musicpoolberlin.net - Film

An artist talk with composer, sound designer & producer Sam Slater

Andrea Goetzke — Tue, 08 Oct 2024 14:35:21 +0000

Mittwoch, 30 Oktober, 2024 - 19:00

Ackerstadtpalast, Ackerstr. 169/170, 10115 Berlin

Sprache:

Englisch

Making Music in Collaboration - for Film, Games, Installations and Stage

Get your ticket here.

Doors: 19:00

Conversation and Q&A: 19:30

Networking in the bar: 21:00

In this artist talk with Sam Slater we are curious to talk about experiences in making music in collaboration - for film, games, installations or theatre. What does it mean to make music and sound in resonance with another piece of art or creative work? How do you approach composition and sound design differently in collaboration with different media and productions? Like for example – what are the differences in working for a film or for a game? And what works differently at the different levels of budget and scope? How to approach creative practice and creative strategy in long term projects?

How do you approach collaboration? How do you see collaboration as a creative practice? How much do you see your work as a service or your own artistic work? What are best practices of communication, so that all involved understand each other well?

How do you approach composing and sound design for different productions creatively? What are different work processes?

What would be your recommendations for artists who seek to work for film and games and other productions? Where to start and which skills are important?

There will be space for your questions as well, so come prepared.

Sam Slater, a two-time Grammy Award-winning composer, sound designer, and music producer, is renowned for creating immersive soundscapes in various mediums such as installations, games, films, and stage productions. Notably, he won multiple Grammy Awards for his roles as score producer and musical sound designer for "Joker" and "Chernobyl." He also received accolades like an SCL Award for 'Outstanding Original Score for Interactive Media' for "Battlefield 2042" and an Icelandic Music Award for 'Producer of the Year.'

Additionally, he scored projects like "Guerrillas" and "The River Between Us" in 2020, and in 2021, he collaborated with Hildur Guðnadóttir on the soundtrack for EA Games' "Battlefield 2042." In 2022, he produced the score for "A Haunting in Venice" and scored the Bohpal gas disaster for the Netflix series "The Railway Men." Slater has released solo records with Iceland’s celebrated label, Bedroom Community and premiered an immersive mixed-media installation called "Vandals" in collaboration with visual artist Theresa Baumgartner at CTM Festival in 2022.

Always aspiring to be versatile and challenged, Slater has showcased his creativity through live performances, both solo and in collaborative projects like OSMIUM, a project focussed on self-built instruments and robotics. He toured a live immersive performance of Chernobyl in 2019. Slater's compositions have been featured in performances by prestigious orchestras like the LA Philharmonic Orchestra and the BBC Philharmonic Orchestra. His musical journey began in his teens with record production, followed by studies in Experimental Composition at Leeds University. He started his professional career in Germany, initially collaborating with Johann Johannsson as a principal musical sound designer and creative engineer. Slater consistently engages with the experimental music scene, collaborating with friends and artists such as James Ginzburg, Hildur Gudnadottir, Rully Shabara, and others in Europe and beyond.

Netzwerk Abend

Production

Soundbranding & Soundesign

Sync

Film & Games

Music for X

Film

Game

Installation

Stage

collaboration

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YOUR MOVING IMAGE: how to create a music video that fits to you

Robert Witoschek — Tue, 02 Aug 2022 15:19:06 +0000

Montag, 12 September, 2022 - 14:00 bis 18:00

House of Music @ RAW, Revaler Str. 99, 10245 Berlin

Stephanie von Beauvais

Sprache:

Englisch

Preis:

22 €

YOUR MOVING IMAGE: how to create a music video that fits to you

Music videos are essential to display your music online. But many musicians are not sure how to adress videographers or even how to shoot their videos themselves. In offering a crash course in film language, introducing the structure and narrative of music videos, and sharing the secrets how to achieve high production value with low or no budget , this workshop aims to help musicians and their management or visual artists how to create their music videos in the sense that fits to theitr needs and their creative approach.

