MUSIC+SOUND AWARDS - 2022

Composition

Winner

G-Star Raw The Rhythm Of Denim

Best Original Composition in Broadcast Advertising

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

2022 //
Best Original Composition in Broadcast Advertising
2022 //
Best Original Composition in Broadcast Advertising
2022 //
Best Original Composition in Broadcast Advertising

G-Star Raw The Rhythm Of Denim

2022 //
Best Original Composition in Broadcast Advertising
2022 //
Best Original Composition in Broadcast Advertising

G-Star Raw The Rhythm Of Denim

2022 //
Best Original Composition in Broadcast Advertising
2022 //
Best Original Composition in Broadcast Advertising
2022 //
Best Original Composition in Broadcast Advertising
2022 //
Best Original Composition in Broadcast Advertising

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

Finalists

Tourism: Destination NSW Feel New

Entrant + Production Company: MassiveMusic, Sydney; Composer: Lance Gurisik; Agency: Leo Burnett, Australia

Hewlett-Packard Orchestra

Entrant + Production Company: Twenty Below Music, London; Composer: Lindsay Wright; Agency: Wieden+Kennedy Inc

Formula E No Turning Back

Entrant + Composers: Luis Almau + Joel Hartman at Soundtree Music, London; Agency: Uncommon

Mcdonald’s Steal My Fries

Entrant + Production Company: Grayson Music, Toronto; Composer: Andrew Austin; Agency: Cossette

South African Tourism #liveagain

Entrant + Music Producer: Marc Algranti at Marc Algranti Music, Cape Town; Composers: Bongeziwe Mabandla + Sun-el Musician; Agency: Joe Public South Africa

Budweiser And Hockey Diversity Alliance Tape Out Hate

Entrant + Production Company: Grayson Music, Toronto; Composers: Tyson Kuteyi + Jeff Milutinovic; Agency: Anomaly

Winner

Sick Kids Lily’s Raincoat

Best Original Composition in Online, Viral + Ambient Advertising

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

2022 //
Best Original Composition in Online, Viral + Ambient Advertising
2022 //
Best Original Composition in Online, Viral + Ambient Advertising
2022 //
Best Original Composition in Online, Viral + Ambient Advertising

Sick Kids Lily’s Raincoat

2022 //
Best Original Composition in Online, Viral + Ambient Advertising
2022 //
Best Original Composition in Online, Viral + Ambient Advertising

Sick Kids Lily’s Raincoat

2022 //
Best Original Composition in Online, Viral + Ambient Advertising
2022 //
Best Original Composition in Online, Viral + Ambient Advertising
2022 //
Best Original Composition in Online, Viral + Ambient Advertising
2022 //
Best Original Composition in Online, Viral + Ambient Advertising

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

Finalists

Elvie Smart Bodies

Entrant + Production Company: Wake The Town, London; Composers: StarOne + Eva Lazarus; Agency: Mother London

Samsung Open To That

Entrant + Production Company: String and Tins, London; Composer: Auburn Jam; Agency: WK Amsterdam

Jaguar F-Pace SVR Drummer

Entrant + Production Company: Studio Salamanca, London; Composers: Scuta Salamanca + Alex Reeves; Agency: Spark 44

Quechua 25 ans

Entrant + Production Company: Chut! on vous écoute, Paris; Composers: Arnaud Astruc + Benjamin Fournier-Bidoz; Agency: Orès Group

Mercedes EQG Welcome To The Future

Entrant + Production Company: playdis c/o HearDis!, Berlin; Composer: Georg von dem Bussche; Agency: Antoni

Mercedes Immortal Love X G Class

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

Winner

Long Live My Happy Head

Best Original Composition in a Feature Film Score

Entrant + Composer: Alexandra Hamilton-Ayres at Manners McDade, London

Directors: Will Hewitt + Austen McCowan

Production Company: Melt the Fly

2022 //
Best Original Composition in a Feature Film Score
2022 //
Best Original Composition in a Feature Film Score
2022 //
Best Original Composition in a Feature Film Score

Long Live My Happy Head

2022 //
Best Original Composition in a Feature Film Score
2022 //
Best Original Composition in a Feature Film Score

Long Live My Happy Head

2022 //
Best Original Composition in a Feature Film Score
2022 //
Best Original Composition in a Feature Film Score
2022 //
Best Original Composition in a Feature Film Score
2022 //
Best Original Composition in a Feature Film Score

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.

Finalists

The Mystery Of Marilyn Monroe

Entrant + Composer: Anne Nikitin; Director: Emma Cooper; Production Company: Empress Films; Studio: Netflix

A Boy Called Christmas

Entrant: Sky, London; Composer: Dario Marianelli

The Phantom

Entrant + Composer: Rob Manning; Director: Patrick Forbes

Cured

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

Balaban

Entrant + Composer: Dominic Shovelton; Director: Aysulu Onaran

Winner

Blush

Best Original Composition in a Short Film

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

2022 //
Best Original Composition in a Short Film
2022 //
Best Original Composition in a Short Film
2022 //
Best Original Composition in a Short Film

Blush

2022 //
Best Original Composition in a Short Film
2022 //
Best Original Composition in a Short Film

Blush

2022 //
Best Original Composition in a Short Film
2022 //
Best Original Composition in a Short Film
2022 //
Best Original Composition in a Short Film
2022 //
Best Original Composition in a Short Film

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.”

Finalists

Build Me Up

Entrant + Composer: Moritz Wanger, London; Director: Steve Lawson; Studio: National Film and Television School

Beware Of Trains

Entrant + Composer: John Webb + Oliver Cripps, London; Director: Emma Calder; Studio: Pearly Oyster Productions

The Life Underground

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

Katana

Composer: Guido Maat at Heron Music, Amsterdam; Directors: Maarten Groen; Production Company: DPPLR

Quand les hirondelles s’en vont (When The Swallows Go Away)

Composer: David Reyes at Axiom Studios, France; Director: Sebastien Pins; Production Company: Alchimie Productions

Winner

Landscapers

Best Original Composition in a Television Programme

Entrant + Production Company: SATV, Sky Studios, London

Composer: Arthur Sharpe

Director: Will Sharpe

Producer: Katie Carpenter

Network: Sky

2022 //
Best Original Composition in a Television Programme
2022 //
Best Original Composition in a Television Programme
2022 //
Best Original Composition in a Television Programme

Landscapers

2022 //
Best Original Composition in a Television Programme
2022 //
Best Original Composition in a Television Programme

Landscapers

2022 //
Best Original Composition in a Television Programme
2022 //
Best Original Composition in a Television Programme
2022 //
Best Original Composition in a Television Programme
2022 //
Best Original Composition in a Television Programme

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

Finalists

The Amazing Mr Blunden

Entrant + Composer: Blair Mowat, London; Director: Mark Gatiss; Network: Sky

Surviving 9/11

Entrant + Composer: Jon Opstad at Manners McDade, London; Director: Arthur Cary; Network: BBC

