Entrant + Music Production Company: Sizzer, Amsterdam
Composers: Mark van Bruggen + Rachel Tauwnaar
Music Producers: Michiel Marsman + Seppl Kretz
Agency: The Family, Amsterdam
Agency Account Director: Louise Mathlener
Agency Executive Creative Directors: Ed van Bennekom + Joris Kuijpers
Agency TV Producers: Vanessa Janssen + Julia Llamas (Rare/Medium/Welldone)
Director: Paul Geusebroek
Exec Producers: Job Sanders + Gijs Determeijer
Editor: Brian Ent at Kapsalon
Post Production Operator: Laurens Orij at CRABSALAD
Entrant + Music Production Company: Sizzer, Amsterdam
Composers: Mark van Bruggen + Rachel Tauwnaar
Music Producers: Michiel Marsman + Seppl Kretz
Agency: The Family, Amsterdam
Agency Account Director: Louise Mathlener
Agency Executive Creative Directors: Ed van Bennekom + Joris Kuijpers
Agency TV Producers: Vanessa Janssen + Julia Llamas (Rare/Medium/Welldone)
Director: Paul Geusebroek
Exec Producers: Job Sanders + Gijs Determeijer
Editor: Brian Ent at Kapsalon
Post Production Operator: Laurens Orij at CRABSALAD
Entrant + Music Production Company: Sizzer, Amsterdam
Composers: Mark van Bruggen + Rachel Tauwnaar
Music Producers: Michiel Marsman + Seppl Kretz
Agency: The Family, Amsterdam
Agency Account Director: Louise Mathlener
Agency Executive Creative Directors: Ed van Bennekom + Joris Kuijpers
Agency TV Producers: Vanessa Janssen + Julia Llamas (Rare/Medium/Welldone)
Director: Paul Geusebroek
Exec Producers: Job Sanders + Gijs Determeijer
Editor: Brian Ent at Kapsalon
Post Production Operator: Laurens Orij at CRABSALAD
Entrant + Production Company: MassiveMusic, Sydney; Composer: Lance Gurisik; Agency: Leo Burnett, Australia
Entrant + Production Company: Twenty Below Music, London; Composer: Lindsay Wright; Agency: Wieden+Kennedy Inc
Entrant + Composers: Luis Almau + Joel Hartman at Soundtree Music, London; Agency: Uncommon
Entrant + Production Company: Grayson Music, Toronto; Composer: Andrew Austin; Agency: Cossette
Entrant + Music Producer: Marc Algranti at Marc Algranti Music, Cape Town; Composers: Bongeziwe Mabandla + Sun-el Musician; Agency: Joe Public South Africa
Entrant + Production Company: Grayson Music, Toronto; Composers: Tyson Kuteyi + Jeff Milutinovic; Agency: Anomaly
Entrant + Music Production Company: Grayson Music, Toronto
Composers: Tom Westin + Martina Sorbara
Music Producer: Kelly McCluskey
Agency: Juliet Creative
Agency Art Director: Maria Jose Arias
Agency Exec Creative Director: Darya Klymenko
Production Company Producer: Veronica Leon
Entrant + Music Production Company: Grayson Music, Toronto
Composers: Tom Westin + Martina Sorbara
Music Producer: Kelly McCluskey
Agency: Juliet Creative
Agency Art Director: Maria Jose Arias
Agency Exec Creative Director: Darya Klymenko
Production Company Producer: Veronica Leon
Entrant + Music Production Company: Grayson Music, Toronto
Composers: Tom Westin + Martina Sorbara
Music Producer: Kelly McCluskey
Agency: Juliet Creative
Agency Art Director: Maria Jose Arias
Agency Exec Creative Director: Darya Klymenko
Production Company Producer: Veronica Leon
Entrant + Production Company: Wake The Town, London; Composers: StarOne + Eva Lazarus; Agency: Mother London
Entrant + Production Company: String and Tins, London; Composer: Auburn Jam; Agency: WK Amsterdam
Entrant + Production Company: Studio Salamanca, London; Composers: Scuta Salamanca + Alex Reeves; Agency: Spark 44
Entrant + Production Company: Chut! on vous écoute, Paris; Composers: Arnaud Astruc + Benjamin Fournier-Bidoz; Agency: Orès Group
Entrant + Production Company: playdis c/o HearDis!, Berlin; Composer: Georg von dem Bussche; Agency: Antoni
Entrant + Production Company: playdis, Berlin; Composers: Georg von dem Bussche, Mahdyar Aghajani, Rimon Bahere, Abul Mogard, Philipp Thimm + Frank Wiedemann; Music Supervisor: Jade Miranda; Executive Music Producers: Georg von dem Bussche + Jade Miranda; Agency: Antoni
Entrant + Composer: Alexandra Hamilton-Ayres at Manners McDade, London
Directors: Will Hewitt + Austen McCowan
Production Company: Melt the Fly
Entrant + Composer: Alexandra Hamilton-Ayres at Manners McDade, London
Directors: Will Hewitt + Austen McCowan
Production Company: Melt the Fly
Entrant + Composer: Alexandra Hamilton-Ayres at Manners McDade, London
Directors: Will Hewitt + Austen McCowan
Production Company: Melt the Fly
Long Live My Happy Head is BAFTA-winning directors’, Austen McCowan and Will Hewitt’s, partly animated feature-length documentary about the bittersweet story of a cancer patient fighting his disease.
Scottish artist and comic book creator, Gordon Shaw, was diagnosed with a brain tumour in his early 30s. This film shows him coming to terms with his condition by creating cartoons to help explore his emotions about the cancer. Alexandra’s music is the perfect accompaniment to this tender study of a man facing an uncertain future.
Composer, Alexandra Hamilton-Ayers, talks about her process on the project,
“The starting point for inspiration for the soundtrack to Long Live My Happy Head was a conversation with Will and Austen about my previous album, 2 Years Stranger, and Gordon’s creative venture into creating an MRI Sound System sound installation. I was really keen to combine the human and illustrated elements of the story using the music and so when we were able to get recordings of the MRI Machine, that became a starting point for the score. I put the machine sounds through a Roland MX-1 to create some of the rhythmic textures, which I then gave to violinist Ellie Consta to mimic with bowing techniques. I also used granular filters and created harmonics within these elements to give a slower oscillating sound which had more emotional depth.
The more removed Gordon’s story was from the hospital, we removed him from this mechanical sound world and turned to a more string and piano-based sonic space featuring players from Her Ensemble, giving a more organic feel. Seeing the beautiful rocky scenery of Scotland, I chose to record the score in a church space with wood and stone acoustics to give a really natural reverb and a switch between the more produced electronica – the key blend between these sound-worlds being a series of synths and drum machines. Although the score has its own personality, it also accompanies Gordon’s wise words adding an extra layer of sentimentality and depth whilst still keeping positive, a challenging combination of playful and bittersweet creating a unique and rich sound palette.”
This is such a special film. Congratulations again to all involved.
Long Live My Happy Head is BAFTA-winning directors’, Austen McCowan and Will Hewitt’s, partly animated feature-length documentary about the bittersweet story of a cancer patient fighting his disease.
Scottish artist and comic book creator, Gordon Shaw, was diagnosed with a brain tumour in his early 30s. This film shows him coming to terms with his condition by creating cartoons to help explore his emotions about the cancer. Alexandra’s music is the perfect accompaniment to this tender study of a man facing an uncertain future.
Composer, Alexandra Hamilton-Ayers, talks about her process on the project,
“The starting point for inspiration for the soundtrack to Long Live My Happy Head was a conversation with Will and Austen about my previous album, 2 Years Stranger, and Gordon’s creative venture into creating an MRI Sound System sound installation. I was really keen to combine the human and illustrated elements of the story using the music and so when we were able to get recordings of the MRI Machine, that became a starting point for the score. I put the machine sounds through a Roland MX-1 to create some of the rhythmic textures, which I then gave to violinist Ellie Consta to mimic with bowing techniques. I also used granular filters and created harmonics within these elements to give a slower oscillating sound which had more emotional depth.
The more removed Gordon’s story was from the hospital, we removed him from this mechanical sound world and turned to a more string and piano-based sonic space featuring players from Her Ensemble, giving a more organic feel. Seeing the beautiful rocky scenery of Scotland, I chose to record the score in a church space with wood and stone acoustics to give a really natural reverb and a switch between the more produced electronica – the key blend between these sound-worlds being a series of synths and drum machines. Although the score has its own personality, it also accompanies Gordon’s wise words adding an extra layer of sentimentality and depth whilst still keeping positive, a challenging combination of playful and bittersweet creating a unique and rich sound palette.”
This is such a special film. Congratulations again to all involved.
Entrant + Composer: Anne Nikitin; Director: Emma Cooper; Production Company: Empress Films; Studio: Netflix
Entrant: Sky, London; Composer: Dario Marianelli
Entrant + Composer: Rob Manning; Director: Patrick Forbes
Entrants + Composers: Ian Honeyman + TUCKER at Honeyman Studios, California; Composers: Ian Honeyman (Score), Ian Honeyman + Tucker Murray Caploe (End Song); Directors: Bennett Singer + Patrick Sammon
Entrant + Composer: Dominic Shovelton; Director: Aysulu Onaran
Entrant + Composer: Joy Ngiaw, Los Angeles
Production Companies: Apple Original Films, Skydance Animation + Skydance Media
Director: Joe Mateo
Executive Producers: David Ellison, Dana Goldberg + John Lasseter
Editor: Tim Mertens
Entrant + Composer: Joy Ngiaw, Los Angeles
Production Companies: Apple Original Films, Skydance Animation + Skydance Media
Director: Joe Mateo
Executive Producers: David Ellison, Dana Goldberg + John Lasseter
Editor: Tim Mertens
Entrant + Composer: Joy Ngiaw, Los Angeles
Production Companies: Apple Original Films, Skydance Animation + Skydance Media
Director: Joe Mateo
Executive Producers: David Ellison, Dana Goldberg + John Lasseter
Editor: Tim Mertens
Long Live My Happy Head is BAFTA-winning directors’, Austen McCowan and Will Hewitt’s, partly animated feature-length documentary about the bittersweet story of a cancer patient fighting his disease.
Scottish artist and comic book creator, Gordon Shaw, was diagnosed with a brain tumour in his early 30s. This film shows him coming to terms with his condition by creating cartoons to help explore his emotions about the cancer. Alexandra’s music is the perfect accompaniment to this tender study of a man facing an uncertain future.
Composer, Alexandra Hamilton-Ayers, talks about her process on the project,
“The starting point for inspiration for the soundtrack to Long Live My Happy Head was a conversation with Will and Austen about my previous album, 2 Years Stranger, and Gordon’s creative venture into creating an MRI Sound System sound installation. I was really keen to combine the human and illustrated elements of the story using the music and so when we were able to get recordings of the MRI Machine, that became a starting point for the score. I put the machine sounds through a Roland MX-1 to create some of the rhythmic textures, which I then gave to violinist Ellie Consta to mimic with bowing techniques. I also used granular filters and created harmonics within these elements to give a slower oscillating sound which had more emotional depth.
The more removed Gordon’s story was from the hospital, we removed him from this mechanical sound world and turned to a more string and piano-based sonic space featuring players from Her Ensemble, giving a more organic feel. Seeing the beautiful rocky scenery of Scotland, I chose to record the score in a church space with wood and stone acoustics to give a really natural reverb and a switch between the more produced electronica – the key blend between these sound-worlds being a series of synths and drum machines. Although the score has its own personality, it also accompanies Gordon’s wise words adding an extra layer of sentimentality and depth whilst still keeping positive, a challenging combination of playful and bittersweet creating a unique and rich sound palette.”
Long Live My Happy Head is BAFTA-winning directors’, Austen McCowan and Will Hewitt’s, partly animated feature-length documentary about the bittersweet story of a cancer patient fighting his disease.
Scottish artist and comic book creator, Gordon Shaw, was diagnosed with a brain tumour in his early 30s. This film shows him coming to terms with his condition by creating cartoons to help explore his emotions about the cancer. Alexandra’s music is the perfect accompaniment to this tender study of a man facing an uncertain future.