Stephanie von Beauvais is a Music video director and producer with over 20 years of working experience. She has been giving many workshop on this topic and is very passionate about sharing her experience.
In this workshop she will talk about

the different specifics of audiovisuals from insta story to music video, and on which aspects you should keep an eye on while creating them
basic film terms and their meanings
the structure and perception of music videos
the nature of moving images and how you can use it to create the image that you desire

She will also answer theoretical and practical questions that come along or that might touch the projects you are involved with.

Target group
Musicians, DJs, Artists, Producers, Performers, Singers

Learning outcome
This workshop aims to help musicians and their management or visual artists how to create their music videos in the sense that fits to theitr needs and their creative approach

You can find out more about Stephs work here: www.vonbeauvais.com

Workshop

Artist Development & Management

Promotion & Marketing

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SYNC - everything you should know for a successful start

Robert Witoschek — Mon, 28 Jun 2021 12:39:15 +0000

Montag, 23 August, 2021 - 14:00 bis 18:00

*** ONLINE WORKSHOP ***

Sprache:

Englisch

Preis:

20 €

Sync has become an important source of income and exposure for a lot of artists & labels – so a lot of people are keen to be “in the game”. But to even stand a chance to land a placement in this highly competitive market, we need to navigate certain rules, pitfalls, and get a proper understanding of the gatekeepers and their expectations.

Patrick Joest has built and run BMG’s global sync business from scratch, and led the company’s US sync team out of LA for a number of years. He will give you an introduction into the world of sync and walk you through the most important particularities of this fascinating part of the music business.

1. Sync: Basic legal principles (master vs. copyright etc.)
2. Media landscape, requirements & characteristics: TV, Film, Advertising
3. Sync marketing, decision makers & gatekeepers
4. Asset management, tools & tagging: How to prepare your repertoire for pitching
5. Focus US: How does the biggest sync market in the world work (+ comparison to Europe/ROW)?
6. Lyrics matter: Topics that work, do’s & don’ts
7. Mini-Workshops:

a.)The journey from recording to successful sync placement
b.) Curating your music for sync: for partners, pitching, for decision makers

Target Audience:
This workshop is for anyone interested in the SYNC field, looking for an initial orientation and practical tips on how to get started in this segment of the music industry

Learning Goal
After the workshop you will have an understanding of the context of this segment of the music industry, know the requirements and necessary first steps to position yourself in this lucrative market.

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Film x Music – On Collaborations between Filmmakers and Musicians

Andrea Goetzke — Tue, 09 Jun 2020 15:35:07 +0000

Mittwoch, 1 Juli, 2020 - 17:00 bis 19:00

Online

Sprache:

Englisch

We are inviting both filmmakers and musicians to this community evening for a joint conversation and exchange of experiences. Music is part of so many films, however sometimes it comes in as an afterthought and very late in the process, or has little budget dedicated to it. Filmmakers and musicians often struggle to find a joint vocabulary to talk about both their perspectives and artistic ideas. And then, there are also organizational processes, like licensing and securing copyrights, that both sides have questions about. How can filmmakers and musicians better work together? How to better understand each other’s processes, approaches and requirements?

Panel discussion: With two teams of filmmakers and musicians who have collaborated on recent projects, we would like to explore their collaborative processes from both a creative and organizational angle. How can filmmakers and musicians come up with a joint vocabulary to talk about music in a film? How to develop ideas for sound for a film? What challenges and best practices have come up during the collaborative processes? What are legal questions to keep in mind?

After the panel discussion, we will leave and organize spaces for those of you interested to get to know each other better or exchange perspectives about a topic in more depth. The small break out small group conversations will be optional, for those who are interested to talk more.

We will also offer a notice board for you to post, for example, if you are looking for music for your film, or if you'd like to show your music to filmmakers. So we hope that also in the digital space, some connections can be made.

Participation in the meeting is free. Please register with your email address here: https://bit.ly/3hbLKRJ and we will send you the link to the meeting. You can register at any time, also shortly before the meeting.