The Rising

Entrant + Network: Sky, London; Composer: Carly Paradis

The White Lotus

Entrant + Composer: Cristobal Tapia de Veer; Director: Mike White; Network: HBO

Blocco 181

Entrant + Network: Sky, London; Music Producer: Salmo; Collaborators: Simone Vallecorsa, Riccardo Puddu + Luciano Fenudi

Winner

The Rising

Best Original Composition in Film + Television Programme Titles

Entrant: Sky, London

Composer: Carly Paradis

Featuring: Eli & Fur

2022 //
Best Original Composition in Film + Television Programme Titles
2022 //
Best Original Composition in Film + Television Programme Titles
2022 //
Best Original Composition in Film + Television Programme Titles

The Rising

2022 //
Best Original Composition in Film + Television Programme Titles
2022 //
Best Original Composition in Film + Television Programme Titles

The Rising

2022 //
Best Original Composition in Film + Television Programme Titles
2022 //
Best Original Composition in Film + Television Programme Titles
2022 //
Best Original Composition in Film + Television Programme Titles
2022 //
Best Original Composition in Film + Television Programme Titles

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.”

Finalists

An Unbearable Case – Als je ons kan horen – Innommable

Entrant + Composer: Peter Baert at Raygun, Brussels; Directors: Malika Attar, Sylvie Chevalier, Jan Van Der Weken + Joeri Vlekken

Around The World In 80 Days

Entrants + Composers: Hans Zimmer, Christian Lundberg + Russell Emanuel at Bleeding Fingers Music, LA; Technical Score Assistant: Joaquin Lichtle

Slow Horses

Entrant: BMG, London; Composers: Mick Jagger + Daniel Pemberton

Redemption

Entrant + Composer: Laura Rossi, London; Director: John Hayes

The Amazing Mr Blunden

Entrant + Composer: Blair Mowat, London
Studio: Sky

Winner

Horizon Forbidden West

Best Original Composition in a Video Game

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

2022 //
Best Original Composition in a Video Game
2022 //
Best Original Composition in a Video Game

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

2022 //
Best Original Composition in a Video Game
2022 //
Best Original Composition in a Video Game

Horizon Forbidden West

2022 //
Best Original Composition in a Video Game
2022 //
Best Original Composition in a Video Game

Horizon Forbidden West

2022 //
Best Original Composition in a Video Game
2022 //
Best Original Composition in a Video Game
2022 //
Best Original Composition in a Video Game
2022 //
Best Original Composition in a Video Game

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

Finalists

Outer Wilds: Echoes Of The Eye

Entrant + Composer: Andrew Prahlow, Los Angeles
Game Publisher: Annapurna Interactive

Psychonauts 2

Entrant + Composer: Peter McConnell at Double Fine Productions, California
Lyrics: Tim Schafer
Game Publisher: Microsoft

Madrid Noir

Entrant + Composer: Carlos Rodriguez Rodriguez at Season3 Audio, Austria
Game Publisher: Astrea

Marvels Guardians Of The Galaxy

Entrant: Richard Jacques, London
Composer: Richard Jacques (Original Score) | Steve Szczepkowski + Yohann Boudreault (Original “Star-Lord” Tracks)
Game Publisher: Square Enix

Return To Empire

Entrant + Game Developer: TiMi Studios Group, Shanghai

Composers: Stephen Rippy, Laurent Courbier, Chris Wirtz, Armin Haas, Matthias Wolf + Igor Nemirovsky

Game Publisher: Tencent Games

Card Shark

Entrant + Composer: Andrea Boccadoro
Game Studio: Nerial, London
Game Publisher: Devolver Digital

Arena Of Valor

Entrant + Game Developer: TiMi Studio Group, Shenzhen
Composer: Yang Lee

Winner

AINKAA – The Power To Transform The World Together

Best Original Composition in a Film Trailer

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

2022 //
Best Original Composition in a Film Trailer
2022 //
Best Original Composition in a Film Trailer
2022 //
Best Original Composition in a Film Trailer

AINKAA – The Power To Transform The World Together

2022 //
Best Original Composition in a Film Trailer
2022 //
Best Original Composition in a Film Trailer

AINKAA – The Power To Transform The World Together

2022 //
Best Original Composition in a Film Trailer
2022 //
Best Original Composition in a Film Trailer
2022 //
Best Original Composition in a Film Trailer
2022 //
Best Original Composition in a Film Trailer

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

Finalists

Girl Forgotten: What Happened To Brianna Wells?

Entrant + Production Company: CrimeSonics, Los Angeles
Composer: Dan Brown Jr

Zeros and Ones

Entrant + Production Company: Exodus Music, Los Angeles
Composer: Alex Shellard
Music Producer: Chris Phife

The Colour Room

Entrant + Production Company: SATV, Sky Studios, London
Composer: Nitin Sawhney

Seaper Powers Mystery Of The Blue Pearls

Entrant + Composer: Kim Cameron at Side FX Partners, Miami

Winner

Hulu ID’s Teaser

Best Original Composition in a TV Trailer

Entrant: Echoic Audio, UK

Composer: George Leggett

Director: Andy Holton

2022 //
Best Original Composition in a TV Trailer
2022 //
Best Original Composition in a TV Trailer
2022 //
Best Original Composition in a TV Trailer

Hulu ID’s Teaser

2022 //
Best Original Composition in a TV Trailer
2022 //
Best Original Composition in a TV Trailer

Hulu ID’s Teaser

2022 //
Best Original Composition in a TV Trailer
2022 //
Best Original Composition in a TV Trailer
2022 //
Best Original Composition in a TV Trailer
2022 //
Best Original Composition in a TV Trailer

Entrant: Echoic Audio, UK

Composer: George Leggett

Director: Andy Holton

Entrant: Echoic Audio, UK

Composer: George Leggett

Director: Andy Holton

Finalists

Jimmy Savile: A British Horror Story

Entrant: Elephant Music, London
Composer: Jamie Stevens
Music Producer: Aneta Wrzos
Studio: Netflix
Trailer House: Ignition Creative

George Fitzgerald – All Roads

Entrant: BT Sport, London
Composer: George FitzGerald

Europa Knights

Entrant: Will Featherby at WMP Studios, UK< Composers: Will Featherby + Peter Darling Production Company: BT Sport Producer: Pete Kelly at BT Sport

Winner

Far Cry 6: Chicharrón Run – Cinematic TV Commercial

Best Original Composition in a Video Game Trailer / Promo

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

2022 //
Best Original Composition in a Video Game Trailer / Promo
2022 //
Best Original Composition in a Video Game Trailer / Promo
2022 //
Best Original Composition in a Video Game Trailer / Promo