Composer, Alexandra Hamilton-Ayers, talks about her process on the project,
“The starting point for inspiration for the soundtrack to Long Live My Happy Head was a conversation with Will and Austen about my previous album, 2 Years Stranger, and Gordon’s creative venture into creating an MRI Sound System sound installation. I was really keen to combine the human and illustrated elements of the story using the music and so when we were able to get recordings of the MRI Machine, that became a starting point for the score. I put the machine sounds through a Roland MX-1 to create some of the rhythmic textures, which I then gave to violinist Ellie Consta to mimic with bowing techniques. I also used granular filters and created harmonics within these elements to give a slower oscillating sound which had more emotional depth.
The more removed Gordon’s story was from the hospital, we removed him from this mechanical sound world and turned to a more string and piano-based sonic space featuring players from Her Ensemble, giving a more organic feel. Seeing the beautiful rocky scenery of Scotland, I chose to record the score in a church space with wood and stone acoustics to give a really natural reverb and a switch between the more produced electronica – the key blend between these sound-worlds being a series of synths and drum machines. Although the score has its own personality, it also accompanies Gordon’s wise words adding an extra layer of sentimentality and depth whilst still keeping positive, a challenging combination of playful and bittersweet creating a unique and rich sound palette.”
Entrant + Composer: Moritz Wanger, London; Director: Steve Lawson; Studio: National Film and Television School
Entrant + Composer: John Webb + Oliver Cripps, London; Director: Emma Calder; Studio: Pearly Oyster Productions
Entrant + Production Company: GREAT GARBO – BALDENWEG, Zurich; Composers: Diego Baldenweg with Nora Baldenweg + Lionel Baldenweg; Director: Loïc Hobi; Production Companies: Tell Me The Story / Imaginastudio / Skopeo Films
Composer: Guido Maat at Heron Music, Amsterdam; Directors: Maarten Groen; Production Company: DPPLR
Composer: David Reyes at Axiom Studios, France; Director: Sebastien Pins; Production Company: Alchimie Productions
Entrant + Production Company: SATV, Sky Studios, London
Composer: Arthur Sharpe
Director: Will Sharpe
Producer: Katie Carpenter
Network: Sky
Entrant + Production Company: SATV, Sky Studios, London
Composer: Arthur Sharpe
Director: Will Sharpe
Producer: Katie Carpenter
Network: Sky
Entrant + Production Company: SATV, Sky Studios, London
Composer: Arthur Sharpe
Director: Will Sharpe
Producer: Katie Carpenter
Network: Sky
Entrant + Composer: Blair Mowat, London; Director: Mark Gatiss; Network: Sky
Entrant + Composer: Jon Opstad at Manners McDade, London; Director: Arthur Cary; Network: BBC
Entrant + Network: Sky, London; Composer: Carly Paradis
Entrant + Composer: Cristobal Tapia de Veer; Director: Mike White; Network: HBO
Entrant + Network: Sky, London; Music Producer: Salmo; Collaborators: Simone Vallecorsa, Riccardo Puddu + Luciano Fenudi
Entrant: Sky, London
Composer: Carly Paradis
Featuring: Eli & Fur
Entrant: Sky, London
Composer: Carly Paradis
Featuring: Eli & Fur
Entrant: Sky, London
Composer: Carly Paradis
Featuring: Eli & Fur
The eight-part murder mystery follows Neve Kelly, who emerges from the waters of a lake and returns home to find that she has been reported missing. When she realises she’s dead, she is scared and confused. It becomes obvious to her that she was murdered and she makes it her mission to find her killer and get justice.
Composer, Carly Paradis, gives us a peak behind the scenes…
“I wanted to create an emotional theme song that was epic, hopeful and also carried grief and loss. It is big and beautiful while also lonely. DJ duo / artists Eli & Fur were perfect for the sound, style and tone to perform the lush and modern vocals. I used electronic elements primarily to drive forward Neve’s journey into the otherside, the new unknown place of death, using manipulated sampled vocals from my solo records to create an atmospheric and distant world. I began sketching musical ideas very early in the process from the scripts and discussions with director, Ed Lilly, so we were able to develop and explore as filming / editing was taking place.”
The eight-part murder mystery follows Neve Kelly, who emerges from the waters of a lake and returns home to find that she has been reported missing. When she realises she’s dead, she is scared and confused. It becomes obvious to her that she was murdered and she makes it her mission to find her killer and get justice.
Composer, Carly Paradis, gives us a peak behind the scenes…
“I wanted to create an emotional theme song that was epic, hopeful and also carried grief and loss. It is big and beautiful while also lonely. DJ duo / artists Eli & Fur were perfect for the sound, style and tone to perform the lush and modern vocals. I used electronic elements primarily to drive forward Neve’s journey into the otherside, the new unknown place of death, using manipulated sampled vocals from my solo records to create an atmospheric and distant world. I began sketching musical ideas very early in the process from the scripts and discussions with director, Ed Lilly, so we were able to develop and explore as filming / editing was taking place.”
Entrant + Composer: Peter Baert at Raygun, Brussels; Directors: Malika Attar, Sylvie Chevalier, Jan Van Der Weken + Joeri Vlekken
Entrants + Composers: Hans Zimmer, Christian Lundberg + Russell Emanuel at Bleeding Fingers Music, LA; Technical Score Assistant: Joaquin Lichtle
Entrant: BMG, London; Composers: Mick Jagger + Daniel Pemberton
Entrant + Composer: Laura Rossi, London; Director: John Hayes
Entrant + Composer: Blair Mowat, London
Studio: Sky
Entrant + Game Publisher:Sony Interactive Entertainment, California
Composers: oris De Man, Niels van der Leest, Oleksa Lozowchuk + The Flight
Music Producers: Lucas van Tol, Bastiaan van Bentum, Duncan Smith + James Marshall
Developer: Guerrilla
Entrant + Game Publisher:Sony Interactive Entertainment, California
Composers: oris De Man, Niels van der Leest, Oleksa Lozowchuk + The Flight
Music Producers: Lucas van Tol, Bastiaan van Bentum, Duncan Smith + James Marshall
Developer: Guerrilla
Entrant + Game Publisher:Sony Interactive Entertainment, California
Composers: oris De Man, Niels van der Leest, Oleksa Lozowchuk + The Flight
Music Producers: Lucas van Tol, Bastiaan van Bentum, Duncan Smith + James Marshall
Developer: Guerrilla
Entrant + Game Publisher:Sony Interactive Entertainment, California
Composers: oris De Man, Niels van der Leest, Oleksa Lozowchuk + The Flight
Music Producers: Lucas van Tol, Bastiaan van Bentum, Duncan Smith + James Marshall
Developer: Guerrilla
Entrant + Game Publisher:Sony Interactive Entertainment, California
Composers: oris De Man, Niels van der Leest, Oleksa Lozowchuk + The Flight
Music Producers: Lucas van Tol, Bastiaan van Bentum, Duncan Smith + James Marshall
Developer: Guerrilla
Entrant + Composer: Andrew Prahlow, Los Angeles
Game Publisher: Annapurna Interactive
Entrant + Composer: Peter McConnell at Double Fine Productions, California
Lyrics: Tim Schafer
Game Publisher: Microsoft
Entrant + Composer: Carlos Rodriguez Rodriguez at Season3 Audio, Austria
Game Publisher: Astrea
Entrant: Richard Jacques, London
Composer: Richard Jacques (Original Score) | Steve Szczepkowski + Yohann Boudreault (Original “Star-Lord” Tracks)
Game Publisher: Square Enix
Entrant + Game Developer: TiMi Studios Group, Shanghai
Composers: Stephen Rippy, Laurent Courbier, Chris Wirtz, Armin Haas, Matthias Wolf + Igor Nemirovsky
Game Publisher: Tencent Games
Entrant + Composer: Andrea Boccadoro
Game Studio: Nerial, London
Game Publisher: Devolver Digital
Entrant + Game Developer: TiMi Studio Group, Shenzhen
Composer: Yang Lee
Entrant + Production Company: HOOKED Music GmbH, Hamburg
Composers: Jan Finck Barboza + Robin Überschuß
Music Producers: Jan Finck Barboza + Camilo Remolina Cano
Production Company: Macarena
Director: Miguel Herrera
Executive Producer: Michela Gonzales
Post Production Operator: Julian Torres at Mara
Entrant + Production Company: HOOKED Music GmbH, Hamburg
Composers: Jan Finck Barboza + Robin Überschuß
Music Producers: Jan Finck Barboza + Camilo Remolina Cano
Production Company: Macarena
Director: Miguel Herrera
Executive Producer: Michela Gonzales
Post Production Operator: Julian Torres at Mara
Entrant + Production Company: HOOKED Music GmbH, Hamburg
Composers: Jan Finck Barboza + Robin Überschuß
Music Producers: Jan Finck Barboza + Camilo Remolina Cano
Production Company: Macarena
Director: Miguel Herrera
Executive Producer: Michela Gonzales
Post Production Operator: Julian Torres at Mara
Entrant + Production Company: CrimeSonics, Los Angeles
Composer: Dan Brown Jr
Entrant + Production Company: Exodus Music, Los Angeles
Composer: Alex Shellard
Music Producer: Chris Phife
Entrant + Production Company: SATV, Sky Studios, London
Composer: Nitin Sawhney
Entrant + Composer: Kim Cameron at Side FX Partners, Miami
Entrant: Echoic Audio, UK
Composer: George Leggett
Director: Andy Holton
Entrant: Echoic Audio, UK
Composer: George Leggett
Director: Andy Holton
Entrant: Echoic Audio, UK
Composer: George Leggett
Director: Andy Holton
Entrant: Elephant Music, London
Composer: Jamie Stevens
Music Producer: Aneta Wrzos
Studio: Netflix
Trailer House: Ignition Creative
Entrant: BT Sport, London
Composer: George FitzGerald
Entrant: Will Featherby at WMP Studios, UK< Composers: Will Featherby + Peter Darling Production Company: BT Sport Producer: Pete Kelly at BT Sport
Entrant: Ubisoft, Paris
Composers: Mr Viktor & DDB Paris (Cédric Boit + Clément Reynaud)
Music Producer: Marine Cremer
Director: Traktor
Production Company Producers: Greg Panteix, Corinne Persch + Gaëlle De-Pompignan
Agency: DDB Paris
Studio: Important Looking Pirates
Entrant: Ubisoft, Paris
Composers: Mr Viktor & DDB Paris (Cédric Boit + Clément Reynaud)
Music Producer: Marine Cremer
Director: Traktor
Production Company Producers: Greg Panteix, Corinne Persch + Gaëlle De-Pompignan
Agency: DDB Paris
Studio: Important Looking Pirates
Entrant: Ubisoft, Paris
Composers: Mr Viktor & DDB Paris (Cédric Boit + Clément Reynaud)
Music Producer: Marine Cremer
Director: Traktor
Production Company Producers: Greg Panteix, Corinne Persch + Gaëlle De-Pompignan
Agency: DDB Paris
Studio: Important Looking Pirates
Entrant: Ubisoft, Paris
Composer: Pedro Bromfman
Entrant: BMG, London
Composers: Or Kribos, Itay Steinberg, Harel Tsemah + Itamar Carmel
Music Producers: Brad Marrapodi + Allen Mattox
Entrant: Lionshead Entertainment, Vancouver
Composer: Crispin Hands
Trailer House: Bsmart
Entrant: Zenimax Europe, London
Composition: Sencit
Game Publisher: Bethesda Softworks
Developers: Arkane Lyon
Entrant: Zenimax Europe, London
Composition: Sencit
Game Publisher: Bethesda Softworks
Developers: Arkane Lyon
Entrant: Made Music Studio, New York
Composer: Evan Marien
Executive Music Producers: Joel Beckerman + Amy Crawford
Music Producers: Mickey Alexander + Evan Marien
Senior Art Director: Jin Lim at TCM
Senior Director of Production: Julie Bitton at TCM
Creative Director: Katie Daniels at TCM
