Cannes Sync Awards

The Jury

Thibault Deboaisne

Music Supervisor for "Anatomy of a Fall" by Justine Triet, winner of the Palme d’Or and the Oscar for Best Scenario in 2024. Thibault is the President of the ASM.

Jeanne Trellu

Founder of the Hippocampus agency, Jeanne is particularly known for her work on "Les Enfants des Autres" by R. Zlotowski and "Diamant Brut" by A. Riedinger, which is at Cannes now.

Martin Caraux

Music Supervisor for "Le deuxième acte", set to open the 2024 Cannes Film Festival. Caraux is also known for his work on "Le procès du chien" by Laetitia Dosch or "Grave" by Julia Ducournau

Marguerite Giry

Music Supervisor, Artistic Director and Project Manager at My Melody, a prolific parisian agency. Marguerite did the Music Supervision for recent French Netflix show "Fiasco".

Laureen Arnou-Sanchez

Music supervisor for both ads and Film/TV, Laureen recently assisted PM Dru/Pigalle Production on “Emilia Perez”, Audiard’s next film, nominated for the Palme d’Or.

Guillaume Baurez

Music Supervisor for over 20 years, Guillaume is a force to be reckoned with in the field of sync. He is the founder of Soundress, a french agency in the field of music supervision, and is most recently known for his supervision on "The Substance", a nominee at the 2024 Cannes Film Festival.

The ASM

The ASM is an association that unites nearly 30 music supervisors from 15 organizations. Its mission is to serve as the voice for music supervisors, representing them to public authorities and professional unions, and highlighting the crucial role music plays in the audiovisual industry.

To participate

Choose a scene from these 7 Palme d'Or winners
Select a track from your catalog to illustrate this scene
Send us your track along with a pitch in one sentence

Taxi Driver

The Piano

Paris, Texas

Apocalypse Now

Wild at Heart

Pulp Fiction

The Tree of Life

Click the button above to submit your track and participate in the 'Cannes Sync Awards <> Pitch Me if You Can' contest (list of prizes below).

To validate your registration, please ensure to:

Submit only ONE entry: ONE track for ONE scene
In the subject line: Write the Film Name
In the Message: Write your one-sentence pitch justifying your track choice
Do not upload a video: only send a .mp3, .wav, .flac, or .aiff file

Only valid submissions will be reviewed by our jury, who will nominate tracks with strong sync potential and distinguish the top 10 pitches received.

Key dates:

Submission deadline: originally set for May 31, 2024, extended to June 5, 2024.
Jury deliberations: June 1 to June 25, 2024
The winners will be announced during the Festival “Les Soeurs Jumelles": the Meeting of Music and Image. It will be between June 25 and June 30 (exact date to be confirmed).

About the *Sync Hub

The Sync Hub is the Sync discoverability platform powered by Bridge.audio that connects rights holders with all music buyers.

These buyers come from various creative industries: films and series (with music supervision agencies like Creaminal or My Melody), advertising (with agencies like TBWA or Ogilvy and brands like Chanel or L'Oréal), as well as television and video games.

Discover

What is a Music Supervisor

The role of a Music Supervisor

Music Supervisors are tasked with the responsibility to manage all the musical aspects of a film or series. Directors rely on their creative advice and practical expertise to build their soundtrack, whether it involves pre-existing music or original compositions.

The supervisor is responsible for securing the rights to the songs they want to use in the film or series. In the case where original music is needed, they also act as a liaison between the director, producer, composer, and, if necessary, they oversee the executive production of recordings. They are, in a way, the project manager of the audiovisual project’s soundtrack.

The expertise of a Music Supervisor

ArtisticWhat a music supervisor brings to a visual project is their extensive musical knowledge and artistic direction. It's up to them to find pre-existing tracks that meet the project's needs and to select all the composers, arrangers, musicians, and sound engineers who will be involved in creating an original soundtrack.

TechnicalTo fulfill their artistic direction, the music supervisor must also have technical skills. Indeed, they will have to collaborate with various teams throughout the process, including performers, composers, choreographers, the production and post-production teams, sound editors and video editors, studios, distributors, and labels, to name a few. A good music supervisor knows how to express their needs to each team in a way they will understand.

Legal The music supervisor is also sought after for their legal knowledge. Indeed, to use pre-existing tracks in a visual project, it's necessary to obtain the necessary rights. The music supervisor is responsible for negotiating the terms of a sync contract with the rights holders, including the singer-songwriter, the composer, publisher, sync agent, and label.

Strategic and Financial To create a captivating musical universe while respecting a limited budget, the music supervisor must have a strategic mindset and significant financial skills. They must know precisely the cost of production, how to negotiate an advantageous sync contract, and how to properly allocate their budget to achieve a final result that meets the director's expectations.

Commercial In the event that a project requires an original soundtrack, it's also the music supervisor's responsibility to negotiate a license or distribution contract to make this music available to the public upon the release of the audiovisual project.

About the ASM

The ASM is an association that brings together nearly 30 music supervisors across 15 organizations. Its aim is to become the spokesperson for music supervisors, to represent them to public authorities and professional unions, and to put a spotlight on the role music plays in creation of feature films, TV films, series, documentaries, and video games.