Far Cry 6: Chicharrón Run – Cinematic TV Commercial

2022 //
Best Original Composition in a Video Game Trailer / Promo
2022 //
Best Original Composition in a Video Game Trailer / Promo

Far Cry 6: Chicharrón Run – Cinematic TV Commercial

2022 //
Best Original Composition in a Video Game Trailer / Promo
2022 //
Best Original Composition in a Video Game Trailer / Promo
2022 //
Best Original Composition in a Video Game Trailer / Promo
2022 //
Best Original Composition in a Video Game Trailer / Promo

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

Finalists

Far Cry 6 – Title Sequence Cinematic

Entrant: Ubisoft, Paris

Composer: Pedro Bromfman

İyi̇ Geceler – Fade Agent Trailer // Valorant

Entrant: BMG, London

Composers: Or Kribos, Itay Steinberg, Harel Tsemah + Itamar Carmel

Music Producers: Brad Marrapodi + Allen Mattox

Minecraft Legends

Entrant: Lionshead Entertainment, Vancouver

Composer: Crispin Hands

Trailer House: Bsmart

DEATHLOOP – Pitch Black

Entrant: Zenimax Europe, London

Composition: Sencit

Game Publisher: Bethesda Softworks

Developers: Arkane Lyon

DEATHLOOP – Down The Rabbit Hole

Entrant: Zenimax Europe, London

Composition: Sencit

Game Publisher: Bethesda Softworks

Developers: Arkane Lyon

Winner

TCM (Turner Classic Movies) Sonic Identity – Where Then Meets Now

Best Original Composition in Branding

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

2022 //
Best Original Composition in Branding
2022 //
Best Original Composition in Branding
2022 //
Best Original Composition in Branding

TCM (Turner Classic Movies) Sonic Identity – Where Then Meets Now

2022 //
Best Original Composition in Branding
2022 //
Best Original Composition in Branding

TCM (Turner Classic Movies) Sonic Identity – Where Then Meets Now

2022 //
Best Original Composition in Branding
2022 //
Best Original Composition in Branding
2022 //
Best Original Composition in Branding
2022 //
Best Original Composition in Branding

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

Finalists

Eye To The World (Zurich Film Festival Audio Branding)

Entrant + Production Company: GREAT GARBO – BALDENWEG, Zurich

Composers: Diego Baldenweg with Nora Baldenweg + Lionel Baldenweg

The Sound Of Audioteka

Entrant: MassiveMusic, Warsaw

Composer: Andy Sheriff

Music Producers: Michał Krajewski + Mateusz Szmigiero

Studio Brussel Sonic Re-Branding

Entrant + Production Company: Klankwerk, Belgium

Composers: Thomas Houthave + Sebastiaan Vandevoorde

Music Producer: Sander Lambrecht

Australian Open

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

The Sound Of Church’s Chicken

Entrant + Production Company: Sonic Lens, New Jersey

Composers: Glen Cavanaugh + Marco Vitali

Agency: WundermanThompson

Music Producer: Paul Greco

Winner

The Sound Of SSC (Saudi Sports Company)

Best Original Composition in Idents

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

2022 //
Best Original Composition in Idents
2022 //
Best Original Composition in Idents
2022 //
Best Original Composition in Idents

The Sound Of SSC (Saudi Sports Company)

2022 //
Best Original Composition in Idents
2022 //
Best Original Composition in Idents

The Sound Of SSC (Saudi Sports Company)

2022 //
Best Original Composition in Idents
2022 //
Best Original Composition in Idents
2022 //
Best Original Composition in Idents
2022 //
Best Original Composition in Idents

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

Finalists

McDelivery & The Movies (ITV Movies Sponsorship Idents)

Entrant + Production Company: Native Music, London

Composers: Guy Farley + David Connolly

Agency: Leo Burnett

BBC One Idents

Entrant + Production Company: Resonate, UK

Composer: Liam Paton

Agency: BBC Creative

Talk TV Ident

Entrant + Production Company: Sitting Duck Music and Media, UK

Composers: Dave Healey, Rob May + Simon Hill

Sync

Winner

Johnnie Walker Anthem

Sponsored by: Lemon Wax
The Lemon Wax Award for Best Sync in Broadcast Advertising

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

2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising
2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising
Sponsored by: Lemon Wax
2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising

Johnnie Walker Anthem

2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising
Sponsored by: Lemon Wax
Sponsored by: Lemon Wax
2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising

Johnnie Walker Anthem

2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising
2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising
2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising
Sponsored by: Lemon Wax
2022 //
The Lemon Wax Award for Best Sync in Broadcast Advertising

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

Sponsored by: Lemon Wax

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

Sponsored by: Lemon Wax

Finalists

International Paralympic Committee #wethe15

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

White Claw Storm

Entrant + Supervisors: Siân Rogers + Sam Brown at SIREN, London. Track: ‘Morning Sun’ by Melody Gardot. Publisher: Warner/Chappell Music. Label: Decca. Agency: VCCP

Avanti West Coast Feel Good Travel

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

B&Q ‘Flip’

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

Co-Op ‘Cooking Up A Difference’

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

Winner

Winner

Levi’s Levi’s Fresh

Best Sync in Online, Viral + Ambient Advertising

Entrant + Music Supervision Co: The Hogan, London

Track: ‘Secret Plan’ by Drug Store Romeos

Supervisor: Sean Hogan

Publisher: BMG

Label: Universal Music Group

2022 //
Best Sync in Online, Viral + Ambient Advertising
2022 //
Best Sync in Online, Viral + Ambient Advertising
2022 //
Best Sync in Online, Viral + Ambient Advertising

Levi’s Levi’s Fresh

2022 //
Best Sync in Online, Viral + Ambient Advertising
2022 //
Best Sync in Online, Viral + Ambient Advertising

Levi’s Levi’s Fresh

2022 //
Best Sync in Online, Viral + Ambient Advertising
2022 //
Best Sync in Online, Viral + Ambient Advertising
2022 //
Best Sync in Online, Viral + Ambient Advertising
2022 //
Best Sync in Online, Viral + Ambient Advertising

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

Finalists

Virgin Media Were Better, Connected (Skatergirl)’

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

Infiniti QX50: Liams Seat

Entrant + Supervisor: Peter Holcomb at Sound Lounge, New York. Track: Lalala by Y2K + bbno$

Oatly Norm’s Old Pal Milk

Entrant + Supervisor: Jonathan Watts at Adelphoi Music, London

Track: ‘Also Sprach Zarathustra’ by Richard Strauss

Publisher: Peters Edition Ltd

Strongbow G.O.A.T

Entrant + Publisher: Sentric Music Group, UK. Track: Daga Da by Samuel Virji. Music Supervision: Theodore Music. Label: Supernature