Creative Agency: Sibling Rivary
Orchestra Contractor: Jim Hynes
Tap Dancer: Caleb Teicher
Entrant: Made Music Studio, New York
Composer: Evan Marien
Executive Music Producers: Joel Beckerman + Amy Crawford
Music Producers: Mickey Alexander + Evan Marien
Senior Art Director: Jin Lim at TCM
Senior Director of Production: Julie Bitton at TCM
Creative Director: Katie Daniels at TCM
Creative Agency: Sibling Rivary
Orchestra Contractor: Jim Hynes
Tap Dancer: Caleb Teicher
Entrant: Made Music Studio, New York
Composer: Evan Marien
Executive Music Producers: Joel Beckerman + Amy Crawford
Music Producers: Mickey Alexander + Evan Marien
Senior Art Director: Jin Lim at TCM
Senior Director of Production: Julie Bitton at TCM
Creative Director: Katie Daniels at TCM
Creative Agency: Sibling Rivary
Orchestra Contractor: Jim Hynes
Tap Dancer: Caleb Teicher
Entrant + Production Company: GREAT GARBO – BALDENWEG, Zurich
Composers: Diego Baldenweg with Nora Baldenweg + Lionel Baldenweg
Entrant: MassiveMusic, Warsaw
Composer: Andy Sheriff
Music Producers: Michał Krajewski + Mateusz Szmigiero
Entrant + Production Company: Klankwerk, Belgium
Composers: Thomas Houthave + Sebastiaan Vandevoorde
Music Producer: Sander Lambrecht
Entrant + Production Company: MassiveMusic, Sydney
Composer: Ben Lam
Creative/Music Director: Ramesh Sathiah
Creative Director: Ralph Van Dijk
Account Director/Strategist: Dominic Burnham
Senior Music Creative: Ryan Dickinson
Arranger: Robin Hoffman
Entrant + Production Company: Sonic Lens, New Jersey
Composers: Glen Cavanaugh + Marco Vitali
Agency: WundermanThompson
Music Producer: Paul Greco
Entrant + Production Company: Unmute, Copenhagen
Composers: Daniel Schougaard, Simon Kringel, Kasper Topp + Alexander Keller
Agency: Works
Account Director: Molly Nichols
Art Director: James Brunger
Executive Creative Director: Jonny O’Reardon
Entrant + Production Company: Unmute, Copenhagen
Composers: Daniel Schougaard, Simon Kringel, Kasper Topp + Alexander Keller
Agency: Works
Account Director: Molly Nichols
Art Director: James Brunger
Executive Creative Director: Jonny O’Reardon
Entrant + Production Company: Unmute, Copenhagen
Composers: Daniel Schougaard, Simon Kringel, Kasper Topp + Alexander Keller
Agency: Works
Account Director: Molly Nichols
Art Director: James Brunger
Executive Creative Director: Jonny O’Reardon
Entrant + Production Company: Native Music, London
Composers: Guy Farley + David Connolly
Agency: Leo Burnett
Entrant + Production Company: Resonate, UK
Composer: Liam Paton
Agency: BBC Creative
Entrant + Production Company: Sitting Duck Music and Media, UK
Composers: Dave Healey, Rob May + Simon Hill
Entrant + Music Supervisor: Anton Trailer at Trailer Media, London
Tracks:
‘Walk This Way’ by Run DMC feat. Aerosmith
‘Walk On The Wild Side’ by Lou Reed
‘These Boots Are Made For Walking’ by Loretta Lynn
Music Company: Heavy Duty Projects
Publishers: BMG Rights MGMT, Sony Publishing + UMPG
Labels: Sony Music + Universal Music
Label Licensing Managers: Andrew Tansey (Sony), Ian Neil (Sony) + Neil Mulford (Universal)
Publisher Licensing Managers: Suzanne Carey (UMPG), Joe Betts (BMG), Chris Jones (Sony) + Sarah Pickering (Sony)
Agency: Anomaly UK
Agency Director of Music: Ben Dorenfeld
Creative Director: Leanne Amann
Agency Account Director: Toby Denton
Director: Glen Luchford
Entrant + Music Supervisor: Anton Trailer at Trailer Media, London
Tracks:
‘Walk This Way’ by Run DMC feat. Aerosmith
‘Walk On The Wild Side’ by Lou Reed
‘These Boots Are Made For Walking’ by Loretta Lynn
Music Company: Heavy Duty Projects
Publishers: BMG Rights MGMT, Sony Publishing + UMPG
Labels: Sony Music + Universal Music
Label Licensing Managers: Andrew Tansey (Sony), Ian Neil (Sony) + Neil Mulford (Universal)
Publisher Licensing Managers: Suzanne Carey (UMPG), Joe Betts (BMG), Chris Jones (Sony) + Sarah Pickering (Sony)
Agency: Anomaly UK
Agency Director of Music: Ben Dorenfeld
Creative Director: Leanne Amann
Agency Account Director: Toby Denton
Director: Glen Luchford
Entrant + Music Supervisor: Anton Trailer at Trailer Media, London
Tracks:
‘Walk This Way’ by Run DMC feat. Aerosmith
‘Walk On The Wild Side’ by Lou Reed
‘These Boots Are Made For Walking’ by Loretta Lynn
Music Company: Heavy Duty Projects
Publishers: BMG Rights MGMT, Sony Publishing + UMPG
Labels: Sony Music + Universal Music
Label Licensing Managers: Andrew Tansey (Sony), Ian Neil (Sony) + Neil Mulford (Universal)
Publisher Licensing Managers: Suzanne Carey (UMPG), Joe Betts (BMG), Chris Jones (Sony) + Sarah Pickering (Sony)
Agency: Anomaly UK
Agency Director of Music: Ben Dorenfeld
Creative Director: Leanne Amann
Agency Account Director: Toby Denton
Director: Glen Luchford
Entrant + Publisher: Wise Music Group, London. Track: ‘The Champ’ by The Mohawks. Supervisors: Neil Athale + Jay James. Label: Phoenix Music International. Agency: Adam & Eve DDB
Entrant + Supervisors: Siân Rogers + Sam Brown at SIREN, London. Track: ‘Morning Sun’ by Melody Gardot. Publisher: Warner/Chappell Music. Label: Decca. Agency: VCCP
Entrant + Music Supervision Co: Theodore Music, London. Track: ‘Badala Zamana’ by Zohra. Supervisor: Harley Beckmann-Hawksley. Publisher + Label: The Collective Studio. Agency: Adam & Eve DDB
Entrant + Music Supervision Co: Native Music, London. Track: ‘Sound and Vision (Piano Version)’ by David Bowie. Supervisors: Dan Neale + Oscar Webster Bell. Publisher: Warner Chappell / Sony Music Publishing. Label: RZO. Agency: Uncommon
Entrant + Music Supervision Co: The Hogan, London. Track: ‘The Only Way is Up’ by Stornoway. Supervisor: Sean Hogan. Publisher: Peer Music. Label: Cooking Vinyl. Agency: Lucky Generals
Entrant + Music Supervision Co: The Hogan, London
Track: ‘Secret Plan’ by Drug Store Romeos
Supervisor: Sean Hogan
Publisher: BMG
Label: Universal Music Group
Entrant + Music Supervision Co: The Hogan, London
Track: ‘Secret Plan’ by Drug Store Romeos
Supervisor: Sean Hogan
Publisher: BMG
Label: Universal Music Group
Entrant + Music Supervision Co: The Hogan, London
Track: ‘Secret Plan’ by Drug Store Romeos
Supervisor: Sean Hogan
Publisher: BMG
Label: Universal Music Group
Entrant: A&GSync / Jesper Gadeberg, London. Track: ‘This Is Me’ by KULLAH feat. Jessy Covets. Supervisor: Jesper Gadeberg at Music Stylist. Label: A&G Records. Publisher: A&G Songs. Agency: adam&eveDDB London
Entrant + Supervisor: Peter Holcomb at Sound Lounge, New York. Track: Lalala by Y2K + bbno$
Entrant + Supervisor: Jonathan Watts at Adelphoi Music, London
Track: ‘Also Sprach Zarathustra’ by Richard Strauss
Publisher: Peters Edition Ltd
Entrant + Publisher: Sentric Music Group, UK. Track: Daga Da by Samuel Virji. Music Supervision: Theodore Music. Label: Supernature
Entrant + Music Supervision Co: Squeak E. Clean Studios, Los Angeles
Senior Sound Designer/Lead Engineer: Drew Fischer
Additional Sound Design and Mix: Surachai Sutthisasanakul, Sarah Krohn
Agency: Wieden+Kennedy
Production Company: Iconoclast
Director: Nogari
Executive Creative Producer: Michael Gross
Creative Director: Justin Hori
Senior Producer: Max Taylor
Senior Post Producer: Angelina Phengphong
Entrant + Music Supervision Co: Squeak E. Clean Studios, Los Angeles
Senior Sound Designer/Lead Engineer: Drew Fischer
Additional Sound Design and Mix: Surachai Sutthisasanakul, Sarah Krohn
Agency: Wieden+Kennedy
Production Company: Iconoclast
Director: Nogari
Executive Creative Producer: Michael Gross
Creative Director: Justin Hori
Senior Producer: Max Taylor
Senior Post Producer: Angelina Phengphong
Entrant + Music Supervision Co: Squeak E. Clean Studios, Los Angeles
Senior Sound Designer/Lead Engineer: Drew Fischer
Additional Sound Design and Mix: Surachai Sutthisasanakul, Sarah Krohn
Agency: Wieden+Kennedy
Production Company: Iconoclast
Director: Nogari
Executive Creative Producer: Michael Gross
Creative Director: Justin Hori
Senior Producer: Max Taylor
Senior Post Producer: Angelina Phengphong
Entrant + Music Supervision Co: Big Sync Music, London
Supervisors: Dominic Caisley, Lauren Thackray + Commie McMullen
Publishers: Sony Music Publishing + Universal Publishing
Label: Warner Music UK
Agency: LOLA MullenLowe
Entrant + Music Supervision Co: Feel For Music, London
Supervisors: Ben Sumner, Glenn Herweijer + Jack Thompson
Game Company: Square Enix
Entrant + Game Company: Electronic Arts, California
Artists: 42 Dugg, Belly & Shenseea, BRS Kash, JID, Moneybagg Yo ft. Tripstar, Morray, Sally Sossa, Swae Lee ft. Jack Harlow, Tierra Whack + YSB Tril
Supervisors: Steve Schnur, Raphaella Lima, Ben Werdegar, Cybele Pettus, Steve Berman, David Nieman + Natasha Zemlin
Label: Interscope Records
Entrant + Supervisor: Courtney Jenkins at Red Bull Media House, Los Angeles
Labels: Republic Records (Duckwrth) + Red Bull Record (Sad Alex)
Agency: Media Monks
Entrant: Sky UK, London
Publishers: Universal Music Publishing / Warner Chappell Music
Label: Warner Music UK
Supervision Co: Sky Music
Agency: AKQA
Entrant + Supervisor: Courtney Jenkins at Red Bull Media House, Los Angeles
Track: ‘Biz Markie’ by Biz Markie
Supervisors: Jonathan Hecht, Courtney Jenkins, Nicole Palko + Jackie Westfall
Publishers: Marcel Theo Hall Publishing Designee, Squirrel Hill Music, Light Of The East, Local Bling Music Group, Jqualit Music, Sony/ATV Allegro O/B/O itself + Songs For Cairo
Label: Rostrum Records
Director: Fernando Willena
Executive Producers: Ben Bryan, Clark Fyans, Charlie Rosene, Scott Bradfield, George Carpenter + Abby Young
Studio: HBO / Red Bull Media House
Entrant + Supervisor: Courtney Jenkins at Red Bull Media House, Los Angeles
Track: ‘Biz Markie’ by Biz Markie
Supervisors: Jonathan Hecht, Courtney Jenkins, Nicole Palko + Jackie Westfall
Publishers: Marcel Theo Hall Publishing Designee, Squirrel Hill Music, Light Of The East, Local Bling Music Group, Jqualit Music, Sony/ATV Allegro O/B/O itself + Songs For Cairo
Label: Rostrum Records
Director: Fernando Willena
Executive Producers: Ben Bryan, Clark Fyans, Charlie Rosene, Scott Bradfield, George Carpenter + Abby Young
Studio: HBO / Red Bull Media House
Entrant + Supervisor: Courtney Jenkins at Red Bull Media House, Los Angeles
Track: ‘Biz Markie’ by Biz Markie
Supervisors: Jonathan Hecht, Courtney Jenkins, Nicole Palko + Jackie Westfall
Publishers: Marcel Theo Hall Publishing Designee, Squirrel Hill Music, Light Of The East, Local Bling Music Group, Jqualit Music, Sony/ATV Allegro O/B/O itself + Songs For Cairo
Label: Rostrum Records
Director: Fernando Willena
Executive Producers: Ben Bryan, Clark Fyans, Charlie Rosene, Scott Bradfield, George Carpenter + Abby Young
Studio: HBO / Red Bull Media House
Entrant + Publisher: Bucks Music Group, London
Track: ‘Holes’ by Mercury Rev
Supervisor: Rachel Levy
Entrant + Publisher / Label: Pop-Up Music, London
Track: ‘Falling Leaf’ by Bud Ross and The Asylum
Supervisor: Ryan Svendsen at Millennium Media
Entrant + Supervisor: Courtney Jenkins at Red Bull Media House, Los Angeles
Track: ‘I Want You To Love Me’ by Fiona Apple
Publisher: FHW Music
Label: Epic
Supervisors: Jonathan Hecht, Courtney Jenkins , Nicole Palko + Jackie Westfall
Entrant + Publisher: Bucks Music Group, London
Track: ‘Maalie’ by Erland Cooper
Label: Phases
Entrant + Supervisor: Nora Felder
Track: ‘Running Up That Hill’ by Kate Bush
Publisher: Sony Music Publishing obo Screen Gems-EMI Music Inc.