Speakers:

Team - „M(other)“ - Antonia Hungerland & Markus Zierhofer

As a former projectionist, Antonia Hungerland, born in Wuppertal, in 1985, knows cinema from the inside. In India, in 2008, she shot her first feature documentary followed by several short films. In addition she assisted in various film and television productions. At the Film University Babelsberg KONRAD WOLF she studied directing and passed her diploma with distinction. „(M)OTHER“ is her graduation film.

Austrian composer Markus Zierhofer has been creating music and sound worlds for over a decade for independent film productions as well as international collaborations for Netflix, Disney, Universal or abc. After his Bachelor in composition and Master degree in film music at the Film University Babelsberg Konrad Wolf he is working on various formats in his studio in Berlin, blending and bending musical genres of all kinds to find the extraordinary tone for each project.

Team - „Kokon“ - Leonie Krippendorff & Maya Postepski

Leonie Krippendorff - Born in Berlin, Germany in 1985, she studied directing at the Film University Babelsberg Konrad Wolf from 2009 to 2016. Her graduation film, Looping, was nominated for numerous national and international prizes and won several. Her debut feature film, Kokon, premiered as the opening film of Berlinale Generation 14plus in 2020. She is currently working on the screenplays for two new feature film projects. Variety chose her as one of "10 Europeans to Watch 2020".

Maya Postepski is a Canadian musician and producer from Toronto, currently based in Berlin. She has been making music for over fifteen years, best known as drummer of the electronic group Austra (Domino). She is a multi-instrumentalist, prolific remix artist and DJ. Maya co-wrote and produced music for TR/ST, worked as a vocalist with Egyptrixx, and currently plays live with Emel Mathlouthi and Peaches. She performs solo under the title Princess Century, and will release her third solo album in late 2020. She is also actively involved in consulting for dance, fashion shows, commercial work and film scores. Maya was invited to participate in the 2018 session of the Berlinale Talents program as a film composer, and scored Leonie Krippendorffʼs latest feature film, Kokon, which premiered at Berlinale 2020. She also scored Stephen Dunnʼs Closet Monster which won Best Canadian feature at the Toronto International Film Festival.

Moderation:

Sabine Steyer-Violet is a screenwriter (Other Parents, TNT Series) and creative producer (Unorthodox, created by Anna Winger, Netflix Series) and works sometimes as a music supervisor (Bad Banks, ZDF/Arte) too. She studied visual communication with Wim Wenders and Gerd Roscher at the Hochschule für bildende Künste Hamburg. She completed a feature length documentary, various documentary contributions for Arte, 3sat and ZDF kultur and has worked as production manager and creative producer for international feature films, music videos and TV series together with Tilda Swinton, Christoph Schlingensief, Monika Treut and many others. She has also founded the music consulting company Supertape together with Melissa Perales and supervised projects by Christian Schwochow, Samira Radsi and Edgar Berger. Sabine lives in Berlin and currently develops and writes several scripts for TV and cinema.

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Musik und Werbung - ein kreatives Arbeitsumfeld genauer betrachtet

Robert Witoschek — Sat, 28 Sep 2019 11:57:29 +0000

Montag, 14 Oktober, 2019 - 14:00 bis 18:00

House of Music @ RAW, Revaler Str. 99, 10245 berlin

Sprache:

Deutsch

Niko Floss von TRO Music erklärt Euch „Sync“ und zeigt auf, welche Chancen und Möglichkeiten auch kleine Musicacts haben, im Bereich Sync Geld zu verdienen. „Irgendwas mit Musik und Werbung“ ist meist die Erklärung für das Lieblingsfachwort der Musikbranche „Sync“. Aber wie genau gelangt (eure) Musik auf einen Werbespot oder in eine Netflix-Serie? Muss man auf Headhunter der Kreativszene warten oder kann man sich selber ins Sync-Geschäft einmischen? Und wie wirkt man als Songwriter oder Producer an einer Auftragsproduktion mit? Ist man als Auftragskomponist reiner Dienstleister, der seine Künstlerseele an der Studiotür abgeben sollte, oder kann man sich kreativ entfalten und einer Produktion seinen eigenen künstlerischen Fingerabdruck verleihen? Anhand konkreter Beispiele erläutert Niko Floss von TRO Music Services, welche Möglichkeiten ihr habt, neben Euren Bandprojekten im Bereich Musik kreativ zu sein und wie sich der kreative und formale Prozess im Bereich Sync gestaltet.
Zielgruppe:
Musikschaffende (Composer, Producer, Musiker, Songwriter, Sounddesigner etc.), die ein konkretes Interesse an der Sync-Branche haben. Gern auch Leute, die bereits erste Erfahrungen hier gesammelt haben und sich professionalisieren wollen.
Wenn Ihr mögt, könnt Ihr konkrete Arbeitsprobenmitbringen, die wir uns gemeinsam dann unter professionellen Gesichtspunkten anschauen.

