION AND NETWORKING

8:30 AM – 9:00 AM:

A Keynote Conversation:

Speaker:

  • Tatiana Oliveira Simonian, head of Branded Music, Nielsen

Interviewer:

9:00 AM – 10:00 AM:
A Panel Discussion on Music And The Small Screen – TV, Tablets, Telephone and The Internets

The good news is that between network, cable and internet-specific programming, there’s more opportunities than ever for the people that make and own music to get their music placed.

That said, the challenge remains the same – how you get your music noticed and ultimately used by music supervisors and showrunners?

First, is your song the right one for the project? Honestly, you don’t have a lot of control over that.

Pitch all you want, if the song don’t fit, that’s the end of it.

But what you do have control over is how you can make the lives of the showrunner and music supervisor easier.

And that can go a long way towards getting your music on TV.

How do you streamline their discovery process?  How do you submit music properly so they can use when they need it? And, who can help you get your music into the project? These are the questions our panel of music supervisors and experts will answer on this panel.

Panelists:

Interviewer:

10:00 AM –  10:30 AM:
A Keynote Conversation with…

  • Craig Wedren, Songwriter/Composer & Frontman, Shudder To Think

Interviewer:

10:30 AM – 11:30 AM:
A Panel Discussion on composition for visuals and interactive

Many times, syncing a track over an ad or TV show doesn’t fill the creative need.  And that’s where composers come in.  These are the people that work with the director (and often the music supervisor) to create music that gives life to their vision.

But it isn’t just a matter of reading a script or seeing the dailies – there’s a lot more to literally acting as a director (or brand/showrunner/developer) muse – ability, sensibility, understanding messaging and creative and being able to work through the process are all important skills a composer has to employ to succeed in the world of scoring.

Our panel of composers and the people they work with will guide you through how they work, pitfalls to avoid, how to avoid them and ultimately, how you can successfully work in the world of scoring and production.

Panelists:

Interviewer:

11:30 AM –  12:00 PM:
A Keynote Conversation with… 

Interviewer:

12:00 PM – 1:00 PM:
LUNCH

1:00 PM – 1:45 PM:
A Keynote Discussion with…

  • Mike Knobloch, President, Film Music and Publishing, Universal Pictures

Interviewer:

1:45 PM – 2:45 PM:
Panel Discussion
Bringing together Music and Film – Music Supervisors, Composers and Directors

There’s three main people in most cases that bring together music and film.

First, there’s the director, who has the overall vision for the project, either writes the screenplay or consults constantly with the writer on all creative aspects of the film.

Second and third, and their order of importance depends on the project, are the music supervisor and the composer.

These are the people responsible making the musical vision of the director come to life, shaping the music palate through their own creativity and knowledge of business, composition, production and of course (we hope) through their understanding of the vision of the filmmaker.

The point of this discussion is to give you an insight of how the creative process works between film and music, what the key important points are in terms of process, best means, practices and the ways music is scored, placed and discovered.

Panelists:

  • Greg Sill, Music Supervisor, Justified, Cavemen, Jerry Garcia: The Movie

  • Jonathan McHugh, Head Chef/CEO, Song Stew Entertainment

  • Ben Rosen, Composer and Partner, The Gunnery 

  • Eugene Efuni, Director/Producer

  • Leah Bublis, Film, TV/Music Sync Coordinator, RocNation

  • Kourtney Kirkpatrick, Director, Film and TV Music, Razor & Tie

  • Paul Stewart, CEO/Music Supervisor, Next Thing

  • Jessica Sobhraj, Business Affairs, Licensing, Rumblefish

Interviewer:

2:45 PM – 3:45 PM:
Panel Discussion
Sync and the Indie market – a match made in musical heaven

More and more of the world’s most dynamic and most syncable music comes from the indie part of the business – as does the majority of the music in the business in general.

There’s a lot of reasons to this – from the diversity of great music to its cost-effectiveness to the willingness of bands, publishers and labels and artists to work to get their music placed in projects.

This panel focuses on the musical hows and whys indie music is often the music supervisor’s go-to choice – and how you, especially if you’re involved in indie music – can be their go-to-resource.

Panelists:

Interviewer:

3:45 PM – 4:15 PM:
A Keynote Conversation with…

Interviewer:

4:15 PM – 5:15 PM:
A Panel Discussion on the future of the business

In this discussion we look to future to discuss what opportunities lie ahead.

Does syncing for consumer videos on YouTube represent a new opportunity or danger?

What will the business look like in two years?

How can we solve the issue of bad metadata and IP?

What are the future tech services?

Do we even need music supervisors in an era of big data?

That’s what we’re talking about.

Panelists:

Interviewer:

5:15 PM – 5:45 PM:
A Keynote Conversation with…

Interviewer:

END OF DAY ONE – Reception and Showcases after

Agenda – Day Two – 25 September 2015

7:30 AM – 8:30 AM:
REGISTRATION AND NETWORKING

8:30 AM – 9:00 AM:
A Keynote Conversation with…

Interviewer:

9:00 AM – 10:00 AM:
A Panel Discussion on Music, Brands and Advertising

How do agencies work as a bridge between their brand clients and the music community. How do they source music? What are their needs? What are the best practices they employ? And how can you work with them? And why do agencies and music supes work with them?