Publisher Licensing Manager: Amy Coles
Label: Warner Music UK obo Noble & Bride Ltd
Label Licensing Manager: Thuy Lam
Production Company: Bride Lake Productions
Music Editors: David Klotz + Lena Glikson-Nezhelskaya
Studio: Netflix
Entrant + Supervisor: Nora Felder
Track: ‘Running Up That Hill’ by Kate Bush
Publisher: Sony Music Publishing obo Screen Gems-EMI Music Inc.
Publisher Licensing Manager: Amy Coles
Label: Warner Music UK obo Noble & Bride Ltd
Label Licensing Manager: Thuy Lam
Production Company: Bride Lake Productions
Music Editors: David Klotz + Lena Glikson-Nezhelskaya
Studio: Netflix
Entrant + Supervisor: Nora Felder
Track: ‘Running Up That Hill’ by Kate Bush
Publisher: Sony Music Publishing obo Screen Gems-EMI Music Inc.
Publisher Licensing Manager: Amy Coles
Label: Warner Music UK obo Noble & Bride Ltd
Label Licensing Manager: Thuy Lam
Production Company: Bride Lake Productions
Music Editors: David Klotz + Lena Glikson-Nezhelskaya
Studio: Netflix
Entrant + Supervisor: Nora Felder
Track: ‘Running Up That Hill’ by Kate Bush
Publisher: Sony Music Publishing obo Screen Gems-EMI Music Inc.
Publisher Licensing Manager: Amy Coles
Label: Warner Music UK obo Noble & Bride Ltd
Label Licensing Manager: Thuy Lam
Production Company: Bride Lake Productions
Music Editors: David Klotz + Lena Glikson-Nezhelskaya
Studio: Netflix
Entrant + Supervisor: Nora Felder
Track: ‘Running Up That Hill’ by Kate Bush
Publisher: Sony Music Publishing obo Screen Gems-EMI Music Inc.
Publisher Licensing Manager: Amy Coles
Label: Warner Music UK obo Noble & Bride Ltd
Label Licensing Manager: Thuy Lam
Production Company: Bride Lake Productions
Music Editors: David Klotz + Lena Glikson-Nezhelskaya
Studio: Netflix
Entrant + Editor: David Webb, Final Cut, London
Track: ‘I Think We’re Alone Now’ by The Rubinoos
Supervisor: Matt Biffa
Entrant: Sky Studios, London
Track: ‘The Tracks Of My Tears’ by Smokey Robinson
Publisher: EMI Music Publishing
Label: Universal Music Operations
Entrant: Sky Studios, London
Track: ‘Say Hello Wave Goodbye’ by Soft Cell
Supervision: Sky Music
Publisher: Warner Chappell Music
Label: Universal Music Operations
Entrant + Publisher: Bucks Music Group, London
Track: ‘Sunchyme’ by Dario G
Supervisors: Zoë Ellen Bryant + Pete Saville
Label: Chrysalis Records
Entrant + Artist: Dot Allison
Track: ‘The Haunted’ by Dot Allison
Supervisors: Jen Malone + Whitney Pilzer
Publisher: Air-Edel Publishing
Label: SA Recordings
Entrant: Sean Harrison at Angry Mob Music
Track: ‘Sign Of The Times’ by Harry Styles (Cover)
Composer: Steve Horner
Producer: Sean Harrison
Supervisor: Justin Kamps
Label: Angry Mob Music
Entrant: Sky UK, London
Track: ‘Outlands’ by Daft Punk
Supervisors: Sky Music
Publisher: Universal Music Publishing
Publisher Licensing Manager: Suzanne Carey
Label: Disney Music Group
Label Licensing Manager: Dominic Griffin
Executive Producers: Ceri Sampson + Ben Wickham
Entrant: Sky UK, London
Track: ‘Outlands’ by Daft Punk
Supervisors: Sky Music
Publisher: Universal Music Publishing
Publisher Licensing Manager: Suzanne Carey
Label: Disney Music Group
Label Licensing Manager: Dominic Griffin
Executive Producers: Ceri Sampson + Ben Wickham
Entrant: Sky UK, London
Track: ‘Outlands’ by Daft Punk
Supervisors: Sky Music
Publisher: Universal Music Publishing
Publisher Licensing Manager: Suzanne Carey
Label: Disney Music Group
Label Licensing Manager: Dominic Griffin
Executive Producers: Ceri Sampson + Ben Wickham
Entrant + Publisher: Wise Music Group, London
Track: ‘Pretty Flamingo’ by Manfred Mann
Supervisor: Ian Neil
Label: East Central One
Entrant: Sky Studios, London
Track: ‘Stay Away From Me’ by The Sylvers
Publishers: Kobalt Music Publishing
Label: Mr Bongo Worldwide
Supervisors: Sky Music
Entrant: Sky UK, London
Track: ‘Feet Don’t Fail Me Now’ by Joy Crookes
Supervisors: Sky Music
Publisher: BMG Rights Management (UK) / Universal Music Publishing
Label: Sony Music Entertainment UK
Entrant + Trailer House: Intermission Film, London
Track: ‘I Said Goodbye To Me’ by Harry Nilsson
Publisher: Warner Chappell North America
Label: RCA Records, a Division of Sony Music Entertainment
Production Companies: Oslo Pictures + Neon
Editor: Alex McNeil
Entrant + Trailer House: Intermission Film, London
Track: ‘I Said Goodbye To Me’ by Harry Nilsson
Publisher: Warner Chappell North America
Label: RCA Records, a Division of Sony Music Entertainment
Production Companies: Oslo Pictures + Neon
Editor: Alex McNeil
Entrant + Trailer House: Intermission Film, London
Track: ‘I Said Goodbye To Me’ by Harry Nilsson
Publisher: Warner Chappell North America
Label: RCA Records, a Division of Sony Music Entertainment
Production Companies: Oslo Pictures + Neon
Editor: Alex McNeil
Read the thinking behind their choice of tracks + see why the jury voted it THE BEST…
“Joachim Trier’s Award-winning THE WORST PERSON IN THE WORLD is a masterclass in empathy and relatability told over the course of two and a half hours with each act of the film drastically different from the next. The challenge was to bottle this special film into a suitable, graceful trailer that would do that justice without trying to tell too much.
We wanted to create a piece that would convey the erratic path of the film’s protagonist and the push and pull of the two key relationships she encounters. Harry Nillsons “I said Goodbye to Me” has a very whimsical but bittersweet melancholy running through it, much like the film, so we thought this would be the perfect choice for the trailer. We decided from the beginning that we would allow this to breathe over imagery of Julia’s restlessness, decisions, loves and losses only to interrupt the whimsy of the track with painfully relatable truths – “I love you, but I also don’t”
It was important also to capture the film’s more surreal qualities. There’s a real kinetic energy running through the film and the teaser had to capture this. At various points we play with match-cutting the two relationships as well as close-ups of her indecision in various locations. This approach felt right for a story that spans over 5 years, with a sense that we’re flicking through time without any means of stopping – fitting for a character clinging on to their 20s as 30s rears its head – a turbulent era we can all relate to.”
Read the thinking behind their choice of tracks + see why the jury voted it THE BEST…
“Joachim Trier’s Award-winning THE WORST PERSON IN THE WORLD is a masterclass in empathy and relatability told over the course of two and a half hours with each act of the film drastically different from the next. The challenge was to bottle this special film into a suitable, graceful trailer that would do that justice without trying to tell too much.
We wanted to create a piece that would convey the erratic path of the film’s protagonist and the push and pull of the two key relationships she encounters. Harry Nillsons “I said Goodbye to Me” has a very whimsical but bittersweet melancholy running through it, much like the film, so we thought this would be the perfect choice for the trailer. We decided from the beginning that we would allow this to breathe over imagery of Julia’s restlessness, decisions, loves and losses only to interrupt the whimsy of the track with painfully relatable truths – “I love you, but I also don’t”
It was important also to capture the film’s more surreal qualities. There’s a real kinetic energy running through the film and the teaser had to capture this. At various points we play with match-cutting the two relationships as well as close-ups of her indecision in various locations. This approach felt right for a story that spans over 5 years, with a sense that we’re flicking through time without any means of stopping – fitting for a character clinging on to their 20s as 30s rears its head – a turbulent era we can all relate to.”
Entrant + Publisher: Wise Music Group, London
Track: ‘Les Fleur’ by 4hero
Supervisor: Debbie Rogerson
Label: Universal
Studio: BBC Creative
Entrant + Publisher: BMG, London
Track: ‘Can You Keep A Secret’ by Chøppersaurus
Entrant: Sky UK, Sky Creative, London
Track: ‘Retrograde’ by James Blake
Supervision: Sky Music
Publisher: Universal Music Publishing
Label: Universal Music Operations
Entrant: Metronome, London
Track: ‘Space’ by Biffy Clyro feat. Walter Mair
Publisher: Concord Music Publishing + Warner Music UK
Label: Warner Music UK
Entrant + Trailer House: Intermission Film, London
Track: ‘Ritual Union’ by Little Dragon
Supervisor: Lucy Bond
Publisher: Kobalt Music Publishing
Label: Peace Frog
Entrant + Sound Design: Jack Sedgwick at King Lear Music & Sound, London
Foley: Cobblestone Foley
Agency: Uncommon
Executive Creative Director: Sam Walker
TV Producer: Jack Robinson
Head of TV: Charlie Gatsky Sinclair
Director: Sam Walker at Pulse
Editor: Joe Guest at Final Cut
Entrant + Sound Design: Jack Sedgwick at King Lear Music & Sound, London
Foley: Cobblestone Foley
Agency: Uncommon
Executive Creative Director: Sam Walker
TV Producer: Jack Robinson
Head of TV: Charlie Gatsky Sinclair
Director: Sam Walker at Pulse
Editor: Joe Guest at Final Cut
Entrant + Sound Design: Jack Sedgwick at King Lear Music & Sound, London
Foley: Cobblestone Foley
Agency: Uncommon
Executive Creative Director: Sam Walker
TV Producer: Jack Robinson
Head of TV: Charlie Gatsky Sinclair
Director: Sam Walker at Pulse
Editor: Joe Guest at Final Cut
Entrant: AOC – Attention O Chiens, France
Sound Designer: Fabrice Smadja at AOC – Attention O Chiens
Agency: Altmann + Pacreau
Entrant: Massive Music Sydney
Sound Designer: Simon Kane
Producer: Ian Lew
Agency: Spinifex Group
Entrant + Sound Design: Aaron Taffel (Rascal Post, London)
Producer: Jai Durban
Agency: The&Partnership
Entrant + Sound Design: Parv Thind + Jeff Smith (Wave Studios, London)
Producers: Rebecca Boswell + Beth Tomblin
Agency: VCCP
Entrant + Sound Design: Alex Bingham at Machine, London
Producer: Ghazal Zargar Elahi
Agency: Uncommon
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
“The new Sony Atmos products allowed us to approach this project in very much the same way we would approach a cinematic film. First, we began to create detailed sound design to support the visual narrative of the story. However, since the final delivery was intended for an immersive format, we also created many more additional layers of sound that we used to fill out the entire 360 space of the Atmos platform. By using cutting edge versions of multichannel and object-based audio software, which includes Pro Tools Ultimate and the Dolby Atmos Production Suite, among others, we were able to easily integrate the Dolby Atmos mixing workflows into our 7.1.4 studio.