Content:

Intro - Niko Floss, Head of A&R - Career Path
What is Sync
Die Branche
- Anforderungen
- Auftragsvergabe / Akquise
- Honorare, Verhandeln, etc.
Die Kunst
- Der kreative Prozess
- Das Kundenbriefing
- Wie die Brandphilosophie in Musik übersetzen
- CASE STUDIES
Das Handwerk
- welche Formate sind üblich
- welche technische Ausstattung benötige ich
- wie sieht der technische Workflow aus
Anforderungen
EXKURS: SOUND BRANDING

Workshop

Promotion & Marketing

Music Pool Berlin Community Abend – an der Schnittstelle zwischen Musik und Film: Die Rolle der Music Supervisors

Andrea Goetzke — Thu, 08 Feb 2018 15:39:02 +0000

Montag, 5 März, 2018 - 20:30 bis 23:30

DFFB, Potsdamer Str. 2

Sprache:

Deutsch

In Zusammenarbeit mit dem Filmnetzwerk Berlin bringt dieser Music Pool Community Abend Film- und Musikschaffende zusammen. Im Gespräch mit einer Music Supervisorin, einer Managerin für Synch & Licensing eines Musikverlags, sowie einer Regisseurin und Produzentin sprechen wir über die verschiedenen Vorstellungen, Ansprüche, Arbeitsweisen an den verschiedenen Stellen der Prozesse, durch die Musik und Film zusammenfinden.

Die Rolle der Music Supervisor*innen wird dabei besonders genau betrachtet. Wie genau sieht der Job von Music Supervisor*innen aus? Wie wird Musik ausgewählt, wie Rechte geklärt, Verträge gemacht etc.? An welcher Stelle der Entstehung eines Films suchen Filmemacher*innen die Zusammenarbeit mit Musiker*innen oder Music Supervisor*innen? Welche Budgets stehen im Film für Musik zur Verfügung und inwiefern entsprechen diese den Erwartungen der Musiker*innen? Welche Schwierigkeiten können bei der Lizensierung von Musik entstehen, z.B. dass ein Film nicht mehr international gezeigt werden kann, wenn Musikrechte nur für ein bestimmtes Territorium eingeholt wurden? Insbesondere durch die derzeit verstärkte Produktion von Serien und den damit verbundenen Soundtracks ist die Nachfrage nach Musiktiteln, gerade auch Popmusik im weiteren Sinne, aktuell höher als noch vor einigen Jahren, entsprechend kommt dem Thema eine wachsende Relevanz zu.

Sabine Steyer-Violet arbeitet als Musik-Supervisorin (Supertape), Creative Producerin und Drehbuchautorin - und kann so von verschiedenen Perspektiven aus über das Thema Musik im Film sprechen. Sie schreibt derzeit an verschiedenen TV Serien und hat mit Regisseur*innen wie Christoph Schlingensief, Monika Treut und Davis Guggenheim zusammengearbeitet und als Music Supervisorin zuletzt an der internationalen Serie Bad Banks gearbeitet.

Lisa Humann arbeitet als Senior Manager Synch & Licensing mit dem Schwerpunkt Film und Serie bei BMG. Sie pitcht Musik für Film- und Serienproduktionen und kümmert sich unter anderem um die Lizenzierungen für Studentenfilme, Kinofilmproduktionen und Serien. BMG ist ein integriertes Musikunternehmen mit Sitz in Berlin, das 2008 von Bertelsmann gegründet wurde, um gezielt auf die Herausforderungen des digitalen Zeitalters im Musikmarkt einzugehen. Anders als sonst üblich vertritt BMG weltweit Verlags- und Tonträgerrechte aus einer Hand über eine gemeinsame Plattform.

