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28.01.19
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28 Jan AIM Sync 2019

We are proud to introduce AIM’s brand-new international sync licensing conference – AIM Sync.

Taking place on January 28th at the Barbican Centre, the full day global conference will feature future-facing topics, interactive sessions and expert insight on the latest developments in sync.

AIM Sync will connect businesses from the key areas of sync licensing, with interactive sessions, talks and on-stage discussions from an array of industry figures working across sync licensing in film, gaming, TV, advertising, branding and more.

Many of the foremost international sync experts will be speaking on the day, who have worked for companies and projects including: BBC, Beggars GroupBlack Mirror, Breaking Bad, Domino, Killing Eve, Lady Bird, Mogwai, Ninja Tune, Peaky Blinders, PlayStation, VICE and more.

A number of panel discussions will take place throughout the day, covering a range of topics including:

  • The Evolution of Creative Advertising
  • Soundtracking a TV drama
  • Making the Transition: Artist to Composer
  • Placing Music at the Heart of Esports
  • Writing for Games
  • International Film Supervision
  • In-House Supervision – Broadcasters, Producers & Content-Creators
  • Market Focus: India
  • The Future of Sync
  • Alternative Routes: Sync Agencies
  • Sync Strategy at Indie Labels

Sign-Ups for one-to-one and listening sessions are now closed. Ticket holders to AIM Sync were invited to upload tracks to our Music Gateway portal. All tracks will be submitted to our panel of music supervisors who will select top tracks and offer feedback during two listening sessions at AIM Sync. All ticket holders will be sent a link to upload tracks.

There will also be 1-on-1 networking sessions with top international buyers. Music supervisors already confirmed to take part have worked on Oscar and BAFTA-nominated films and for companies including Playstation, Red Five andThinkSync. Spaces for 1-on-1 sessions will be highly limited and allocated on a first come, first served basis to ticket-holders!

AIM members – if you have any problems logging in while attempting to purchase tickets, please contact our team on 020 8994 5599.

Take a look at the full schedule below:

AIM SYNC SCHEDULE:

AUDITORIUM 1   

10am – 10.30am
Market Insight: The Sync Landscape   

Music Economist Chris Carey takes us through the global and UK trends in sync revenue and explores the role that a good sync can play in establishing an artist’s profile and building a fan base.

Chris Carey – CEO, Media Insight Consulting

 

11.30am – 12.30pm
Soundtracking a TV Drama  

Our panel have worked across the best received TV Dramas of recent years. In this session we discuss how the artistic and practical processes of soundtracking a TV drama differs from other areas of music supervision. How do music supervisors source their music? What draws them to a track? How can a significant sync deal affect a tv show, label or artist?

Catherine Grieves – Head of Film & TV, Faber Music

Iain Cooke – Freelance Music Supervisor   

Matt Biffa – Music Supervisor, Air-Edel

Thomas Golubić – President, The Guild of Music Supervisors   

 

1.30pm – 2.30pm  
International Film Supervision  

Our panel of international music supervisors look at the art of film supervision. How to create musical landscapes in film, how they discover music, how they approach collaboration with artists and directors and the effects of geography and language in their musical choices.

Chris Swanson -Music Supervisor, Co-founder / Partner of Secretly Group.

Clément Souchier – Founder, Creaminal

Milena Fessmann – Film Composer, Cinesong   

Rachel Wood – Founder, Woodwork Music  

 

3pm – 4pm  
The Evolution of Creative Advertising
We explore the importance of authenticity in branded music entertainment and how an artist’s or brand’s reputation can be affected by these collaborations.  The panel will consider how creative advertising agencies, brand clients, record labels, publishers and media groups are approaching the decline of interruptive ads vs. the rise of engagement via branded content.

Ayla Owen – Head of Music, BBH   

Charlotte Von Kotze – Director of Music, VICE   

Dan Keefe – Head of Black Sheep Studios   

Goran Obad – Music Supervisor, Ohlogy   

Tristan Wilson – Head of Sync, Downtown Music Publishing

 

4.45pm – 5.30pm
Keynote Interview  

With a long and illustrious career as an A&R and Music Supervisor, Michael Hill has been involved in everything from breaking the legendary band Replacements to Music Supervising 2017’s massive breakout hit and multi award winning film Ladybird. In this Keynote interview, led by Lucy Bright, we take deep dive into Michael Hill’s career and get a walk down a lane, very full of memories.

