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Lower Res Sxsw Service Deck Charlotte Von Kotze - Music Supervisor Quick Presentation SUMMARY + 10 years in the Music Industry (Music Supervision, Experiential Promoter, Endorsement) + 4 years of Music Supervision with multi formats Role • Currently Director of Music for our branded content and clients at VICE since 2014 with the support of two people; able to free up some time for side projects • My Creative and licensing expertise mixed with my wide music network allow me to provide the best music solutions with a fast turnaround and based on flexible budgets • Built strong interactions with the production landscapes: client, account, legal, talent, creative, producer, editor teams • Passionate and reputed for my proactive and relevant talent & music suggestions resulting from a worldwide and cross- genre music industry network (artists, composers, managers, labels, publishers) and fresh talents from the USA, Europe, South America, Africa • Very detail-oriented and rigorous regarding clearances and legal vetting; proactively find solutions and replacements. Music Supervision Formats & Contents • Range of mediums: Highly versatile and experienced with digital, broadcast, virtual reality and formats: commercials, branded content, trailers, films, documentaries, music videos • One feature documentary: “The Most Unknown” (2018) directed by Ian Cheney and distributed on Motherboard and “Moving Stories” (2018) directed by Robert Fruchman with a premiere during Doc Fortnight at Moma (2018). • Two Short Movies: “Hail Mary Country” (2017) with AFI and “Before the Bomb” (2015) • 2 shows on VICELAND (VICE’s TV Channel): Earthworks (2017, with Miguel, Animal Collective, Local Natives about music and travel in Mexico, Brazil) + Beerland Domestic TV shows (two seasons of 6 episodes each in 2016 and 2017, third season coming up) • +~100 branded content documentaries featuring an eclectic music network for client such as Nike, Delta, Marc Jacobs, Belvedere, Calvin Klein, Smirnoff, Airbnb, Samsung, and more (examples here ) Two Women In Sync Awards • 2016: Best Music In App, VR / AR, and Mobile Media for VICELAND x Samsung VR Trailer • 2016 - Merit Award from The One Show and Women In Sync Award for “Best Original Music in a Trailer” for a Fido campaign featuring the original track “Save Me” by Katy B and Keys and Krates • Spoke at international music conferences and leveraged opportunities: Keynote and two radio interviews at C/O Pop (Germany), panels at Midem with Ed Banger (Cannes, France), BAFIM (Argentina), M (Canada), A2IM (USA), Reeperbahn (Germany) Music Background and Personal projects • Bi-Monthly Radio Show Host on The Lot Radio w/ international music + various guests: M. Mooney (Can), J. Lindner (Bowie’s last Keyboardist), Chassol, Vincent Moon, Ghostly International’s Founder…Follow movies’ music placements and create customized playlists • Regular DJ at Brooklyn locations: Downton Music Publishing Christmas Party, Donna, Achilles Heel, St Mazie (vinyl and CDJs) • Formerly: Independent Concert Promoter with indie labels such as Kompakt, Ghostly, Marketing Coordinator at Music Experiential Agency Giant Step (Cole Haan, Absolut with Empire of The Sun, Holy Ghost, Diplo), and Project Manager at the French Music export Office • Trilingual (French, German, English) in NYC since 2009; 10 years of Classical musical school (clarinet) • Vinyl collector; Currently in the studio composing music between Ableton, some analog synths and drum machines DOUBLE EXPERTISE WITH CREATIVE AND LICENSING SERVICES CREATIVE EXPERTISE AND SERVICES All formats: Digital, Paid media, socials, VR, Prommercial, TV shows, Films, Music Videos MUSIC STRATEGY MUSIC BRIEF CREATION TALENT & MUSIC SEARCH ORIGINAL MUSIC CREATION CONFERENCE & COMPOSER MANAGEMENT SOUND DESIGN AND MIXING & FESTIVAL NETWORKING CREATIVE CAPABILITIES THROUGH ALL PRODUCTION PHASES Pitching Phase Pre-Production Edit Phase Post Production • Definition of the content equity • Script Review: report all • Manage the music • Manage final sound and music identity sections featuring incidental or creation between the design and mixing phase • Target audience background music, suggest composer, creatives and • Talent, music, and sound talent and source music for editor; research music; suggestions creative and editors tailored to support edits with music • Design brief creation the content’s creative and & sound design budgetary needs placements When not in production: I attend music conferences / festivals, speak on prominent music panels, meet with labels / publishers / managers to stay up to date on the latest releases and artists and maintain strong relationships and networks. LICENSING EXPERTISE AND SERVICES All formats: Digital, Paid media, socials, VR, Prommercial, TV shows, Films, Music Videos LICENSING & NEGOTIATION WITH MUSIC ESTIMATES LABELS AND PUBLISHERS TALENT VETTING, WATCHDOWNS AND MUSICOLOGY REVIEW CONTRACT WRITING CUE SHEET LICENSING CAPABILITIES THROUGH ALL PRODUCTION PHASES I am not only a creative Music Supervisor but I also provide licensing solutions to manage the director’s expectations with suggestions; due to my music background and my transparency, I am also skilled at communicating with a team and translating their needs for a composer to deliver music within our timeline. Pitching Phase Pre-Production Edit Phase Post Production • Define Client Terms and • Vet music, talent, camera • Watch down cuts, negotiate • Contract writing, cue sheets provide budget ballparks performances before shoots and secure the music licensing rights; maintain internal and external communication to manage expectations MY MUSIC NETWORK Local & global, cross-genre, and cross-era we target the right artist(s) & music for each need. Artists from my recent campaigns MY NETWORK: EXISTING MUSIC Future From majors to indie artists, my extensive & eclectic network allows me to target the right artist, bands or composer according to each music need, character or scene; our experience and positioning in the marketplace allows for many options on any budget MAJOR LABELS / PUBLISHERS: Universal, Sony ATV, BMG, Warner Chappell • Big artists I worked with: Future, Miguel, Dua Lipa, Lapsley, Aurora, Vince Staples, Action Bronson, Eminem, Tyler The Creator, Arcade Fire, Charli XCX, FKA Twigs, Shamir, Jhene Aiko, Cardi B, Run the Jewels, Aluna George, Lolawolf, Phantogram, • Budget: $$$, clearances through several parties Baauer INTERNATIONAL INDIE LABELS: Domino, Beggars, Ghostly, Kobalt, ZZK, Light In The Attic, K7, Numero • Up-and-coming artists I worked with: Animal Collective, Danny Brown, Princess Nokia, Black Lips, Run The Jewels, • Budget: $$, clearances through less parties, often slightly faster UNSIGNED BANDS: Up-and-coming, followed by cultural platforms; increasing socials • Entities & Artists I worked with: We Are Free, Paradigm, Kilo Kish, Discwoman, Illa J, The Black Madonna Discwoman • Budget: $, way more flexible about the asks and hungry about promotion, faster turnarounds LIBRARIES: Artist libraries from actual labels with unreleased tracks or premium cues made by composers • Example: Erased Tapes Music, Ghostly Library, Marmoset, APM • Budget: $, easy and quick clearances Shigeto (Ghostly Library) MY NETWORK: ORIGINAL MUSIC Nick Zinner (Yeah,Missy Yeah, Mazzoli Yeahs) My wide network of music houses and independent composers as well as my capability to (Mozart in The Jungle) manage them allows to respond to different briefs and budgets with bespoke creative solutions. MUSIC HOUSES: • Examples of entities I worked with: Squeak E Clean (Kenzo World Commercial), Human, Elias Arts, Future Perfect • Budget: $$, as these are big entities and big deliveries require limited rounds of revisions Atticus Ross (The Social Network) GHOSTWRITERS & INDEPENDENT COMPOSERS I AM CONNECT OR WORKED WITH: • Atticus Ross (The Social Network), Kurt Uenala (Depeche Mode), Lafawndah, Stelios Phili (A$AP Ferg, Missy Elliott, SZA, MIA collaborators, Alex somers (Jonsi & Alex, Sigur Ros), David Scott Stone (The Melvins, LCD), Sure (The Raveonettes, Amadeo (Blonde Red Head), Missy Mazzoli (Mozart In The Jungle) • Budget: depends on the composer; price flexibility; direct access, flexibility with revisions Lafawndah Dave Harrington (half of Darkside w/ Nicolas Jaar) MY INTERNATIONAL + CROSS-ERA MUSIC NETWORK I carefully customize authentic music searches which allows me to watch the Director’s vision as well as the Audience by engaging musicians from a range of countries to accurately capture the local scene or era. This genuinely translates the heritage or local context of a story. Some label examples from my international / cross-era music network: Examples Of Past Film & Tv Work (Within Vice Or As Side Projects) More examples, and TV + branded content work: https://www.charlottevonkotze.com VICELAND TV Show Earthworks (2017) • Camera band performances (new & existing tracks) + interaction w/ locals about climate issues • Handled a mix of pre-production needs, camera performances, live music, local music serches, and background licensing; • managed the theme track production by Local Natives • Therefore, good budget balance adapted on the day to day thanks to different sources which even generated savings • Within each 45 min episode: 50% - 70% of music from bands; 30 - 50% of music comes from indie labels, libraries, unsigned artists • Content opportunity for the artist: i.e. Animal Collective’s new EP “Meetings Of The Water” Series Trailer here Animal Collective in Brazil Miguel in Mexico Local Natives in Colorado https://www.youtube.com/watch?v=rAVQujoD1Ls
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