Irene von Alberti ist eine Berliner Regisseurin und Produzentin. Mit ihrer Firma Filmgalerie 451 produzierte sie Kinofilme wie „Der Hauptmann“, „Der traumhafte Weg“ oder „Continuity“. Seit November läuft im Kino „Der lange Sommer der Theorie“, bei dem sie Regie führte.

Mon, 09.10 WORKSHOP - Composing for Commercials - An overview over the market, the business and the craft

Eileen Möller — Thu, 05 Oct 2017 12:18:38 +0000

The aim of this talk is to give practical and honest advice to aspiring composers looking to compose to picture. We will discus the artistic and practical skills needed to be a successful composer and the business knowledge required to acquire and complete jobs professionally.

Based on Ben's experience in the industry we will discuss the following areas

What tools and skills do I need as a composer for commercials?
How does the Market work and how can I get my music used in commercials?
What is music supervision?
What are licences and how do they work?
How do I translate someones ideas or concepts into appropriate music?
Negotiations and fees

Please bring with you examples of your work if you have some and would like some feedback and suggestions.

Lecturer: Ben Esser

Time: 2 pm to 6 pm

Registration.

Label & Verlag

Networking

Promotion & Marketing

Wed, 22nd of March part 1 WORKSHOP - Composing for film & TV

Eileen Möller — Wed, 15 Mar 2017 11:23:49 +0000

In this two-day workshop we will cover all the steps of working as a composer for Film/tv.

Together we will go through:

The steps you will be taking when working on a film.
Working in front of a Director/Producer.
All the tools you would need to start your way as a composer.(studio,plugins and so on).
How to present you work.
How to approach your projects.
Working with an Orchestrator/Conductor.
Working with or without an Orchestra.
The basics and the importance of proper orchestration.
Negotiation and fee.

We will combine both the artistic and business elements of being a Film and tv composer.

Dates:
Wednesday, 22nd March, 2pm-6pm

Wednesday, 29th March, 2pm-6pm

Lecturer: David Hason

Price: 15€

Registration here.

Label & Verlag

Networking

Promotion & Marketing

Music Pool Community Evening composing for TV/Film

Eileen Möller — Mon, 06 Feb 2017 11:10:35 +0000

Dienstag, 21 Februar, 2017 - 19:30 bis 23:00

Ackerstadtpalast Ackerstraße 169/170, 10115 Berlin

Sprache:

Deutsch

When: Tuesday, 21. February 2017
Location: Ackerstadtpalast (Freie Bühne Mitte e.V.)

Ackerstr. 169/170
M8 / U8 Rosenthalerplatz

Time: 7:30pm

Language: English

Topic: 2 sides of the Coin: Composers share their work practices and experiences working in Film/TV and Directors talk about their personal relationship to music and how that translates and helps them decide which musicians to work with or place in their films.

Speaking will be Musicians: Cherilyn MacNeil (Dear Reader), Max Knoth and Bertram Denzel (denzel + huhn) and Directors Irene von Alberti and Uli M Schueppel.

Following the Q&A we will meet & talk in the ASP foyer w/ Director Uli M Schüppel who will bring us deeper acoustically to the evenings theme with „In Passion&Dark - music&film“ DJ set

Musicians ::
Cherilyn MacNeil (Dear Reader) is a songwriter -composer from Johannesburg, Südafrika living in Berlin. She is most known for her project Dear Reader. Her music has been synched in many films and composed scores for example: A Coffee in Berlin 2012, Türkisch für Anfänger 2012, Happy Hour 2015, etc. and she also writes synch pitches. She wrote the score for the acclaimed Berlin feature film, Oh Boy, which won her and her co-conspirators the Deutsche Filmpreis for Best Film Music in 2013.  http://www.dearreadermusic.com/