Winner

Budweiser Yours To Take X Anderson .Paak

Best Artist + Brand Collaboration

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

2022 //
Best Artist + Brand Collaboration
2022 //
Best Artist + Brand Collaboration
2022 //
Best Artist + Brand Collaboration

Budweiser Yours To Take X Anderson .Paak

2022 //
Best Artist + Brand Collaboration
2022 //
Best Artist + Brand Collaboration

Budweiser Yours To Take X Anderson .Paak

2022 //
Best Artist + Brand Collaboration
2022 //
Best Artist + Brand Collaboration
2022 //
Best Artist + Brand Collaboration
2022 //
Best Artist + Brand Collaboration

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

Finalists

Magnum: Classics Can Be Remixed x Kylie Minogue + Peggy Gou

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

Life is Strange: True Colors x mxmtoon

Entrant + Music Supervision Co: Feel For Music, London

Supervisors: Ben Sumner, Glenn Herweijer + Jack Thompson

Game Company: Square Enix

Madden NFL 22 Soundtrack Album

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

Red Bull ‘Discover Your Wiiings’ x pluko, Duckwrth + Sad Alex

Entrant + Supervisor: Courtney Jenkins at Red Bull Media House, Los Angeles

Labels: Republic Records (Duckwrth) + Red Bull Record (Sad Alex)

Agency: Media Monks

Sky Glass x Griff

Entrant: Sky UK, London

Publishers: Universal Music Publishing / Warner Chappell Music

Label: Warner Music UK

Supervision Co: Sky Music

Agency: AKQA

Winner

Dear Rider, The Jake Burton Story

Best Sync in A Film Trailer

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

2022 //
Best Sync in A Film Trailer
2022 //
Best Sync in A Film Trailer
2022 //
Best Sync in A Film Trailer

Dear Rider, The Jake Burton Story

2022 //
Best Sync in A Film Trailer
2022 //
Best Sync in A Film Trailer

Dear Rider, The Jake Burton Story

2022 //
Best Sync in A Film Trailer
2022 //
Best Sync in A Film Trailer
2022 //
Best Sync in A Film Trailer
2022 //
Best Sync in A Film Trailer

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

Finalists

Sing 2

Entrant + Publisher: Bucks Music Group, London

Track: ‘Holes’ by Mercury Rev

Supervisor: Rachel Levy

Till Death

Entrant + Publisher / Label: Pop-Up Music, London

Track: ‘Falling Leaf’ by Bud Ross and The Asylum

Supervisor: Ryan Svendsen at Millennium Media

Dear Rider, The Jake Burton Story

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

Heart Valley

Entrant + Publisher: Bucks Music Group, London

Track: ‘Maalie’ by Erland Cooper

Label: Phases

Winner

Stranger Things – Ep 404 ‘Dear Billy’

Best Sync in a Television Programme

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

2022 //
Best Sync in a Television Programme
2022 //
Best Sync in a Television Programme

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

2022 //
Best Sync in a Television Programme
2022 //
Best Sync in a Television Programme

Stranger Things – Ep 404 ‘Dear Billy’

2022 //
Best Sync in a Television Programme
2022 //
Best Sync in a Television Programme

Stranger Things – Ep 404 ‘Dear Billy’

2022 //
Best Sync in a Television Programme
2022 //
Best Sync in a Television Programme
2022 //
Best Sync in a Television Programme
2022 //
Best Sync in a Television Programme

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

Finalists

Sex Education – S3 Opening Scene

Entrant + Editor: David Webb, Final Cut, London

Track: ‘I Think We’re Alone Now’ by The Rubinoos

Supervisor: Matt Biffa

Wolfe: Ep 4, Closing Scene

Entrant: Sky Studios, London

Track: ‘The Tracks Of My Tears’ by Smokey Robinson

Publisher: EMI Music Publishing

Label: Universal Music Operations

Temple S2, Ep 4

Entrant: Sky Studios, London

Track: ‘Say Hello Wave Goodbye’ by Soft Cell

Supervision: Sky Music

Publisher: Warner Chappell Music

Label: Universal Music Operations

Derry Girls S3

Entrant + Publisher: Bucks Music Group, London

Track: ‘Sunchyme’ by Dario G

Supervisors: Zoë Ellen Bryant + Pete Saville

Label: Chrysalis Records

Yellowjackets

Entrant + Artist: Dot Allison

Track: ‘The Haunted’ by Dot Allison

Supervisors: Jen Malone + Whitney Pilzer

Publisher: Air-Edel Publishing

Label: SA Recordings

Bridgerton

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

Winner

Sky Sports / F1

Best Sync in Film + TV Titles

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

2022 //
Best Sync in Film + TV Titles
2022 //
Best Sync in Film + TV Titles
2022 //
Best Sync in Film + TV Titles

Sky Sports / F1

2022 //
Best Sync in Film + TV Titles
2022 //
Best Sync in Film + TV Titles

Sky Sports / F1

2022 //
Best Sync in Film + TV Titles
2022 //
Best Sync in Film + TV Titles
2022 //
Best Sync in Film + TV Titles
2022 //
Best Sync in Film + TV Titles

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

Finalists

Quant

Entrant + Publisher: Wise Music Group, London

Track: ‘Pretty Flamingo’ by Manfred Mann

Supervisor: Ian Neil

Label: East Central One

Bloods S2

Entrant: Sky Studios, London

Track: ‘Stay Away From Me’ by The Sylvers

Publishers: Kobalt Music Publishing

Label: Mr Bongo Worldwide

Supervisors: Sky Music

Sky Sports / Womens Super League Football

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

Winner

The Worst Person In The World

Best Sync in a Television Trailer

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

2022 //
Best Sync in a Television Trailer
2022 //
Best Sync in a Television Trailer
2022 //
Best Sync in a Television Trailer

The Worst Person In The World

2022 //
Best Sync in a Television Trailer
2022 //
Best Sync in a Television Trailer

The Worst Person In The World

2022 //
Best Sync in a Television Trailer
2022 //
Best Sync in a Television Trailer
2022 //
Best Sync in a Television Trailer
2022 //
Best Sync in a Television Trailer

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.”