The Dolby Atmos Production Suite is extremely powerful and allowed us to create a fully immersive Atmos mix that spoke very well on the new Sony Atmos speakers. Additionally the Dolby software allowed us to create a 2 channel Binaural mix directly from the multichannel Atmos mix itself. We used the Atmos mix as a starting point, then monitored using headphones, which then allowed us to further tailor the mix specifically for a binaural delivery. The sense of depth is very immersive and impressive. The main goal had always been to create something dynamic, powerful, and engaging, that could showcase the performance of the new Sony Atmos products, and these tools certainly helped us achieve that.”
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Full Credits:
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
Yessian’s Website: www.yessian.com
“The new Sony Atmos products allowed us to approach this project in very much the same way we would approach a cinematic film. First, we began to create detailed sound design to support the visual narrative of the story. However, since the final delivery was intended for an immersive format, we also created many more additional layers of sound that we used to fill out the entire 360 space of the Atmos platform. By using cutting edge versions of multichannel and object-based audio software, which includes Pro Tools Ultimate and the Dolby Atmos Production Suite, among others, we were able to easily integrate the Dolby Atmos mixing workflows into our 7.1.4 studio.
The Dolby Atmos Production Suite is extremely powerful and allowed us to create a fully immersive Atmos mix that spoke very well on the new Sony Atmos speakers. Additionally the Dolby software allowed us to create a 2 channel Binaural mix directly from the multichannel Atmos mix itself. We used the Atmos mix as a starting point, then monitored using headphones, which then allowed us to further tailor the mix specifically for a binaural delivery. The sense of depth is very immersive and impressive. The main goal had always been to create something dynamic, powerful, and engaging, that could showcase the performance of the new Sony Atmos products, and these tools certainly helped us achieve that.”
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Full Credits:
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
Yessian’s Website: www.yessian.com
Entrant + Sound Design: Zelig Sound, London
Agency: Prism Sport + Entertainment
Entrant + Sound Design: Sound Canvas, UK
Sound Designers: Tom Joyce, Jim Cornick + Damian Pace
Agency: Bolder Creative
Entrant + Sound Design: Jack Sedgwick at King Lear Music & Sound, London
Entrant + Sound Design: Zelig Sound, London
Agency: Anomaly London
Entrant + Sound Mixers: Sam Ashwell + Michalis Anthis at 750mph, London
Agency: R/GA Media Group
Agency Executive Creative Director: Nick Pringle
Agency TV Producer: David Welch
Director: Henry Hobson
Editor: Stewart Reeves at Work Editorials
Post Production: NineteenTwenty
Entrant + Sound Mixers: Sam Ashwell + Michalis Anthis at 750mph, London
Agency: R/GA Media Group
Agency Executive Creative Director: Nick Pringle
Agency TV Producer: David Welch
Director: Henry Hobson
Editor: Stewart Reeves at Work Editorials
Post Production: NineteenTwenty
Entrant + Sound Mixers: Sam Ashwell + Michalis Anthis at 750mph, London
Agency: R/GA Media Group
Agency Executive Creative Director: Nick Pringle
Agency TV Producer: David Welch
Director: Henry Hobson
Editor: Stewart Reeves at Work Editorials
Post Production: NineteenTwenty
2022’s Best Audio Mix in a Commercial was won by Sam Ashwell + Michalis Anthis at 750mph for their skilfully-crafted work on the Eurosport Winter Olympics ad.
A little behind-the-scenes info from them…
“Sound design has a leading role in this spot. Our goal was to offer the viewer a real immersive experience from the athlete’s point of view. There was no shoot sound, so most of the sound effects were recorded and built in the studio. One of the challenges was the creation of the different crowds, as they are very specific in the winter games and they vary in the size and space they are in. In order to achieve realism, we kept the sound design natural and raw and kept the cinematic element subtle.”
Watch again to hear what a spot-on mix sounds like. Brilliant work!
2022’s Best Audio Mix in a Commercial was won by Sam Ashwell + Michalis Anthis at 750mph for their skilfully-crafted work on the Eurosport Winter Olympics ad.
A little behind-the-scenes info from them…
“Sound design has a leading role in this spot. Our goal was to offer the viewer a real immersive experience from the athlete’s point of view. There was no shoot sound, so most of the sound effects were recorded and built in the studio. One of the challenges was the creation of the different crowds, as they are very specific in the winter games and they vary in the size and space they are in. In order to achieve realism, we kept the sound design natural and raw and kept the cinematic element subtle.”
Watch again to hear what a spot-on mix sounds like. Brilliant work!
Entrant + Sound Mixer: Sam Ashwell (750mph, London)
Producer: Olivia Ray
Agency: Saatchi & Saatchi London
Entrant + Sound: Factory Studios, London
Sound Mixers: Anthony Moore + James Utting
Agency: 4 Creative
Entrant + Sound: Grand Central Sound Studios, London
Sound Mixer: Raja Seghal
Agency: Wieden+Kennedy Amsterdam
Entrant + Sound: Wave Studios, New York
Sound Mixer: Aaron Reynolds
Executive Producer: Vicky Ferraro
Producer: Eleni Giannopoulos
Agency: Droga5
Entrant + Sound: Wave Studios, New York
Sound Mixer: Aaron Reynolds
Executive Producer: Vicky Ferraro
Producer: Eleni Giannopoulos
Agency: Droga5
Entrant + Sound Mixer: Steve Perski at Harbor, New York
Agency: Saatchi & Saatchi
Entrant + Sound Design: Empreinte Digitale, Paris
Sound Design + Sound Editing: Sylvain Pierre + Gwennolé Le Borgne
Re-Recording Mixer: Grégoire Couzinier
Production : Empreinte Digitale / Federation Entertainment Belgium
Director: Thierry Poiraud
Producers: Raphaël Rocher, Eric Laroche + Lionel Uzan
Entrant + Sound Design: Empreinte Digitale, Paris
Sound Design + Sound Editing: Sylvain Pierre + Gwennolé Le Borgne
Re-Recording Mixer: Grégoire Couzinier
Production : Empreinte Digitale / Federation Entertainment Belgium
Director: Thierry Poiraud
Producers: Raphaël Rocher, Eric Laroche + Lionel Uzan
Entrant + Sound Design: Empreinte Digitale, Paris
Sound Design + Sound Editing: Sylvain Pierre + Gwennolé Le Borgne
Re-Recording Mixer: Grégoire Couzinier
Production : Empreinte Digitale / Federation Entertainment Belgium
Director: Thierry Poiraud
Producers: Raphaël Rocher, Eric Laroche + Lionel Uzan
Entrant: Molinare, London
Sound Designer: Tom Jenkins
SFX Editor: Matis Rei
Re-Recording Mixer: Nigel Squibbs
Foley Mixer: Trevor Swanscott
Foley Artist: Jason Swanscott
Entrant: Molinare, London
Sound Designers: Glen Gathard, Hans Appelqvist, Emiliyan Arnaudov, Frank Pleece, Adam Oakley, Chad Raymond
Foley Editors: Alex Robson, Paolo Pavesi, Guy Mallett
Re-Recording Mixers: Brad Rees, James Doyle
Sound Producer: Zoe Fawcett
Foley Artists: Zoe Freed, Rebecca Heathcote
Entrant: Molinare, London
Sound Designers: Glen Gathard, Jamie Allen + Frank Pleece
Supervising Sound Editor: Glen Gathard
Re-Recording Mixer: Nigel Heath
Sound Producer: Zoe Fawcett
Foley Artists: Zoe Freed + Rebecca Heathcote
Entrant + Sound Design: Adam Davidson + Joe Fletcher at Company 3, London
Entrant: Molinare, London
Sound Designers: Paul Knight, Glen Gathard + Fede Modanese
Supervising Sound Editor: Glen Gathard
Re-Recording Mixer: Nigel Heath
Sound Producer: Zoe Fawcett
Foley Artists: Zoe Freed + Rebecca Heathcote
Entrant + Sound Design: TiMi Studio Group, Chengdu
Sound Design: Source Sound inc, TiMi Audio Lab
Entrant + Sound Design: TiMi Studio Group, Chengdu
Sound Design: Source Sound inc, TiMi Audio Lab
Entrant + Sound Design: TiMi Studio Group, Chengdu
Sound Design: Source Sound inc, TiMi Audio Lab
Entrant: Ardimages UK
Sound Designer: Louise Burton
Entrant: TiMi Studio Group, Chengdu
Sound Design: Source Sound inc, TiMi Audio Lab
Entrant + Sound Designer: Sam Ashwell + Ellis McGourlay at 750mph, London
Entrant: TiMi Studio Group, Chengdu
Sound Design: Source Sound inc, TiMi Audio Lab
Entrant + Sound Design: benzēne, Paris
Sound Designer: Hugo Escuriol
Producer: Marion Willemaët
Entrant + Game Publisher: Sony Interactive Entertainment, California
Sound Team: Bastian Seelbach, Anton Woldhek, Jacopo Consonni, Lovisa Bergdahl, Nick van Kleef, Pinar Temiz, Arjen Schut, George Vlad, Gijs Driesenaar, Jonathan Howe, Lewis James, Ramon Kerstens, Ruben Bergshoeff, Casey Slocum, Jeremie Voillot, Phil Kovats, Dennis Bestafka, Safar Bake, Jon Rook, Justin E. Bell, Aaron Sanchez, Robert Castro, Andres Herrera, Maria Rascon, TJ Schauer, David Goll, Derrick Espino, Michael Kent, Blake Collins, Joanna Fang, Ash Read, Ben Pantelis, Lewis Everest, Lewis Barn, Fabio Liutina, Samuel Justice, Eilam Hoffman, Jay Jennings, Robert Kellough, Graham Donnelly, David Whitehead, Tobias Poppe + Michelle Child
Entrant + Game Publisher: Sony Interactive Entertainment, California
Sound Team: Bastian Seelbach, Anton Woldhek, Jacopo Consonni, Lovisa Bergdahl, Nick van Kleef, Pinar Temiz, Arjen Schut, George Vlad, Gijs Driesenaar, Jonathan Howe, Lewis James, Ramon Kerstens, Ruben Bergshoeff, Casey Slocum, Jeremie Voillot, Phil Kovats, Dennis Bestafka, Safar Bake, Jon Rook, Justin E. Bell, Aaron Sanchez, Robert Castro, Andres Herrera, Maria Rascon, TJ Schauer, David Goll, Derrick Espino, Michael Kent, Blake Collins, Joanna Fang, Ash Read, Ben Pantelis, Lewis Everest, Lewis Barn, Fabio Liutina, Samuel Justice, Eilam Hoffman, Jay Jennings, Robert Kellough, Graham Donnelly, David Whitehead, Tobias Poppe + Michelle Child
Entrant + Game Publisher: Sony Interactive Entertainment, California
Sound Team: Bastian Seelbach, Anton Woldhek, Jacopo Consonni, Lovisa Bergdahl, Nick van Kleef, Pinar Temiz, Arjen Schut, George Vlad, Gijs Driesenaar, Jonathan Howe, Lewis James, Ramon Kerstens, Ruben Bergshoeff, Casey Slocum, Jeremie Voillot, Phil Kovats, Dennis Bestafka, Safar Bake, Jon Rook, Justin E. Bell, Aaron Sanchez, Robert Castro, Andres Herrera, Maria Rascon, TJ Schauer, David Goll, Derrick Espino, Michael Kent, Blake Collins, Joanna Fang, Ash Read, Ben Pantelis, Lewis Everest, Lewis Barn, Fabio Liutina, Samuel Justice, Eilam Hoffman, Jay Jennings, Robert Kellough, Graham Donnelly, David Whitehead, Tobias Poppe + Michelle Child
Entrant: 343 Industries, Microsoft Corporation
Sound Team:
Kyle Fraser, Jomo Kangethe, Robbie Elias, Chase Thompson, Noa Lothian, Daniel Raimo, Pax Helgesen, Nick D’Amato, Gary Spinrad, Michael Leaning, Stefan Rutherford, Mitchell Osias, Bryan O. Watkins, Andrew Lackey, Matthew Wesdock, Laura Taylor, David Farmer, Robert Blake, Adam Boyd, Graham Donnelly, Paul Hackner, John Loranger, Barney Oram, Frank Petreikis, Austin Shannon, Chris Sweetman, Zeke Fenelon, Stephen Brown, Adam Croft, Joshua De Chene, Thornton Prime VI, Kochun Hu, Ben Kersten, Spencer Riedel, Joshua Bandy, Monet Gardiner + Peter Von Sturmer