Max Knoth works as a composer, arranger, orchestrator and sound designer. He composes for movies, concerts, theatre and recording sessions. Max Knoth worked together with Ryuichi Sakamoto, Lou Reed, Danny Elfman, Rachel Portman, Alan Silvestri, David Newman, Tom Tykwer, Christoph Schlingensief, Irmin Schmidt (CAN) and Henning Lohner (Ring 2 / Tagesschau). He has been an associate lecturer at Media Academy Darmstadt for many years.  http://www.maxknoth.de/

Bertram Denzel born 1969 in Southwest-Germany and raised in Spain and France, is a Berlin resident DJ and musician since 1988. Besides several contributions to bands over the years, he started composing soundtracks in the mid-90ties beginning with short films. The first feature-length film, Paul is Dead (Director: Hendrik Handloegten) won the "Adolf-Grimme-Award", followed by 7 nominations since then, recently for the Tatort: Wer bin ich? (Bastian Günther). With his soundtrack for Alaska Johannson (Achim von Borries) he was nominated for the "Rolf-Hans-Müller-Award for film music" in 2014. His electronic music duo "denzel + huhn" released 4 albums, for example "Brom" in 2015 on oktaf records/kompakt.  www.hardly-listening.com

Directors ::
Irene von Alberti was born 1963 in Stuttgart. Her first foray in to filmmaking was during her studies as a DiplomIngenieur via the camera. She began working as an assistant Camera women on the TV show “Marocain” from Elfi Mikesch, at this time she also worked as a director and editor on various music videos. She began studying film in 1988 - 1992 at the HFF (Hochschule for Fernsehen u. Film in Munich). In 1987 she started the FILMGALERIE 451 together with Frieder Schlaich as a video store, then film productions office and finally a DVD-Label for Arthouse Films. Since 1993 Irene has been working as a filmmaker: Director, Writer and Producer for Arthouse Cinema films. Directing such films as Tangerine (2007), Stadt als Beute (2004), Der Lange Sommer der Theorie (2016) etc.  http://www.filmgalerie451.de

Uli M Schueppel studied German, Romance studies, and linguistics in Heidelberg, and then after landing in Berlin, changed directions and began studiying Directing at the Deutsche Film- und Fernsehakademie, Berlin (DFFB). Along with a number of short films, numerous music videos, and animations (most famously the Berlinale-Trailer/ Opener which has been in use since 2001 at the festival), he has been the author, director, producer, and occasionally even cameraman of 14 full-length films, ranging from feature films, essay films, and music films to documentaries. Uli has won several awards over the years, most recently, In 2014 he has received the “Lifetime Award” at 5.SPFF (international music documentary festival, Croatia) “for outstanding accomplishments in the music and music industry documentary genre“. Since 2003, Schueppel has also worked as a guest lecturer, teaching direction and documentary film at the Deutsche Film- und Fernsehakademie (DFFB) and the Nederlandse-Filmacademie, Amsterdam. He has given numerous master class workshops on the topics of “music documentary”, “independent filmmaking”, and “digital storytelling“. Schueppel has been a member of the EuropeanFilmAcademy (EFA) since 2002. http://schueppel-films.de/about/

WORKSHOP - Composing for film & TV

Robert Witoschek — Wed, 05 Oct 2016 14:56:19 +0000

Mittwoch, 22 März, 2017 - 14:00 bis Mittwoch, 29 März, 2017 - 18:00

Warschauer Str. 70a, 10243 Berlin

Sprache:

Englisch

In this two-day workshop we will cover all the steps of working as a composer for Film/tv.

Together we will go through:

The steps you will be taking when working on a film.
Working in front of a Director/Producer.
All the tools you would need to start your way as a composer.(studio,plugins and so on).
How to present you work.
How to approach your projects.
Working with an Orchestrator/Conductor.
Working with or without an Orchestra.
The basics and the importance of proper orchestration.
Negotiation and fee.

We will combine both the artistic and business elements of being a Film and tv composer.

Dates:

Wednesday, 22nd March, 2pm-6pm

Wednesday, 29th March, 2pm-6pm