Finalists

BBC Women’s Sports Promo ‘We Know Our Place’

Entrant + Publisher: Wise Music Group, London

Track: ‘Les Fleur’ by 4hero

Supervisor: Debbie Rogerson

Label: Universal

Studio: BBC Creative

Conversations With Friends

Entrant + Publisher: BMG, London

Track: ‘Can You Keep A Secret’ by Chøppersaurus

The Bambers: Murder At The Farm

Entrant: Sky UK, Sky Creative, London

Track: ‘Retrograde’ by James Blake

Supervision: Sky Music

Publisher: Universal Music Publishing

Label: Universal Music Operations

Winter Olympics BBC 2022

Entrant: Metronome, London

Track: ‘Space’ by Biffy Clyro feat. Walter Mair

Publisher: Concord Music Publishing + Warner Music UK

Label: Warner Music UK

Everything I Know About Love

Entrant + Trailer House: Intermission Film, London

Track: ‘Ritual Union’ by Little Dragon

Supervisor: Lucy Bond

Publisher: Kobalt Music Publishing

Label: Peace Frog

Sound/Audio Post Production

Winner

Formula E No Turning Back

The No.8 Award for Best Sound Design in Broadcast Advertising

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

2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising
2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising
2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising

Formula E No Turning Back

2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising
2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising

Formula E No Turning Back

2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising
2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising
2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising
2022 //
The No.8 Award for Best Sound Design in Broadcast Advertising

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

Finalists

Fondation 30 Millions D’amis The Cry

Entrant: AOC – Attention O Chiens, France

Sound Designer: Fabrice Smadja at AOC – Attention O Chiens

Agency: Altmann + Pacreau

Nissan Z Escape

Entrant: Massive Music Sydney
Sound Designer: Simon Kane
Producer: Ian Lew
Agency: Spinifex Group

Toyota – Shopping

Entrant + Sound Design: Aaron Taffel (Rascal Post, London)
Producer: Jai Durban
Agency: The&Partnership

Virgin Media/O2 – Volt

Entrant + Sound Design: Parv Thind + Jeff Smith (Wave Studios, London)
Producers: Rebecca Boswell + Beth Tomblin
Agency: VCCP

B&Q ‘Later Means Never’

Entrant + Sound Design: Alex Bingham at Machine, London

Producer: Ghazal Zargar Elahi

Agency: Uncommon

Winner

Sony ‘Atmos Soundbar’

Best Sound Design in Online, Viral + Ambient Advertising

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

2022 //
Best Sound Design in Online, Viral + Ambient Advertising
2022 //
Best Sound Design in Online, Viral + Ambient Advertising
2022 //
Best Sound Design in Online, Viral + Ambient Advertising

Sony ‘Atmos Soundbar’

2022 //
Best Sound Design in Online, Viral + Ambient Advertising
2022 //
Best Sound Design in Online, Viral + Ambient Advertising

Sony ‘Atmos Soundbar’

2022 //
Best Sound Design in Online, Viral + Ambient Advertising
2022 //
Best Sound Design in Online, Viral + Ambient Advertising
2022 //
Best Sound Design in Online, Viral + Ambient Advertising
2022 //
Best Sound Design in Online, Viral + Ambient Advertising

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

Finalists

Aston Martin V12 Vantage

Entrant + Sound Design: Zelig Sound, London

Agency: Prism Sport + Entertainment

Assos – Superskin

Entrant + Sound Design: Sound Canvas, UK

Sound Designers: Tom Joyce, Jim Cornick + Damian Pace

Agency: Bolder Creative

ZARA ORIGINS // Spring Summer 2022

Entrant + Sound Design: Jack Sedgwick at King Lear Music & Sound, London

Mini Editions

Entrant + Sound Design: Zelig Sound, London

Agency: Anomaly London

Winner

Eurosport – Winter Olympics

Best Audio Mix in a Commercial

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 //
Best Audio Mix in a Commercial
2022 //
Best Audio Mix in a Commercial
2022 //
Best Audio Mix in a Commercial

Eurosport – Winter Olympics

2022 //
Best Audio Mix in a Commercial
2022 //
Best Audio Mix in a Commercial

Eurosport – Winter Olympics

2022 //
Best Audio Mix in a Commercial
2022 //
Best Audio Mix in a Commercial
2022 //
Best Audio Mix in a Commercial
2022 //
Best Audio Mix in a Commercial

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!

Finalists

British Heart Foundation This Is Science

Entrant + Sound Mixer: Sam Ashwell (750mph, London)
Producer: Olivia Ray
Agency: Saatchi & Saatchi London

Channel 4 Paralympics ‘Super. Human.’

Entrant + Sound: Factory Studios, London

Sound Mixers: Anthony Moore + James Utting

Agency: 4 Creative

Samsung ‘Awesome’

Entrant + Sound: Grand Central Sound Studios, London

Sound Mixer: Raja Seghal

Agency: Wieden+Kennedy Amsterdam

The New York Times – Independence ‘Questlove’

Entrant + Sound: Wave Studios, New York

Sound Mixer: Aaron Reynolds

Executive Producer: Vicky Ferraro

Producer: Eleni Giannopoulos

Agency: Droga5

The New York Times ‘Truth Takes a Journalist’

Entrant + Sound: Wave Studios, New York

Sound Mixer: Aaron Reynolds

Executive Producer: Vicky Ferraro

Producer: Eleni Giannopoulos

Agency: Droga5

Toyota ‘Brothers’

Entrant + Sound Mixer: Steve Perski at Harbor, New York

Agency: Saatchi & Saatchi

Winner

Infiniti

Best Sound Design in a Television Programme

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

2022 //
Best Sound Design in a Television Programme
2022 //
Best Sound Design in a Television Programme
2022 //
Best Sound Design in a Television Programme

Infiniti

2022 //
Best Sound Design in a Television Programme
2022 //
Best Sound Design in a Television Programme

Infiniti

2022 //
Best Sound Design in a Television Programme
2022 //
Best Sound Design in a Television Programme
2022 //
Best Sound Design in a Television Programme
2022 //
Best Sound Design in a Television Programme

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

Finalists

Trigger Point Ep4

Entrant: Molinare, London
Sound Designer: Tom Jenkins
SFX Editor: Matis Rei
Re-Recording Mixer: Nigel Squibbs
Foley Mixer: Trevor Swanscott
Foley Artist: Jason Swanscott

The House

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

Killing Eve S4, Ep8

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

The Great S2, Ep4 ‘The Devil’s Lunch’

Entrant + Sound Design: Adam Davidson + Joe Fletcher at Company 3, London

Peaky Blinders S6, Ep6

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

Winner

Honor Of Kings – Ge Ya Champion

Best Sound Design in a Short Film

Entrant + Sound Design: TiMi Studio Group, Chengdu

Sound Design: Source Sound inc, TiMi Audio Lab

2022 //
Best Sound Design in a Short Film
2022 //
Best Sound Design in a Short Film
2022 //
Best Sound Design in a Short Film

Honor Of Kings – Ge Ya Champion

2022 //
Best Sound Design in a Short Film
2022 //
Best Sound Design in a Short Film

Honor Of Kings – Ge Ya Champion

2022 //
Best Sound Design in a Short Film
2022 //
Best Sound Design in a Short Film
2022 //
Best Sound Design in a Short Film
2022 //
Best Sound Design in a Short Film

