28 MusicWeek 02.08.13 PUBLISHING SPECIAL SYNC
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Stoddart, senior vice president, Synchronisation & Digital Media of Kobalt Music Group, which recently worked closely with an ad agency to place Tim Myers’ Get-Together in Ford Fiesta’s worldwide campaign, excluding the US. Globe’s Marc Robinson has also seen the benefits
of a sync placement for a number of departments linked to a particular release campaign, pointing to Ellie Goulding as an example: “The right song with the right picture can have a huge emotional pull and therefore be an incredible platform for the marketing managers of the artist to build on,” he says. “When Ellie Goulding’s Explosions was placed on the trailer for ITV’s drama season earlier this year, the powerful two-minute montage created an instant connection with the song. Polydor then got on board, created a video, took the song to radio and marketed the collaboration widely. This led to a hit single for Ellie with what was initially considered an album track. “The same happened when we placed the
Lumineers’ Ho Hey on an Eon campaign,” he adds. “The rotation of the ad and reaction to the song
ABOVE iPods to ITV | As well as The Lumineers’ Eon TV ad, Universal’s Globe managed to nab a place in Apple’s iPod TV campaign for Willy Moon (left) and an ITV drama
campaign for Ellie Goulding (right)
was then used by the team at Decca as a big push for the track.” Spirit Music Group managed to take the idea of
cross-promotion to a whole new level, with a sync placement for The Who’s You Better You Bet into the second season debut of HBO’s The Newsroom. Not only was the song used as the episode’s end title but writer Aaron Sorkin actually worked the song’s lyrics into the storyline. “We work with producers to ensure there is high-
profile mention of our writer/artists via credits, chyrons and on the show, movie or advert’s relevant websites and social nets,” says Spirit Music Group founder and president Mark Friend. “Second, we’ll explore opportunities to release and
co-promote a custom single, put up some custom YouTube videos and make sure Shazam and other song ID software properly points to the right song and recording. “Finally, we’ve got a crew of young people
organically working the web in real-time right after big syncs are broadcast, jumping into chatter on
popular show and film-related socials and blogs making sure fans know what song they’ve just heard and leading them to iTunes and our writers’ sites. In some cases, we’ve witnessed the migration of thousands of new fans in a matter of hours.” But it’s not just communication with music
supervisors, TV, film, video game studios and ad agencies that publishers and labels need to maintain. Perhaps the most important relationship in sync is between labels and publishers themselves. Since a music supervisor needs to secure both the master and publishing rights of a track before they can hand it over for use on the next big blockbuster, both sides must be on the same page when it comes to organisation and agreement on a sync fee so that full clearance can be gained at a moment’s notice. Publishing has the key to open the door to a deal, which then lets the label in, so to speak,” says Sony Music’s director of Music for Film, TV, Advertising and Computer Games Ian Neil. “So we work closely [with publishing] but we rely on ourselves to create the opportunities. So a label is very pro-active with its
RIGHT PLACE, RIGHT TIME: GLOBE AND IMAGEM PROVIDE THE BACKSTORY FOR SOME OF THEIR SUCCESSFUL SYNCS
Tom Stingemore, Creative Director, Sync, Universal Music “When ITV chose Ellie Goulding’s album track Explosions for their big cross- channel ‘Where Drama Lives’ promo back in January, we knew it had the
potential to connect. The scale of any connection, however, is always very hard to predict. “As is often the case, the track reacted first on Shazam,
climbing to No.7 almost instantly. Being able to measure the reaction to a sync so quickly is a hugely useful tool for the team here. “Polydor and Turn First Artists seized the opportunity and
immediately built a fully-fledged single campaign around it. Within a couple of days, the video had launched and by the following week, the track was flying at radio. “We work as collaboratively as possible with our partners,
and ITV were enormously helpful in sharing their plans with us. This meant that the two campaigns were able to run in parallel - the impact of which was undeniable. “This campaign is a fantastic example of how, with the
right team, a comprehensive plot can now be built around a sync almost overnight. “The song was A-listed at Radio 1 and went on to sell over
200,000 copies. “In May, Ellie performed Explosions on Britain’s Got Talent along with Anything Could Happen, exposure which helped propel her Halycon album from No.50 to No.2 in the charts, more than seven months after its initial release. Halycon went platinum shortly after.”
Paul Veitch, Director of Creative Licensing, Universal Music UK “The fact that the Goulding sync went cross-channel, as well as to cinema and online represents a big investment from a broadcaster and ensures a much wider audience, all of whom reacted very well to ITV’s emotive promo.”
Rosie Hill Head of UK Creative Services, Imagem “Several of our recent successes have featured cover versions that we, or the agency involved, commissioned through our network of partners,
independent producers and artists – such as the Weetabix ‘Morning In Reverse’ campaign (a stripped back acoustic version of the traditionally theatrical Oh What A Beautiful Mornin’, performed by Mim Grey) and the Brewing Industry “Let There Be Beer’ spot currently on air featuring an epic re-
record of Climb Ev’ry Mountain produced by The Works. “The covers trend continues to have a stronghold on the
UK market, so it’s critical that we stay on top of it and keep updating our suite of works. It’s important that we deliver what the client needs, but at the same time manage the creative concerns of writers, so working with our writers during the process of re-arranging and re-recording is critical. “We’re having a vintage year for our pop catalogue - Imagem Music. Although I’m sure no one in the world needs reminding, Daft Punk came back with a bang, and aside from giving us the biggest selling single of the year so far, we secured a Euro-wide Audi campaign with Harder Better Faster Stronger. “Additionally, we’ve seen our new signing PEACE head straight on to TV screens via Made in Chelsea. Regardless of whether you’re a fan of the programme, the music supervision is unarguably second-to-none. It’s a great stepping stone to other media. “We also bagged a global campaign for Chrysler, using
Palladio by Karl Jenkins, from our Boosey & Hawkes classical catalogue, proving there’s a place for all our catalogues. “Both the Weetabix and Brewers spots were secured by a traditional pitch to close agency contacts (BBH & Rainey Kelly respectively). It’s not always a cut-and-dried process, by any stretch of the imagination, but when it’s as straightforward as pitching and getting it unquestionably right, there’s nothing more satisfying.”
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