Also, Artists and brands can do more together to generate audience, positive messaging and revenue than they can separately, but the question is how? How does the artist – and those working on the artist’s behalf – take a sync or a composition for an ad from a one-time revenue event to a long-term audience and revenue maker? And how do brands best use their relationship with artists to create positive buzz? These are the questions our panelists will attempt to answer on this panel.

That’s what this panel is all about.

GUESTS:

HOST:

10:00 AM – 10:30 AM:

A Keynote Conversation with… 

Interviewer:

10:30 AM – 11:30 AM
Panel Discussion: Getting Your Fair Share 

What constitutes a good deal, who can you work with – who’s on your side and who’s out to get you?

It’s hard to know in this business – and on this panel we’ll talk about the people and things to avoid and what you should and shouldn’t do when doing a deal.

Panelists:

HOST:

11:30 AM – 12:00 PM:
A Keynote Conversation on…
The Shazam Effect: How Shazam+Sync = Audience+Sales

Speaker:

  • Peter Szabo, SVP, Head of Music & US Ad Sales, Shazam

Interviewer:

12:00 PM – 1:00 PM:
Lunch

1:00 PM – 1:45 PM:
A Keynote Discussion with…

  • Keith Clinkscales, CEO, REVOLT TV

Interviewer:

1:45 PM – 2:00 PM:
A Performance and conversation with

Amrita Sen, CEO, BollyDoll

2:00 PM – 2:30 PM:
A Keynote Conversation and Case Study on:
The Potential of the Prosumer

Speaker:

  • Vince Bannon, VP, Entertainment Partnerships & Development, Getty Images

Interviewer:

2:30 PM – 4:00 PM:
A Panel Discussion on the art of trailer music

There’s a tendency to lump trailer music into film panels when in reality, it’s a completely different discipline that’s more akin to advertising and many times serves as one of the main ways films are marketed to the public.

It’s also, for the people that can work in the area of trailer music, a potentially lucrative way to earn a living.

So the question this panel will look to answer is: In a world where there’s so much music chasing so a limited number of trailers, how can you insure your music has the best chance possible to be used in a film trailer.

Panelists:

Interviewers:

3:30 PM – 4:00 PM:

A Keynote Conversation with…

  • Elvin Ross, Composer/Filmmaker, Tyler Perry TV/Film Projects

Interviewer:

Interviewer:

4:00 PM – 4:30 PM:
A Keynote Conversation with…

Interviewer:

4:30 PM – 5:30 PM:
A Panel Discussion on music and interactive media

It’s literally an entirely different dimension you’re working in when you score or license music for interactive media.

Music has to work with multiple changes in gameplay, changes of plot, directions taken by the user – and if you’re going to be successful in scoring or licensing music for this media, you’ve got to taking into account not only the usual need to package and pitch the right way, but before you go out to pitch – keep in mind that you’re providing music for an interactive medium.

And that means – unless you’re providing the title track (and many times, then too) – you’ve got to provide music in multiple formats (stems, instrumentals) and be willing to work on what can be very different terms and copentenczies than in non-interactive formats.

Here we’re going to focus on how the business of music for games, mobile apps and the Internet work and how you can work with the people that place music in interactive projects

Panelists:

  • Chris Lakey, Vice President of Synchronization and New Media, Kolbat North America

  • Patrick Joest, Executive Vice President Licensing & Marketing International, BMG Rights Management

  • Katie Byam, Music Supervisor, Activision Blizzard

Interviewer:

 

5:30 PM – 6:00 PM:
EA Sport’s FIFA – A Music Supervision Case Study

One of the most anticipated – and most popular – Electronic Arts game titles is the annual FIFA football tournament.  It is so popular that it helps generate interest and popularity for football – ok, I’ll use soccer in this case – in the US market.

And the music?  It reflects the sensibilities not only of the game, but the countries represented, the players and the EA Sports brand.

So what we’re going to do on this panel is simple – we’re going to have a conversation with the tow people responsible for putting music into EA’s FIFA game franchise – how they do it – how they source, work with and place music all in oder to give the game a winning musical palette.

Speakers:

Interviewed by:

CONFERENCE ENDS

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Workshops – Day 1 – 24 September 2015

These are first come, first-served intimate discussions concentrated on various issues in sync, placement, composition and brand affiliation.

9:00 AM – 10:00 AM
Practicalities and Pitfalls in Music Clearance

10:00 AM – 11:00 AM
Pitch and get Synced with Songtradr

1:45 PM – 2:45 PM:
The International Music Market

2:45 PM – 3:45 PM:
Working with TV and Film – a One-on-One with a music supervisor

 

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Workshops – Day 2 – 25 September 2015

10:30 AM – 11:30 AM:
Learn to work your music for placements with Rumblefish

2:45 PM – 3:45 PM:
The Art Of The Deal

  • Mick Lloyd, Senior VP Licensing, Entertainment One, US, LP

 4:15 PM – 5:15 PM:
How to get you music in Ads with Audiodraft

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