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

Finalists

Lilith & Eve

Entrant: Ardimages UK

Sound Designer: Louise Burton

Honor of Kings – Miyamoto Champion

Entrant: TiMi Studio Group, Chengdu

Sound Design: Source Sound inc, TiMi Audio Lab

I Love You, I Hate You

Entrant + Sound Designer: Sam Ashwell + Ellis McGourlay at 750mph, London

Honor of Kings – Sang Qi

Entrant: TiMi Studio Group, Chengdu

Sound Design: Source Sound inc, TiMi Audio Lab

Equilibrium

Entrant + Sound Design: benzēne, Paris

Sound Designer: Hugo Escuriol

Producer: Marion Willemaët

Winner

Horizon Forbidden West

Best Sound Design in a Video Game

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

2022 //
Best Sound Design in a Video Game
2022 //
Best Sound Design in a Video Game
2022 //
Best Sound Design in a Video Game

Horizon Forbidden West

2022 //
Best Sound Design in a Video Game
2022 //
Best Sound Design in a Video Game

Horizon Forbidden West

2022 //
Best Sound Design in a Video Game
2022 //
Best Sound Design in a Video Game
2022 //
Best Sound Design in a Video Game
2022 //
Best Sound Design in a Video Game

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

Finalists

Halo Infinite

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

Jurassic World Evolution 2

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

The Quarry

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

Total War: Warhammer III

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

Dungeons & Dragons: Dark Alliance Echoes of the Blood War DLC

Entrant + Sound: Vibe Avenue, Montreal

Developer: Tuque Games

Winner

DAZN: Canelo vs Bivol

Best Sound Design in a TV Trailer / Promo

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

2022 //
Best Sound Design in a TV Trailer / Promo
2022 //
Best Sound Design in a TV Trailer / Promo
2022 //
Best Sound Design in a TV Trailer / Promo

DAZN: Canelo vs Bivol

2022 //
Best Sound Design in a TV Trailer / Promo
2022 //
Best Sound Design in a TV Trailer / Promo

DAZN: Canelo vs Bivol

2022 //
Best Sound Design in a TV Trailer / Promo
2022 //
Best Sound Design in a TV Trailer / Promo
2022 //
Best Sound Design in a TV Trailer / Promo
2022 //
Best Sound Design in a TV Trailer / Promo

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

Finalists

Sky Sports: Formula One 2022 Promo

Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London

Producer: Sian Hagan

The Lions Tour: South Africa 2021

Entrant + Sound Design: Ian ‘Arge’ Hargest at ENVY Advertising, London

Producer: Sian Hagan

TG4 – Eyes Wide

Entrant + Sound Design: Factory Studios, London

Sound Designer: Mark Hills

Producer: Deborah Whitfield

Disney + Stories You’d Expect

Entrant + Sound Design: Will Cohen + Culum Simpson at String and Tins, London

Producers: Eimear Ní Ghuaire + Alina Miroshnichenko

Winner

F1 Manager 2022 – Announcement Trailer

Best Sound Design in a Video Game Trailer / Promo

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

2022 //
Best Sound Design in a Video Game Trailer / Promo
2022 //
Best Sound Design in a Video Game Trailer / Promo
2022 //
Best Sound Design in a Video Game Trailer / Promo

F1 Manager 2022 – Announcement Trailer

2022 //
Best Sound Design in a Video Game Trailer / Promo
2022 //
Best Sound Design in a Video Game Trailer / Promo

F1 Manager 2022 – Announcement Trailer

2022 //
Best Sound Design in a Video Game Trailer / Promo
2022 //
Best Sound Design in a Video Game Trailer / Promo
2022 //
Best Sound Design in a Video Game Trailer / Promo
2022 //
Best Sound Design in a Video Game Trailer / Promo

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

Finalists

Valorant

Entrant + Sound Design: Factory Studios, London
Sound Designer: Phil Bolland
Producer: Louise Allen
Game Company: Riot Games

Call of Duty: Modern Warfare II ‘Ultimate Team’

Entrant + Supervising Sound Editor: James Cobbold at Machine, London

Sound Designers: James Cobbold, Nigel Manington + Gez Lloyd

Producer: Ghazal Zargar Elahi

Far Cry 6 ‘Chicharrón Run’

Entrant + Sound Design: Alex Bingham at Machine, London

Producer: Ghazal Zargar Elahi

BEATz Go Boom

Entrant + Sound Design: Sam Ashwell + Mark Hellaby at 750mph, London

Producers: Martin Critchley + Olivia Ray

EVE Online | The Minmatar Republic

Entrants + Sound Design: Magnus Arwenhed, Dougie Brown + Max Juras at Makewaves Audio, Stockholm

Producer: Makewaves Audio

Game Developer: CCP Games

Winner

Five Action Channel Branding

Best Sound Design in Idents

Entrant + Sound Design: Zelig Sound, London

Agency: Viacom

2022 //
Best Sound Design in Idents
2022 //
Best Sound Design in Idents
2022 //
Best Sound Design in Idents

Five Action Channel Branding

2022 //
Best Sound Design in Idents
2022 //
Best Sound Design in Idents

Five Action Channel Branding

2022 //
Best Sound Design in Idents
2022 //
Best Sound Design in Idents
2022 //
Best Sound Design in Idents
2022 //
Best Sound Design in Idents

Entrant + Sound Design: Zelig Sound, London

Agency: Viacom

Entrant + Sound Design: Zelig Sound, London

Agency: Viacom

Finalists

Dave Idents – Citroën Electric

Entrant + Sound Design: Factory Studios, London
Sound Designer: James Utting
Producer: Beth Massey
Agency: Worldwide London

Dogwoof

Entrant + Sound Design: Intermission Film, London

Sound Designer: Lennart Kleinen at Klevr Sound Design

Verizon Fios Idents

Entrant + Sound Design: Zelig Sound, London

Production Music

Winner

Adidas Impossible Is Nothing – Peres Jepchirchir

Best Use of Production Music in Broadcast Advertising

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

2022 //
Best Use of Production Music in Broadcast Advertising
2022 //
Best Use of Production Music in Broadcast Advertising
2022 //
Best Use of Production Music in Broadcast Advertising

Adidas Impossible Is Nothing – Peres Jepchirchir

2022 //
Best Use of Production Music in Broadcast Advertising
2022 //
Best Use of Production Music in Broadcast Advertising

Adidas Impossible Is Nothing – Peres Jepchirchir

2022 //
Best Use of Production Music in Broadcast Advertising
2022 //
Best Use of Production Music in Broadcast Advertising
2022 //
Best Use of Production Music in Broadcast Advertising
2022 //
Best Use of Production Music in Broadcast Advertising

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

Finalists

Toyota Slow Dance

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

Ribena ‘when Youve Ribena Bit Caught Out’

Entrant + Publisher: Extreme Music, London. Track: ‘Every Little Bit Vox’ by Jackie James + Ian Curnow. Supervisor: Daniel Olaifa. Agency: BBH London

Google Pixel 6 X Leylah Fernandez ‘For All You Are’

Entrant + Publisher: Extreme Music, London. Tracks: ‘Daring Dirndl’ by Werner Tautz + ‘The Amazing Mozzerellas’ by Jim Blake Music. Supervision: Cossette Communications / Vapor Music

Uber Eats VDay

Entrant + Publisher: Howling Music, Tennessee. Track: ‘Sweeter Than Wine’ by Leif Shires. Agency: Special Group

Sure Watch Me Move

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

Winner

Rakiety Foundation Houston We Have A Percentage To Collect

Best Use of Production Music in Online, Viral + Ambient Advertising

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

2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising
2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising
2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising

Rakiety Foundation Houston We Have A Percentage To Collect

2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising
2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising

Rakiety Foundation Houston We Have A Percentage To Collect

2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising
2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising
2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising
2022 //
Best Use of Production Music in Online, Viral + Ambient Advertising

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.”