Entrant: Frontier Developments, UK
Head of Audio: Jim Croft
Senior Audio Producer: Alex Vincent
Dialogue Manager: James Stant
Audio Lead: Duncan MacKinnon
Senior Audio Designers: Valentin Goellner, Michael Maidment, James Stant, Dylan Vadamootoo
Audio Designers: Henry Flewitt, Matthew Mainprize
Additional Audio Designers: Pablo Canas, Jim Croft, Matthew Florianz, Ben Scholey, Ross Stack, Sound Out Studios, Matteo Tummino
Entrant + Developer: Supermassive Games, UK
Sound Designers: Adele Cutting, Chris Jolley, Lewis Thompson, Greg Lester, Wilfried Nass, Chris Randle, Morgan Carparelli, Alison Bown, Dan Meadowcroft
Entrant + Developer: Creative Assembly, UK
Sound Team: Peter Tolnay, Tom McCaren, David Osternacher, Valentin Göllner, Aaron Holland, Liam Price, Yavor Lazov, Alex Hynes, Christopher Quinn, Juuso Tolonen, Matthew Bradley, Josh Croft, Martin Stavrev, Daniel Matarov, Edward Lau, Dimitar Bankov, Joseph Exell, Matt McCamley, Tony Gibson, Lewis Todd, Stefano Marchetti, Dan Johnson, Jemma Riley-Tolch, Rebecca Heathcote, David Philipp, Byron Bullock, Jack Webber, Matteo Lupieri, Jonathan Bell, Lorenzo Piani, Thomas De Deyn, Kiril Petrushev, James Doyle, Matt Ray + Richard Beddow
Entrant + Sound: Vibe Avenue, Montreal
Developer: Tuque Games
Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London
Sound Producer: Sian Hagan
Director: Jessica Mallett + Josh Bawler
Editor: Joseph O’Shea
Post Production Producer: Adam Vessey
Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London
Sound Producer: Sian Hagan
Director: Jessica Mallett + Josh Bawler
Editor: Joseph O’Shea
Post Production Producer: Adam Vessey
Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London
Sound Producer: Sian Hagan
Director: Jessica Mallett + Josh Bawler
Editor: Joseph O’Shea
Post Production Producer: Adam Vessey
Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London
Producer: Sian Hagan
Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London
Producer: Sian Hagan
Entrant + Sound Design: Factory Studios, London
Sound Designer: Mark Hills
Producer: Deborah Whitfield
Entrant + Sound Design: Will Cohen + Culum Simpson at String and Tins, London
Producers: Eimear Ní Ghuaire + Alina Miroshnichenko
Entrant + Game Developer: Frontier Developments plc, UK
Sound Designer: Jamie Lewis
Producers: Alex Vincent + Alex Modolo
Sound Mixer: Jamie Lewis
Voice-Over Artist: Alec Newman
Director: Will Adams
Production Company Producers: Thomas Oger + Anton Söderhäll
Executive Producer: Tom Hawkins
Editor: Will Adams
Trailer House: Goodbye Kansas
Entrant + Game Developer: Frontier Developments plc, UK
Sound Designer: Jamie Lewis
Producers: Alex Vincent + Alex Modolo
Sound Mixer: Jamie Lewis
Voice-Over Artist: Alec Newman
Director: Will Adams
Production Company Producers: Thomas Oger + Anton Söderhäll
Executive Producer: Tom Hawkins
Editor: Will Adams
Trailer House: Goodbye Kansas
Entrant + Game Developer: Frontier Developments plc, UK
Sound Designer: Jamie Lewis
Producers: Alex Vincent + Alex Modolo
Sound Mixer: Jamie Lewis
Voice-Over Artist: Alec Newman
Director: Will Adams
Production Company Producers: Thomas Oger + Anton Söderhäll
Executive Producer: Tom Hawkins
Editor: Will Adams
Trailer House: Goodbye Kansas
“The new Sony Atmos products allowed us to approach this project in very much the same way we would approach a cinematic film. First, we began to create detailed sound design to support the visual narrative of the story. However, since the final delivery was intended for an immersive format, we also created many more additional layers of sound that we used to fill out the entire 360 space of the Atmos platform. By using cutting edge versions of multichannel and object-based audio software, which includes Pro Tools Ultimate and the Dolby Atmos Production Suite, among others, we were able to easily integrate the Dolby Atmos mixing workflows into our 7.1.4 studio.
The Dolby Atmos Production Suite is extremely powerful and allowed us to create a fully immersive Atmos mix that spoke very well on the new Sony Atmos speakers. Additionally the Dolby software allowed us to create a 2 channel Binaural mix directly from the multichannel Atmos mix itself. We used the Atmos mix as a starting point, then monitored using headphones, which then allowed us to further tailor the mix specifically for a binaural delivery. The sense of depth is very immersive and impressive. The main goal had always been to create something dynamic, powerful, and engaging, that could showcase the performance of the new Sony Atmos products, and these tools certainly helped us achieve that.”
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Full Credits:
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
“The new Sony Atmos products allowed us to approach this project in very much the same way we would approach a cinematic film. First, we began to create detailed sound design to support the visual narrative of the story. However, since the final delivery was intended for an immersive format, we also created many more additional layers of sound that we used to fill out the entire 360 space of the Atmos platform. By using cutting edge versions of multichannel and object-based audio software, which includes Pro Tools Ultimate and the Dolby Atmos Production Suite, among others, we were able to easily integrate the Dolby Atmos mixing workflows into our 7.1.4 studio.
The Dolby Atmos Production Suite is extremely powerful and allowed us to create a fully immersive Atmos mix that spoke very well on the new Sony Atmos speakers. Additionally the Dolby software allowed us to create a 2 channel Binaural mix directly from the multichannel Atmos mix itself. We used the Atmos mix as a starting point, then monitored using headphones, which then allowed us to further tailor the mix specifically for a binaural delivery. The sense of depth is very immersive and impressive. The main goal had always been to create something dynamic, powerful, and engaging, that could showcase the performance of the new Sony Atmos products, and these tools certainly helped us achieve that.”
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Full Credits:
Entrant + Sound Facility: Yessian Music
Lead Sound Designer: Jeff Dittenber
Sound Mixer: Scott Gatteño
Additional Sound Development: Ben Lantz + Mike Baluha
Executive Producer/CCO: Brian Yessian
Head of Production/Partner: Michael Yessian
Agency: Midnight Sherpa
Creative Director: Miguel Lee
Executive Producer: Alex More
Entrant + Sound Design: Factory Studios, London
Sound Designer: Phil Bolland
Producer: Louise Allen
Game Company: Riot Games
Entrant + Supervising Sound Editor: James Cobbold at Machine, London
Sound Designers: James Cobbold, Nigel Manington + Gez Lloyd
Producer: Ghazal Zargar Elahi
Entrant + Sound Design: Alex Bingham at Machine, London
Producer: Ghazal Zargar Elahi
Entrant + Sound Design: Sam Ashwell + Mark Hellaby at 750mph, London
Producers: Martin Critchley + Olivia Ray
Entrants + Sound Design: Magnus Arwenhed, Dougie Brown + Max Juras at Makewaves Audio, Stockholm
Producer: Makewaves Audio
Game Developer: CCP Games
Entrant + Sound Design: Zelig Sound, London
Agency: Viacom
Entrant + Sound Design: Zelig Sound, London
Agency: Viacom
Entrant + Sound Design: Zelig Sound, London
Agency: Viacom
Entrant + Sound Design: Factory Studios, London
Sound Designer: James Utting
Producer: Beth Massey
Agency: Worldwide London
Entrant + Sound Design: Intermission Film, London
Sound Designer: Lennart Kleinen at Klevr Sound Design
Entrant + Sound Design: Zelig Sound, London
Entrant + Publisher: Joseph Cullen at Cavendish Music, London
Track: ‘Agniloka’ by Dom Howard
Supervisor: Lauren Wilson at Record Play
Publishing Licensing Manager: Tammy Tinawi
Label Licensing Manager: Lauren Wilson
Entrant + Publisher: Joseph Cullen at Cavendish Music, London
Track: ‘Agniloka’ by Dom Howard
Supervisor: Lauren Wilson at Record Play
Publishing Licensing Manager: Tammy Tinawi
Label Licensing Manager: Lauren Wilson
Entrant + Publisher: Joseph Cullen at Cavendish Music, London
Track: ‘Agniloka’ by Dom Howard
Supervisor: Lauren Wilson at Record Play
Publishing Licensing Manager: Tammy Tinawi
Label Licensing Manager: Lauren Wilson
Entrant: Nick Crane at Racket Club, New York. Track: ‘A Winning Hand’ by Dean Landon + Caron Nightingale. Publisher: CRML. Label: Warner Chappell Production Music. Supervisor: Gavin Carroll. Agency: 22 Squared, Tampa
Entrant + Publisher: Extreme Music, London. Track: ‘Every Little Bit Vox’ by Jackie James + Ian Curnow. Supervisor: Daniel Olaifa. Agency: BBH London
Entrant + Publisher: Extreme Music, London. Tracks: ‘Daring Dirndl’ by Werner Tautz + ‘The Amazing Mozzerellas’ by Jim Blake Music. Supervision: Cossette Communications / Vapor Music
Entrant + Publisher: Howling Music, Tennessee. Track: ‘Sweeter Than Wine’ by Leif Shires. Agency: Special Group
Entrant + Publisher: Extreme Music, London. Track: ‘Always Go The Distance’ by Lee Richardson, Jonathan Murrill, Tom Ford, James Carlo + Giorgio Cocozza. Supervisor: Phil Lawlor at Big Sync Music
Entrant + Music Supervision: MassiveMusic, Warsaw
Track: ‘You Got Me Started’ by Leigh Gracie
Publisher + Label: Music House (International)
Supervisors: Christopher Sulenta, Marianna Kosch, Zofia Dutkowska + Piotr Ćwikliński
Agency: Focus Nation
Director: Nathaniel Czarnecki
Production Company: Mamy To!
Post Production Company: Znane Studio
Entrant + Music Supervision: MassiveMusic, Warsaw
Track: ‘You Got Me Started’ by Leigh Gracie
Publisher + Label: Music House (International)
Supervisors: Christopher Sulenta, Marianna Kosch, Zofia Dutkowska + Piotr Ćwikliński
Agency: Focus Nation
Director: Nathaniel Czarnecki
Production Company: Mamy To!
Post Production Company: Znane Studio
Entrant + Music Supervision: MassiveMusic, Warsaw
Track: ‘You Got Me Started’ by Leigh Gracie
Publisher + Label: Music House (International)
Supervisors: Christopher Sulenta, Marianna Kosch, Zofia Dutkowska + Piotr Ćwikliński
Agency: Focus Nation
Director: Nathaniel Czarnecki
Production Company: Mamy To!
Post Production Company: Znane Studio
This year MassiveMusic Warsaw won BEST USE OF PRODUCTION MUSIC IN ONLINE, VIRAL + AMBIENT ADVERTISING with the use of Leigh Gracie’s track ‘You Got Me Started’ on the Rakiety Foundation ‘Houston we have a percentage to collect’ spot.
Rakiety Oncology Foundation is a charity who deals with activities aimed at organizing the continuation of treatment for Ukrainian cancer patients in Poland.
MassiveMusic describe how they knew immediately it was the perfect track…
“What is the daily life of cancer patients? Every day they are suspended between the disease and everyday life. That’s why we can compare their struggle to the most challenging mission in the history of humankind – Apollo 13. We were invited to this critical project to determine the musical direction and find a suitable song to emphasize the message and express appropriate emotions on the spot.