Michael Hill 

Michael Hill supervises music for television and film. Recent TV projects include  HBO’s Divorce, seasons three and  Showtime’s The Affair, Netflix’s Gypsy and The Good Cop, and the USA Network TV adaptation of the horror series, The Purge. He did six seasons of Showtime’s Nurse Jackie and the three-season run of HBO cult hit, Bored To Death. He is currently working on the Netflix reboot of the classic series, Tales of the City and the SY FY series HAPPY! On the film front, Michael has worked with such directors as Greta Gerwig (Ladybird), John Cameron Mitchell (How To Talk To Girls At Parties, Shortbus), Todd Solondz (Weiner Dog, Dark Horse), Ramin Bahrini (99 Homes, At Any Price) and Lynn Shelton (Laggies).  Adam, from director Rhys Ernst, will premiere at the 2019 Sundance Dance Film Festival. Michael previously spent 15 years in the A&R department of Warner Bros Records, where he worked with legendary alternative rock band the Replacements, among many other artists. 

Interviewed by Lucy Bright 

Following a decade working at record labels including Mute Records and Warner Classics, Lucy Bright joined the independent music publisher Music Sales in 2008 where, as director of the film & TV department, she oversees an extraordinary roster of film composers including Gabriel Yared, Dustin O’Halloran, Jocelyn Pook, Philip Glass, Hildur Gudnadottir, Ludovico Einaudi and Volker Bertelmann. In addition Lucy has music supervised many film and television productions including Slow West, Southcliffe, This is England ’90, Assassin’s Creed and McMafia; projects for 2019 include the new Channel 4 series from Shane Meadows The Virtues, Chris Morris’s The Day Shall Come and Sean Durkin’s The Nest. 

 

 

AUDITORIUM 2   

 10.45am – 11.45am
Alternative Routes: Sync Agencies    

Diversifying income streams is increasingly important for rights holders. In this session we look at the options open to artists and labels looking to land sync deals. Our panel of sync agents and music publishers discuss how to build a catalogue and pitch it for sync, the importance of meta data, whether genre affects sync potential, the rise of online licensing companies and their effects, how to break artists through sync placements, best practices for signing artists and the differences in publishing companies and Sync agencies.

Florent Clavel – Creative Sync Licensing, Third Side Music   

Harriet Moss – Managing Director, Manners McDade

Jon Skinner – CEO & Founder, Music Gateway  

Judith Massia – Founder & CEO, RBellion   

Mike Jansen – Founder, The Greater Goods Co   

Pam Lewis Rudden – Sync Specialist, Plutonic Music Group  

 

2.15pm – 3.15pm  
How Does Sync Influence A&R?
In the ever-evolving music market revenues from sync deals are an increasingly important source of income for music businesses. Our panel of AIM member labels consider how this has affected the A&R choices they make internally, and how much of a role sync plays in the selling of records.  Can a sync deal break an artist? Does the sync potential of a record or artist influence A&R decisions?  

Ed Horrox – Head of A&R, 4AD

Emily Moxon – Managing Director, Brownswood Recording 

Emily Richardson – Head of Synchronisation, Nettwerk   

Pete Beck – Global Head of Sync, Believe Sync   

 

3.45pm – 4.45pm  
In-House Supervision – Broadcasters, Producers & Content Creators   

In this session we look at the varying ways that productions make their way to market and how the process of licensing music differs across broadcasters. How does the role of a supervisor differ at in-house production teams? What different deals can occur? How have blanket agreements evolved? Gain perspectives on how music gets submitted, filtered and licensed.   

Amelia Hartley – Head of Music, Endemol    

David McGinnis – General Manager, Mute Song   

Nicky Bignell – Head of Music Licensing, BBC    

Peter Bradbury – Head of Music, Sky    

Phil Canning – Music Supervisor, Studio Canal & Universal

 

FROBISHER ROOM 1 & 2

 11.30am – 12.30pm
Placing Music at the Heart of Esports
E-sports have had a meteoric rise over recent years, with its stars becoming as high-profile and wealthy as traditional athletes. Our experts dig into stats and demographics of this exciting world, looking at the sync opportunities in e-sport events and broadcasts, and the untapped opportunities for collaboration between players and artists. 

Luke Hebblethwaite – Insight & Innovation Manager – Ukie

Ian Baverstock – Executive – Games and Tech, Cloud9  

James Dean – CEO, ESL    

Pieter Van Rijn – CEO, FUGA    

 

1.30pm – 2.30pm
Sync Strategy at Indie labels   

More and more labels are growing their inhouse sync and publishing departments to increase income and opportunities for their artists. We look at the best practices for a record label when it comes to publishing, creating sync opportunities and the different approaches these AIM member labels take to making sync licensing a key part of their business.

Clemmie Woodhouse – Sync Creative, Ninja Tune   

Emma Lomas – Senior Creative and Licensing Manger, Beggars Group   

Louis Grant – Head of Sync, Erased Tapes   

Tim Dellow – Founder, Transgressive Records   

Will Theakston – Head of Licensing, Warp Records   

 

3pm – 4pm
Crossfade presents: The Future of Sync  

SYNC has become a music industry buzz-word crossing over into a whole manner of media collaborations and brand partnerships. Outside the music industry in film, games and TV, the word ‘synchronisation’ is either anathema or entirely unknown. There’s a lack of awareness within other creative communities at how these teams can actually be an effective partner rather than mere gatekeeper. With online development, traditional synchronisation business areas (games, TV, advertising) that were once clearly defined are blurring. Areas that were once the domain of music supervisors are been seeded off to digital marketing teams and other non-music skilled agencies.