Finalists

Rakiety Foundation Houston We Have A Percentage To Collect

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

Netflix – Home Of Documentaries

Entrant + Publisher: BMG Production Music, London. Track: ‘Port of Entry’ by Edward Ross Lar + Stephen Edward Coleman. Label: Sounds of Red Bull

Yes ‘I’m A Woman’

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

AMG Petronas Formula 1 Team – 8 Times World Champions

Entrant + Publisher: London Sync, London. Track: ‘Mind Tunnel’ by Michael Burns

Denim SS22 – For Her – Reserved

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

Denim SS22 – For Him – Reserved

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

Winner

Amazon Original – Rooney

Best Use of Production Music in a TV Programme

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

2022 //
Best Use of Production Music in a TV Programme
2022 //
Best Use of Production Music in a TV Programme
2022 //
Best Use of Production Music in a TV Programme

Amazon Original – Rooney

2022 //
Best Use of Production Music in a TV Programme
2022 //
Best Use of Production Music in a TV Programme

Amazon Original – Rooney

2022 //
Best Use of Production Music in a TV Programme
2022 //
Best Use of Production Music in a TV Programme
2022 //
Best Use of Production Music in a TV Programme
2022 //
Best Use of Production Music in a TV Programme

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

Finalists

Holby City

Entrant + Publisher / Label: London Sync

Track: ‘The Wonder of Science’ by Michael Burns

Le Temps des Framboises Ep 5 ‘Erin Brockovich’

Entrant + Publisher: Extreme Music, London

Track: ‘The Fault Lines’ by David O’Dowda

Label: Velvet Ears

Compulsion

Entrant + Publisher / Label: London Sync

Track: ‘Undisclosed Information’ by Michael Burns

Studio: Channel 5

Scrum V

Entrant + Publisher: KPM Music, London

Track: ‘Destiny Approaching’ by Jamie Salisbury

Studio: BBC Wales

The Quest – S1

Entrant + Publisher: Extreme Music, London

Track: ‘Half Blood’ by Trevor Morris

Universe ‘The Big Bang: Before the Dawn’

Entrant + Publisher: Extreme Music, London

Track: ‘Near Light Speed’ by Edward McCormack III, Bruce Fingers + Billy Ray Fingers

Winner

The Hand of God

Best Use of Production Music in a Film Trailer / Promo

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

2022 //
Best Use of Production Music in a Film Trailer / Promo
2022 //
Best Use of Production Music in a Film Trailer / Promo

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

2022 //
Best Use of Production Music in a Film Trailer / Promo
2022 //
Best Use of Production Music in a Film Trailer / Promo

The Hand of God

2022 //
Best Use of Production Music in a Film Trailer / Promo
2022 //
Best Use of Production Music in a Film Trailer / Promo

The Hand of God

2022 //
Best Use of Production Music in a Film Trailer / Promo
2022 //
Best Use of Production Music in a Film Trailer / Promo
2022 //
Best Use of Production Music in a Film Trailer / Promo
2022 //
Best Use of Production Music in a Film Trailer / Promo

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

Finalists

Phantom of the Open

Entrant + Publisher: KPM Music, London

Tracks: ‘Sunny Stroll’ by John Altman + ‘Sing Along’ by Tom Bowler

Supervisor: Calum Brice-Stevens

Trailer House: Empire Design

We Feed People

Entrant + Publisher / Label: VideoHelper, New York

Track: ‘Heroes Among Us’ by Florian Gravouil

Studios: National Geographic + Disney+

Fireheart

Entrant + Publisher: Extreme Music, London

Track: ‘We Just Get One Life’ by Tony Stafford Jr, Michael Smith + Nineoneone,

Trailer House: Silk Factory

The Nan Movie

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

Winner

1899 – Teaser

Best Use of Production Music in a TV Trailer / Promo

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

2022 //
Best Use of Production Music in a TV Trailer / Promo
2022 //
Best Use of Production Music in a TV Trailer / Promo
2022 //
Best Use of Production Music in a TV Trailer / Promo

1899 – Teaser

2022 //
Best Use of Production Music in a TV Trailer / Promo
2022 //
Best Use of Production Music in a TV Trailer / Promo

1899 – Teaser

2022 //
Best Use of Production Music in a TV Trailer / Promo
2022 //
Best Use of Production Music in a TV Trailer / Promo
2022 //
Best Use of Production Music in a TV Trailer / Promo
2022 //
Best Use of Production Music in a TV Trailer / Promo

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

Finalists

Winning Time: The Rise of the Lakers Dynasty – Swan Song

Entrant + Publisher / Label: VideoHelper, New York

Track: ‘Funk Muscle’ by Aaron Sapp

Enter Euphoria ‘Season 2 Finale’

Entrant + Publisher: Extreme Music, London

Track: ‘Buckets’ by Jesse Littleton

Artist: Gran Bel Fisher

Supervision: HBO

BBC ‘New For 2022 On iPlayer’

Entrant + Publisher: Extreme Music, London

Track: ‘My New Life’ by Daniel Farrant, Nicholas Kingsley + Romy Florin

All New Top Gear: Landing June 5th

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

Good Sam Promo

Entrant + Composer: Nathalie Bonin, Los Angeles

Track: ‘Euphoria’ by Nathalie Bonin

Publisher / Label: Mpath

Studio: CBS

Winner

The Quarry

Best Use of Production Music in a Video Game Trailer / Promo

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

2022 //
Best Use of Production Music in a Video Game Trailer / Promo
2022 //
Best Use of Production Music in a Video Game Trailer / Promo
2022 //
Best Use of Production Music in a Video Game Trailer / Promo

The Quarry

2022 //
Best Use of Production Music in a Video Game Trailer / Promo
2022 //
Best Use of Production Music in a Video Game Trailer / Promo

The Quarry

2022 //
Best Use of Production Music in a Video Game Trailer / Promo
2022 //
Best Use of Production Music in a Video Game Trailer / Promo
2022 //
Best Use of Production Music in a Video Game Trailer / Promo
2022 //
Best Use of Production Music in a Video Game Trailer / Promo