We knew right from the beginning that we wanted to convey hope through the song. This emotion is the most important for us here. We also wanted a warm sound, so we looked for pieces that had a natural warmth resulting from the use of tubes during mixing/mastering. The obvious direction for us was Soul from the 60s/70s, with just the suitable break to indicate the climax. Hearing the words “You got me started anew. In a way, you know you gave me a choice,” we knew we had it. We met every one of our objectives, and the spot became complete.”
This year MassiveMusic Warsaw won BEST USE OF PRODUCTION MUSIC IN ONLINE, VIRAL + AMBIENT ADVERTISING with the use of Leigh Gracie’s track ‘You Got Me Started’ on the Rakiety Foundation ‘Houston we have a percentage to collect’ spot.
Rakiety Oncology Foundation is a charity who deals with activities aimed at organizing the continuation of treatment for Ukrainian cancer patients in Poland.
MassiveMusic describe how they knew immediately it was the perfect track…
“What is the daily life of cancer patients? Every day they are suspended between the disease and everyday life. That’s why we can compare their struggle to the most challenging mission in the history of humankind – Apollo 13. We were invited to this critical project to determine the musical direction and find a suitable song to emphasize the message and express appropriate emotions on the spot.
We knew right from the beginning that we wanted to convey hope through the song. This emotion is the most important for us here. We also wanted a warm sound, so we looked for pieces that had a natural warmth resulting from the use of tubes during mixing/mastering. The obvious direction for us was Soul from the 60s/70s, with just the suitable break to indicate the climax. Hearing the words “You got me started anew. In a way, you know you gave me a choice,” we knew we had it. We met every one of our objectives, and the spot became complete.”
Entrant + Music Supervision: MassiveMusic, Warsaw. Track: ‘You Got Me Started’ by Leigh Gracie. Publisher + Label: Music House (International). Supervisors: Christopher Sulenta, Marianna Kosch, Zofia Dutkowska + Piotr Ćwikliński. Agency: Focus Nation
Entrant + Publisher: BMG Production Music, London. Track: ‘Port of Entry’ by Edward Ross Lar + Stephen Edward Coleman. Label: Sounds of Red Bull
Entrant + Music Supervision: MassiveMusic, Warsaw. Track: ‘Carmen, Habanero’ by Georges Bizet. Publisher: Upright Music. Supervisors: Christopher Sulenta, Michał Krajewski, Marianna Kosch + Aneta Kabsa. Agency: 180 heartbeats JUNG v MATT
Entrant + Publisher: London Sync, London. Track: ‘Mind Tunnel’ by Michael Burns
Entrant + Music Supervision: MassiveMusic, Warsaw. Track: ‘Soul Woman’ by Antoinette Halliday, Jeremy Noel William Abbott + Louise Bernadette Dowd. Publisher: Focus Music. Sub Publisher: Universal Production Music. Supervisors: Michał Krajewski, Christopher Sulenta, Marianna Kosch, Zofia Dutkowska + Piotr Ćwikliński. Agency: Visual Crafters
Entrant + Music Supervision: MassiveMusic, Warsaw. Track: ‘Maze’ by James Donald Davies, Martin Neil Jackson + Skip Armstrong. Publisher: KPM Music. Label: Music House – New Series. Supervisors: Michał Krajewski, Christopher Sulenta, Marianna Kosch, Zofia Dutkowska + Piotr Ćwikliński. Agency: Visual Crafters
Entrant + Publisher: Cavendish Music, London
Track: Acapella Arrangement of Gregorio Allegro’s ‘Miserere Mei, Deus’ by Bill Connor
Label: Cavendish Classical
Supervisor: Ian Neil
Director: Matt Smith
Entrant + Publisher: Cavendish Music, London
Track: Acapella Arrangement of Gregorio Allegro’s ‘Miserere Mei, Deus’ by Bill Connor
Label: Cavendish Classical
Supervisor: Ian Neil
Director: Matt Smith
Entrant + Publisher: Cavendish Music, London
Track: Acapella Arrangement of Gregorio Allegro’s ‘Miserere Mei, Deus’ by Bill Connor
Label: Cavendish Classical
Supervisor: Ian Neil
Director: Matt Smith
Entrant + Publisher / Label: London Sync
Track: ‘The Wonder of Science’ by Michael Burns
Entrant + Publisher: Extreme Music, London
Track: ‘The Fault Lines’ by David O’Dowda
Label: Velvet Ears
Entrant + Publisher / Label: London Sync
Track: ‘Undisclosed Information’ by Michael Burns
Studio: Channel 5
Entrant + Publisher: KPM Music, London
Track: ‘Destiny Approaching’ by Jamie Salisbury
Studio: BBC Wales
Entrant + Publisher: Extreme Music, London
Track: ‘Half Blood’ by Trevor Morris
Entrant + Publisher: Extreme Music, London
Track: ‘Near Light Speed’ by Edward McCormack III, Bruce Fingers + Billy Ray Fingers
Entrant + Label: Power-Haus Creative, London
Track: ‘Balder’ by Christian Reindl
Trailer House + Supervision: Empire Design
Publisher: A&G Songs
Publisher Licensing Manager: Kiran Patel
Label: A&G Records / Power-Haus Creative
Label Licensing Manager: Will Chadwick
Director: Paolo Sorrentino
Producer: Lorenzo Mieli
Production Company: The Apartment Pictures, a Fremantle Company
Studio: Netflix
Entrant + Label: Power-Haus Creative, London
Track: ‘Balder’ by Christian Reindl
Trailer House + Supervision: Empire Design
Publisher: A&G Songs
Publisher Licensing Manager: Kiran Patel
Label: A&G Records / Power-Haus Creative
Label Licensing Manager: Will Chadwick
Director: Paolo Sorrentino
Producer: Lorenzo Mieli
Production Company: The Apartment Pictures, a Fremantle Company
Studio: Netflix
Entrant + Label: Power-Haus Creative, London
Track: ‘Balder’ by Christian Reindl
Trailer House + Supervision: Empire Design
Publisher: A&G Songs
Publisher Licensing Manager: Kiran Patel
Label: A&G Records / Power-Haus Creative
Label Licensing Manager: Will Chadwick
Director: Paolo Sorrentino
Producer: Lorenzo Mieli
Production Company: The Apartment Pictures, a Fremantle Company
Studio: Netflix
Entrant + Label: Power-Haus Creative, London
Track: ‘Balder’ by Christian Reindl
Trailer House + Supervision: Empire Design
Publisher: A&G Songs
Publisher Licensing Manager: Kiran Patel
Label: A&G Records / Power-Haus Creative
Label Licensing Manager: Will Chadwick
Director: Paolo Sorrentino
Producer: Lorenzo Mieli
Production Company: The Apartment Pictures, a Fremantle Company
Studio: Netflix
Entrant + Label: Power-Haus Creative, London
Track: ‘Balder’ by Christian Reindl
Trailer House + Supervision: Empire Design
Publisher: A&G Songs
Publisher Licensing Manager: Kiran Patel
Label: A&G Records / Power-Haus Creative
Label Licensing Manager: Will Chadwick
Director: Paolo Sorrentino
Producer: Lorenzo Mieli
Production Company: The Apartment Pictures, a Fremantle Company
Studio: Netflix
Entrant + Publisher: KPM Music, London
Tracks: ‘Sunny Stroll’ by John Altman + ‘Sing Along’ by Tom Bowler
Supervisor: Calum Brice-Stevens
Trailer House: Empire Design
Entrant + Publisher / Label: VideoHelper, New York
Track: ‘Heroes Among Us’ by Florian Gravouil
Studios: National Geographic + Disney+
Entrant + Publisher: Extreme Music, London
Track: ‘We Just Get One Life’ by Tony Stafford Jr, Michael Smith + Nineoneone,
Trailer House: Silk Factory
Entrant + Publisher: KPM Music, London
Track: ‘We’re Unstoppable’ by Harlin James, Clav + Dumi Maraire
Supervisor: Rosie Stephens
Studio: Warner Bros.
Trailer House: Create Advertising
Entrant + Trailer House: Intermission Film, London
Track: ‘Exoplanets’ by Harry Lightfoot
Publisher: Naomiville Music
Label: Audiomachine
Editors: Theo Newman + Olle Zwemmer
BEST USE OF PRODUCTION MUSIC IN A GAME TRAILER / PROMO
BEST USE OF PRODUCTION MUSIC IN A GAME TRAILER / PROMO
The Quarry
Entrant: Supermassive Games / 2K Games, California
Track 1: ‘Tomb’ by Richard Schreiber – Elephant Music Global
Track 2: ‘Kumbaya’ by Justin Knox – BMG Production Music
Trailer House: 2K Games
Entrant + Trailer House: Intermission Film, London
Track: ‘Exoplanets’ by Harry Lightfoot
Publisher: Naomiville Music
Label: Audiomachine
Editors: Theo Newman + Olle Zwemmer
BEST USE OF PRODUCTION MUSIC IN A GAME TRAILER / PROMO
BEST USE OF PRODUCTION MUSIC IN A GAME TRAILER / PROMO
The Quarry
Entrant: Supermassive Games / 2K Games, California
Track 1: ‘Tomb’ by Richard Schreiber – Elephant Music Global
Track 2: ‘Kumbaya’ by Justin Knox – BMG Production Music
Trailer House: 2K Games
Entrant + Trailer House: Intermission Film, London
Track: ‘Exoplanets’ by Harry Lightfoot
Publisher: Naomiville Music
Label: Audiomachine
Editors: Theo Newman + Olle Zwemmer
BEST USE OF PRODUCTION MUSIC IN A GAME TRAILER / PROMO
BEST USE OF PRODUCTION MUSIC IN A GAME TRAILER / PROMO
The Quarry
Entrant: Supermassive Games / 2K Games, California
Track 1: ‘Tomb’ by Richard Schreiber – Elephant Music Global
Track 2: ‘Kumbaya’ by Justin Knox – BMG Production Music
Trailer House: 2K Games
Entrant + Publisher / Label: VideoHelper, New York
Track: ‘Funk Muscle’ by Aaron Sapp
Entrant + Publisher: Extreme Music, London
Track: ‘Buckets’ by Jesse Littleton
Artist: Gran Bel Fisher
Supervision: HBO
Entrant + Publisher: Extreme Music, London
Track: ‘My New Life’ by Daniel Farrant, Nicholas Kingsley + Romy Florin
Entrant + Publisher: Joseph Cullen at Cavendish Music, London
Track: ‘Enter The End Game’ by Lawrence Mau-Yip Wong
Supervisor: Joanna Gregory
Label: Abaco Music
Studio: BBC Studios
Entrant + Composer: Nathalie Bonin, Los Angeles
Track: ‘Euphoria’ by Nathalie Bonin
Publisher / Label: Mpath
Studio: CBS
Entrant: Supermassive Games / 2K Games, California
Track 1: ‘Tomb’ by Richard Schreiber – Elephant Music Global
Track 2: ‘Kumbaya’ by Justin Knox – BMG Production Music
Trailer House: 2K Games
Entrant: Supermassive Games / 2K Games, California
Track 1: ‘Tomb’ by Richard Schreiber – Elephant Music Global
Track 2: ‘Kumbaya’ by Justin Knox – BMG Production Music
Trailer House: 2K Games
Entrant: Supermassive Games / 2K Games, California
Track 1: ‘Tomb’ by Richard Schreiber – Elephant Music Global
Track 2: ‘Kumbaya’ by Justin Knox – BMG Production Music
Trailer House: 2K Games
Entrant + Publisher: Extreme Music, London
Track: ‘This is the End’ by Lee Richardson, Jonathan Murrill, Tom Ford, James Cocozza + Raxstar
Game Co: Ubisoft Entertainment
Entrant + Publisher: Extreme Music, London
Track: ‘War ft. Skrilla Da Kid’ by Raphael Lake, Wesley Smith Jr + Aaron Levy