This panel seeks to challenge the role of in-house sync teams working with music supervisors (the standard sync model) in face of user generated supervision models being potentially serviced by digital supply chains and to raise the question – what will ‘sync’ look like in 2028?

Becky Brook – Chief Commerical Officer – Jaak

David Wille – SVP Synch and Brand Partnerships UK & Europe Kobalt Music

Imogen Heap – Music Maker, Founder of Mycelia

Ken Lythgoe – Head of Business Development – MXX

Katy Allison – International Licensing Manager Concord Music

Lynden Campbell – Head of Synchronisation, Domino Publishing   

 

FROBISHER ROOM 4 & 5  

10:30am – 11:30am

Market Focus: India  

This session will begin with a 10 minute introductory presentation on the Indian music market from Atul Churamani. Our panellists will then take an in depth look into India’s current sync-licensing market and where the opportunities lie. How does the market structure differ from the more traditional UK, European & US markets? What role does Bollywood play in original music composition, for artists, composers and labels? How does the role of the music supervisor differ in this territory?

Andrew T Mackay – Director, Bohemia Junction   

Atul Churamani – Managing Director, Turnkey Music   

Priyanka Khimani – Partner, Anand and Anand & Khimani   

 

2.15pm – 3.15pm

A Gaming Mindset    

From headline hits to indie darlings, nearly every game comes with music that draws the player in, brings characters to life or turns up the tension of a story, yet the process of composition isn’t always the same as with TV, film or advertising. Understanding games and how they work, both technically and emotionally, is essential for composing the perfect piece. Game composers also take their music out into the real world, with audiences worldwide attending game music concerts, gigs and raves.

Ben Lukas Boysen  – Composer & Musician   

Chipzel – Composer & Musician   

Jessica Curry – Composer   

Jim Fowler – Principal Composer, Sony Interactive Entertainment Europe  

Paul Wolinski – Artist, 65 Days of Static   

Sebastian Plano – Composer & Musician   

 

3.45pm – 4.45pm   

Making The Transition: Artist To Composer

Being an artist is hard enough with all the work involved in writing records, releasing music and touring on album cycles. How do artists add the additional work of composing and writing bespoke music for Film, TV and advertising to their schedules and how did they forge the relationships to make this part of their regular creative process?

Emily Appleton Holley – Air-Edel

Greg Eden – Artist Manager, The Full Spectrum   

Stuart Braithwaite – Mogwai  

TSHA / Teisha Matthews – Composer / Producer

Jessica Jones – Composer / Producer

 

FROBISHER ROOM 3 

One–to–One Networking Sessions – presented by DIT 

Our range of international buyers sit down for one-on-one networking sessions, creating unrivalled opportunity to build connections between artists, labels, publishers and supervisors. There are two sessions running across the day. These sessions are closed and slots have already been allocated to ticket holders.

Morning Session: 10.30am – 11.45am 

Afternoon Session: 13:30 – 15:00 

FROBISHER ROOM 6 

Listening Sessions – presented by Music Gateway 

Our panels of Music Supervisors will take part in 2 listening sessions, with tracks played out and discussed from those submitted by audience members. Panellists will consider the sync suitability of the tracks, where they envisage them being used, what they like and dislike about the music and offer general advice on securing sync deals. These sessions are open to all guests, even if your track isn’t being discussed this could be invaluable advice, direct from our international supervisors.
 

Morning Listening Session – 11.30am – 12.30pm

Afternoon Listening Session – 3.30pm – 4.30pm 


We are proud to be partnering with the Guild of Music Supervisors and UKIE to create an expertly curated day of insight on the ever-evolving world of sync-licensing. These partnerships help us to reach new key audiences, whilst expanding our network of expert speakers, placing us at the heart of music, gaming and music supervision. Believe Sync will host networking drinks for all AIM Sync guests in the Believe Sync Garden Room, looking on to the Barbican Conservatory.

Tickets for AIM Sync can be purchased below – remember to log in for your member discount.

Date: Monday 28th January, 10am – 6.30pm

Location: Barbican Centre, Silk Street, London, EC2Y 8DS

Tickets:
Member – £120 + VAT
Friends of AIM – £160 + VAT
Non Member – £250 + VAT

Discounts are available for affiliated organisations and for students.

 

 

Details

Date:
January 28
Time:
9:00 AM - 6:30 PM
Event Categories:
, ,

Organiser

AIM

Venue

The Barbican Centre
Barbican Centre, Silk St
London, EC2Y 8DS United Kingdom
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Website:
https://www.barbican.org.uk/your-visit/getting-here/map-directions

Tickets

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