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

Finalists

Watch Dogs: Legion ‘Legion Of The Dead’

Entrant + Publisher: Extreme Music, London
Track: ‘This is the End’ by Lee Richardson, Jonathan Murrill, Tom Ford, James Cocozza + Raxstar
Game Co: Ubisoft Entertainment

Space Punks

Entrant + Publisher: Extreme Music, London

Track: ‘War ft. Skrilla Da Kid’ by Raphael Lake, Wesley Smith Jr + Aaron Levy

New World | Heart of Madness

Entrant + Label: BMG Production Music, London

Track: ‘Storm The Castle’ by Brian Rogers

Publisher: Super Pooch Publishing

Rumbleverse – Gameplay Trailer

Entrant + Publisher: Extreme Music, London

Track: ‘Who Want It’ by Raphael Lake, Aaron Levy + Wesley Smith Jr

Game Co: Epic Games Publishing

Re-Record or Adaptation

Winner

Auchan With Pleasure

Best Re-record Or Adaptation In Broadcast Advertising

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

2022 //
Best Re-record Or Adaptation In Broadcast Advertising
2022 //
Best Re-record Or Adaptation In Broadcast Advertising
2022 //
Best Re-record Or Adaptation In Broadcast Advertising

Auchan With Pleasure

2022 //
Best Re-record Or Adaptation In Broadcast Advertising
2022 //
Best Re-record Or Adaptation In Broadcast Advertising

Auchan With Pleasure

2022 //
Best Re-record Or Adaptation In Broadcast Advertising
2022 //
Best Re-record Or Adaptation In Broadcast Advertising
2022 //
Best Re-record Or Adaptation In Broadcast Advertising
2022 //
Best Re-record Or Adaptation In Broadcast Advertising

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

Finalists

John Lewis Christmas 2015 – The Man On The Moon

Arranger: Aurora, Entrant: Leland Music

BBC If You Love Something Let It Show

Arranger: Nick Foster & Ben Foster, Entrant: Soundtree Music, RKCR/Y&R

Heineken The Hero

Arrangers: Evan Jolly, Peter Raeburn & Luke Fabia, Entrant: Soundtree Music

Honda Ignition

Composer: Walter Mair

Entrant: SIREN

Tourism: Destination NSW ‘Feel New’

Entrant: MassiveMusic Sydney

Original Track: ‘Feeling Good’ Nina Simone

Re-Record Arranger: Lance Gurisik

Re-Record Vocals: Azure

Agency: Leo Burnett Australia

Lexus ‘Feel More In Every Moment’

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

PENNY Markt GmbH – Der Wunsch / The Wish

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

CALM ‘The Last Photo’

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

Amazon Prime Smile Christmas 2021 ‘An Unlikely Friendship’

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

Winner

‘Twas The Call Before Christmas

Best Re-Record or Adaptation in Online, Viral + Ambient Advertising

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

2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising
2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising
2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising

‘Twas The Call Before Christmas

2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising
2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising

‘Twas The Call Before Christmas

2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising
2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising
2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising
2022 //
Best Re-Record or Adaptation in Online, Viral + Ambient Advertising

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

Finalists

Magnum: Classics Can Be Remixed

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

Telekom (DTAG): Beethoven X The AI Project

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

BVG in collaboration with Mastercard ‘Völlig kontaktlos’

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

Lumo – No More Flight Shame

Entrant + Supervision Co: The Hogan

Original Track: ‘Clair De Lune’ by Debussy

Supervisor: Sean Hogan

Re-Record Arranger: Eleni Hassabis

Agency: Mother London

Winner

Crimes Of The Future

Sponsored by: Elephant Music
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer

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

2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer
2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer
Sponsored by: Elephant Music
2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer

Crimes Of The Future

2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer
Sponsored by: Elephant Music
Sponsored by: Elephant Music
2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer

Crimes Of The Future

2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer
2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer
2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer
Sponsored by: Elephant Music
2022 //
The Elephant Music Award for Best Re-Record or Adaptation in a Film Trailer

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

Sponsored by: Elephant Music

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

Sponsored by: Elephant Music

Finalists

Halftime

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

Crimes Of The Future

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

Jurassic World: Dominion X NBC Olympics: Beijing 2022 Olympic Winter Games

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

Torn Hearts

Entrant + Publisher: Exodus Music, California. Original Track: ‘Who’s Sorry Now’ by Kalahara. Re-Record Vocals: Lydia Kaye. Trailer House: Mobscene. Studio: Paramount

Winner

Midnight Mass

Best Re-Record or Adaptation in a TV Trailer

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

2022 //
Best Re-Record or Adaptation in a TV Trailer
2022 //
Best Re-Record or Adaptation in a TV Trailer
2022 //
Best Re-Record or Adaptation in a TV Trailer

Midnight Mass

2022 //
Best Re-Record or Adaptation in a TV Trailer
2022 //
Best Re-Record or Adaptation in a TV Trailer

Midnight Mass

2022 //
Best Re-Record or Adaptation in a TV Trailer
2022 //
Best Re-Record or Adaptation in a TV Trailer
2022 //
Best Re-Record or Adaptation in a TV Trailer
2022 //
Best Re-Record or Adaptation in a TV Trailer

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

Winning Time – Official Trailer

2022 //

Winning Time – Official Trailer

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Winning Time – Official Trailer

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Jeen-Yuhs

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Jeen-Yuhs

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Jeen-Yuhs

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Everything I Know About Love

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Everything I Know About Love

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Everything I Know About Love

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Finalists

The Witcher, S2, Teaser Trailer

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

Mike – Official Teaser

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

Winning Time – Official Trailer

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

Jeen-Yuhs

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

Everything I Know About Love

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

Winner

Assassins Creed Valhalla: Dawn Of Ragnarök – Cinematic World Premiere Trailer

Best Re-Record or Adaptation in a Video Game Trailer / Promo

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

2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo
2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo
2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo

Assassins Creed Valhalla: Dawn Of Ragnarök – Cinematic World Premiere Trailer

2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo
2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo

Assassins Creed Valhalla: Dawn Of Ragnarök – Cinematic World Premiere Trailer

2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo
2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo
2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo
2022 //
Best Re-Record or Adaptation in a Video Game Trailer / Promo

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

Finalists

NHL 22 – Official Reveal Trailer

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

Call of Duty Vanguard Trailer

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)

Assassin’s Creed Valhalla: Dawn of Ragnarök – Launch Trailer

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

Honor of Kings

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

Saints Row Announce Trailer

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

Winners Book

View all winners in one place!

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Winners Book

View all winners in one place!

(CLICK ON IMAGE TO VIEW FULL SCREEN – RECOMMENDED)