Entrant + Label: BMG Production Music, London
Track: ‘Storm The Castle’ by Brian Rogers
Publisher: Super Pooch Publishing
Entrant + Publisher: Extreme Music, London
Track: ‘Who Want It’ by Raphael Lake, Aaron Levy + Wesley Smith Jr
Game Co: Epic Games Publishing
Entrant + Supervisor Co: Chut! on vous écoute, Paris
Original Track: ‘Mr Sandman’ The Chordettes
Re-Record Arrangers: Arnaud Astruc + Benjamin Fournier-Bidoz
Music Producer: Nicolas Duperron
Re-Record Vocals: Krystle Warren
Agency: Orès Group
Agency Exec Creative Director: Souen Le Van
Agency TV Producer: Timothé Rosenberg
Director: Wanda / Ivan Grbovic
Producer: Olivier Dubocage
Entrant + Supervisor Co: Chut! on vous écoute, Paris
Original Track: ‘Mr Sandman’ The Chordettes
Re-Record Arrangers: Arnaud Astruc + Benjamin Fournier-Bidoz
Music Producer: Nicolas Duperron
Re-Record Vocals: Krystle Warren
Agency: Orès Group
Agency Exec Creative Director: Souen Le Van
Agency TV Producer: Timothé Rosenberg
Director: Wanda / Ivan Grbovic
Producer: Olivier Dubocage
Entrant + Supervisor Co: Chut! on vous écoute, Paris
Original Track: ‘Mr Sandman’ The Chordettes
Re-Record Arrangers: Arnaud Astruc + Benjamin Fournier-Bidoz
Music Producer: Nicolas Duperron
Re-Record Vocals: Krystle Warren
Agency: Orès Group
Agency Exec Creative Director: Souen Le Van
Agency TV Producer: Timothé Rosenberg
Director: Wanda / Ivan Grbovic
Producer: Olivier Dubocage
Arranger: Aurora, Entrant: Leland Music
Arranger: Nick Foster & Ben Foster, Entrant: Soundtree Music, RKCR/Y&R
Arrangers: Evan Jolly, Peter Raeburn & Luke Fabia, Entrant: Soundtree Music
Composer: Walter Mair
Entrant: SIREN
Entrant: MassiveMusic Sydney
Original Track: ‘Feeling Good’ Nina Simone
Re-Record Arranger: Lance Gurisik
Re-Record Vocals: Azure
Agency: Leo Burnett Australia
Entrant + Re-Record Arrangers: Benson Herbert + Tom Field at Trait Sound, London
Original Track: ‘I Feel Love’ Donna Summer
Publisher: Sunday Music
Agency: The & Partnership
Entrant + Supervisor Co: Supreme Music, Berlin
Original Track: ‘It’s My Life’ Bon Jovi
Re-Record Arranger: Florian Lakenmacher
Re-Record Vocals: Julius Gause
Agency: Serviceplan Campaign 3 GmbH
Entrant: James Radford at Radford Music, London
Original Track: ‘Bring Me Sunshine’ Arthur Kent + Sylvia Dee
Re-Record Arrangers: James Radford, Ben Robbins + Morgan Pochin
Re-Record Vocals: Beth McCarthy
Publisher: Wise Music
Entrant + Re-Record Arrangers: Zelig Sound, London
Original Track: ‘Smile’ Charlie Chaplin, John Turner + Geoffrey Parsons
Re-Record Vocals: Joy Crookes
Publisher: Bourne
Agency: Carmelo & Willy, Madrid
Entrant + Re-Record Arranger: Sam Foster at Foster & Foster Music, London
Orginal Track: ‘Carol of the Bells’ by Mykola Leontovych
Re-Record Vocals: Bristol University Singers
Agency: Wonderhood Studios
Agency Creative Directors: Stacey Bird + Jack Croft
Agency Exec Creative Director: Aidan McClure
Agency TV Producer: Nikki Holbrow
Production Company: Odelay Films
Director: Joe And Tim
Producer: Cesci Shepherd
Executive Producer: Prudence Beecroft
Editors: Saam Hodivala + Adam Buckmaster at Shift Post
Entrant + Re-Record Arranger: Sam Foster at Foster & Foster Music, London
Orginal Track: ‘Carol of the Bells’ by Mykola Leontovych
Re-Record Vocals: Bristol University Singers
Agency: Wonderhood Studios
Agency Creative Directors: Stacey Bird + Jack Croft
Agency Exec Creative Director: Aidan McClure
Agency TV Producer: Nikki Holbrow
Production Company: Odelay Films
Director: Joe And Tim
Producer: Cesci Shepherd
Executive Producer: Prudence Beecroft
Editors: Saam Hodivala + Adam Buckmaster at Shift Post
Entrant + Re-Record Arranger: Sam Foster at Foster & Foster Music, London
Orginal Track: ‘Carol of the Bells’ by Mykola Leontovych
Re-Record Vocals: Bristol University Singers
Agency: Wonderhood Studios
Agency Creative Directors: Stacey Bird + Jack Croft
Agency Exec Creative Director: Aidan McClure
Agency TV Producer: Nikki Holbrow
Production Company: Odelay Films
Director: Joe And Tim
Producer: Cesci Shepherd
Executive Producer: Prudence Beecroft
Editors: Saam Hodivala + Adam Buckmaster at Shift Post
Entrant + Music Supervision Co: Big Sync Music, London
Original Track: ‘Can’t Get You out of My Head’ by Kylie Minogue
Re-Record: ‘Can’t Get You out of My Head’ by Kylie Minogue (Peggy Gou’s Midnight Remix)’
Supervisors: Dominic Caisley, Lauren Thackray + Commie McMullen
Publishers: Sony Music Publishing + Universal Publishing
Agency: LOLA MullenLowe
Entrant, Re-Record Arranger + Supervisor: Walter Werzowa at Musikvergnuegen, Los Angeles
Original Track: Beethoven’s 10th Symphony
Re-Record: Beethoven X – The AI Project, Symphony No. 10
Agency: DDB Group Germany
Entrant + Supervision Co: TRO Music, Sound and Voice for Brands, Berlin
Original Track: ‘Major Tom’ by Peter Schilling
Re-Record Arranger: Markus Sasse
Supervisor: Matteo Ponzetta
Re-Record Vocals: Pascal Cürsgen + Clarissa Walter
Publisher: WM Germany
Entrant + Supervision Co: The Hogan
Original Track: ‘Clair De Lune’ by Debussy
Supervisor: Sean Hogan
Re-Record Arranger: Eleni Hassabis
Agency: Mother London
Entrants: GrandSon + REPEATER, Los Angeles
Original Tracks: ‘Crimes of the Future’ by Howard Shore + ‘Black Water’ by REPEATER (Anthony Baldino)
Supervisor: Maggie Baron
Trailer House: GrandSon
Entrants: GrandSon + Safari Riot, Los Angeles. Original Track: ‘Waiting for Tonight’ by Jennifer Lopez. Re-Record Arranger: Kevin Breton. Supervisor: Will Quiney + Maggie Baron. Trailer House: GrandSon. Studio: Netflix
Entrants: GrandSon + REPEATER, Los Angeles. Original Tracks: ‘Crimes of the Future’ by Howard Shore + ‘Black Water’ by REPEATER (Anthony Baldino). Supervisor: Maggie Baron. Trailer House: GrandSon
Entrant: BMG, London. Original Track: Theme from ‘Jurassic Park’ by John Williams. Publisher: Songs Of Universal / Universal Music Group. Re-Record Arranger: Jonathon Deering / BMG Bespoke. Supervisor: Matthew Tolhurst at Inside Job. Studio: NBC Universal
Entrant + Publisher: Exodus Music, California. Original Track: ‘Who’s Sorry Now’ by Kalahara. Re-Record Vocals: Lydia Kaye. Trailer House: Mobscene. Studio: Paramount
Entrant + Music Supervision Co: Elephant Music, London
Original Track: ‘Somewhere Only We Know’ by Keane
Re-Record Arrangers: Guy Jones + Aaron Harris
Publishing License Manager: Vikram Gudi
Studio: Netflix
Trailer House: Mocean
Entrant + Music Supervision Co: Elephant Music, London
Original Track: ‘Somewhere Only We Know’ by Keane
Re-Record Arrangers: Guy Jones + Aaron Harris
Publishing License Manager: Vikram Gudi
Studio: Netflix
Trailer House: Mocean
Entrant + Music Supervision Co: Elephant Music, London
Original Track: ‘Somewhere Only We Know’ by Keane
Re-Record Arrangers: Guy Jones + Aaron Harris
Publishing License Manager: Vikram Gudi
Studio: Netflix
Trailer House: Mocean
Entrant + Music Supervision: Emma Allaway at Rubato Music, UK
Original Track: ‘Your Protector’ by Fleet Foxes
Artist: Fort Nowhere x Rubato
Producer: Lucy Bond
Editor: Jed Finkelstein
Publisher: Kobalt
Trailer House: Intermission Film
Studio: Netflix
Entrant: Power-Haus Creative, London
Original Track: ‘It’s Gotta Be Me’ by Sammy Davis Jr
Re-Record Arranger: Christian Reindl
Supervisor: Natalie Wali at Zealot
Publisher: Warner Chappell
Studio: Hulu
Entrant: The Crystal Creative, Oregon
Original Tracks: ‘Work To Do’ by Average White Band + ‘California Soul (Diplo Remix) by Marlena Shaw
Re-Record Arranger: Allister X at The Crystal Creative
Supervisor: Greg Sweeney
Trailer House: MOTIVE
Studio: HBO
Entrant: GrandSon + TOTEM, Los Angeles
Original Track: ‘Walk With Me’ by Arc Choir
Re-Record: ‘Walk With Me’ by Arc Choir with custom overlay by TOTEM
Re-Record Arranger: David James Rosen
Supervisor: Maggie Baron
Trailer House: GrandSon
Studio: Netflix
Entrant + Trailer House: Intermission Film, London
Original Track: ‘She Drives Me Crazy’ by Fine Young Cannibals
Re-Record Arranger: Johan Hugo
Re-Record Vocals: Self Esteem
Publishers: Universal Music Group
Studio: Working Title / BBC
Entrant: Feel For Music, London
Original Track: ‘Everybody Dies’ by Billie Eilish
Re-Record: Simon James / Feel For Music
Supervisors: Ben Sumner, Glenn Herweijer + Jack Thompson at Feel For Music + Simon Landry at Ubisoft
Publishers: Universal / Kobalt Music Publishing
Game Developer: Ubisoft
Entrant: Feel For Music, London
Original Track: ‘Everybody Dies’ by Billie Eilish
Re-Record: Simon James / Feel For Music
Supervisors: Ben Sumner, Glenn Herweijer + Jack Thompson at Feel For Music + Simon Landry at Ubisoft
Publishers: Universal / Kobalt Music Publishing
Game Developer: Ubisoft
Entrant: Feel For Music, London
Original Track: ‘Everybody Dies’ by Billie Eilish
Re-Record: Simon James / Feel For Music
Supervisors: Ben Sumner, Glenn Herweijer + Jack Thompson at Feel For Music + Simon Landry at Ubisoft
Publishers: Universal / Kobalt Music Publishing
Game Developer: Ubisoft
Entrant: The Crystal Creative, Oregon
Original Track: ‘Waters of Nazareth’ by Justice
Re-Record Arranger: Left/Right at The Crystal Creative
Supervisor: Raphaella Lima
Studio: Electronic Arts
Entrant: Pitch Hammer Music, California
Original Track: ‘Unchained’ by James Brown + 2Pac
Re-Record Arrangers: The Big Payback / Untouchable, Ryan Huntley Andrews
Supervisor: Lindsey Kohon
Producers: Veigar Margeirsson, Reece Tennery + Brian Brasher (Pitch Hammer Music)
Entrant + Supervision Co: Feel For Music, London
Original Track: ‘Destroyer’ by Of Monsters & Men
Re-Record Arrangers: Nick Hill
Supervisors: Glenn Herweijer, Ben Sumner, Simon Landry + Jack Thompson at Feel For Music
Publisher: Sony Music Publishing
Entrant + Re-Record Arrangers: TiMi Studio Group, Chengdu
Original Track: ‘The Flowing Water’ (original sheet music found in Ming Dynasty 1368-1644 A.D.)
Rearranged by: Chen Lin, Mingji Wang, Ye Liu, Jian Sun + Fei’er Gao
Entrant: Feel For Music, London
Orginal Tracks: ‘Stand Up’ by Prodigy + ‘Shut ‘Em Down’ by Public Enemy
Re-Record Arranger: Nick Hill
Supervisors: Ben Sumner, Glenn Herweijer + Jack Thompson at Feel For Music
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