GMS x Colombian Sync Market 2024

GMS x Colombian Sync Market 2024

We are delighted to announce that the UK and European Guild of Music Supervisors have partnered with Colombian Sync Market.
The event emerges as an innovative response to the current needs of the Colombian and global music industry, in a world where music has become an essential tool for audiovisual storytelling, advertising, video games and more, synchronisation has become established as a powerful avenue to connect musical talent with commercial opportunities, despite Colombia’s rich sonic diversity, lack of exposure and limited economic outcomes for many artists demonstrate the need for a specialised market that addresses these challenges.

Colombian Sync Market is taking place from 19th of March to 22nd March 2024. Music Supervisors Michelle De Vries, Lucy Bright, Hollie Hutton, Chloe Heatlie will be representing the UK and European Guild of Music Supervisors. Across the 4-days, they will travel as part of the FanTrip group to connect with the most powerful independent music catalogs in the region, while immersing in the natural, urban and musical experiences of Medellín and its surroundings, participating in the various networking activities, attending the concerts and the panels program.

Michelle will also take part in the ‘Let’s build from Bad Experiences‘ (Construyamos Desde Las Malas Experiencias) panel on 22nd March 2024. She will be speaking alongside Guillermo Salazar (Musical Director at RCN Television, Colombia), Herminio Gutierrez (Music Supervisor, Mexico), Andrea von Foerster (Music Supervisor, US), moderated by Luisa Piñeros (Radio Presenter, Colombia). The panel will look into bad experiences and how creators used them as foundations for success and discuss barriers, challenges and lessons learned in the world of music synchronisation.



Colombian Sync Market’s mission is to create a B2B market specialised in synchronisation in Latin America, connecting music creators and buyers. The platform will focus on providing legal security, competitive value and perfect alignment between music and message, strengthening the music industry in the region.


To be the bridge between musical talent and the audiovisual industry in Latin America, transforming the way music is selected, acquired and used in audiovisual and advertising content. We aspire to be the leading synchronisation platform, where each interaction results in an enriching experience and concrete business.


Create a specialized platform that makes music synchronization easy, providing a single solution for musicians and music buyers. “Colombian Sync Market” seeks to be a meeting point where businesses materialize and music is lived as a cultural and tourist experience.

Listen to the official Colombian Sync Market playlist below.


Following the much-anticipated release of Sex Education’s final season, we sat down with music supervisor, Matt Biffa, to delve into his creative process and experiences while working on the show.

The captivating universe of Sex Education goes beyond its distinctive characters and gripping plotline; it is equally complemented by a carefully curated soundtrack. Since Season 4 premiered on Netflix in September, songs from the show have been dominating the Tunefind Top Trending songs chart, underscoring the show’s musical excellence.

After initially reading the script for season 4, which scene did you look forward to working on the most?
Matt: The biggest challenge is always the first song of the first episode, particularly as we were coming back after a long time away. I also felt like previous cold opens had set quite a high bar, particularly the use of “I Touch Myself” for season 2. Originally, I really wanted us to open with something massive by an artist like Prince, but after trying 50 or 60 songs, I realised that we had to cast the net wider. The Nina Simone song came to me while I was out walking the dog one afternoon, and it was the only song that everyone immediately agreed on, so that was it.
Every song in the show is a challenge, because the scene descriptions are usually pretty eye-opening, but the other one that I was really looking forward to was the finale. Knowing that this was the last song anyone would ever hear in the show definitely felt intimidating, so I kept squirrelling ideas away over the months leading up to the edit. I knew that we’d have a lot of differing opinions, so in this case I wanted to have a lot of ideas to draw on.

— Why did you feel that the music you had chosen in this particular scene was most fitting for it?
Matt: Otis and Maeve are missing each other, and Maeve’s starting to feel quite frustrated. The lyrics are pretty on the nose at first, but I loved how they play against the second half of the scene, where Otis fails to send back a nude after some pretty disastrous pube-shaving.

Which scene did you enjoy watching back most after final mixing took place?
Matt: Brandi Carlile’s “This Time Tomorrow (In The Canyon Haze)” really hit me hard when I watched it back. It was a song that I had a very strong feeling would work for Maeve’s story this season, and we actually tried it in quite a few places before landing on the end of episode 7. I was literally like a dog with a bone on that one – I love how the “I’ll always be with you” lyric plays over Maeve’s realisation that she’ll be OK, and at that moment she’s achieving a degree of closure regarding the relationship she had with her mother. I always took it that she also felt reassured at that moment that she’d be able to move forward without Otis, and that she had a glimpse of how her life could be, but I might have been overthinking it at that point…

What were the challenges for you on this project?
Matt: As I say, literally everything is a challenge with this show! The budget is never what everyone imagines it to be, and so I spend a lot of time managing the expectations of both sides. I’m forever explaining to the rights holders and producers what’s realistic, and that seems endless sometimes.
Traditionally, we argue and agonise over pretty much every cue, and sometimes there can be some pretty heated disagreements over song choices. I’ve seen 10-page email chains that span a weekend where people are vigorously arguing for and against a certain song, and it takes a lot of diplomacy to be in the middle of that and stay on good terms with everyone. But “Sex Education” is greater than the sum of its parts, so it took all of us to make it what it was. All of our personalities are in there, and I suppose I was in the middle of it all just trying to hold it all together and make sure we were doing everything with integrity.

Lastly, even though the show’s successful, we still get denials all the time. Some of the older approval parties take one look at the title and straight up interpret the show as being gratuitously pornographic. Sometimes I can talk them round – after 4 seasons I’ve really finessed my spiel about what the show is and what it hopes to achieve for teenagers – but sometimes they still find it dubious and deny. I’d usually have to call some rights holders before sending a clearance request, because getting a request with some of those scene descriptions out of the blue would be incredibly weird. So there’d be these hilarious phone calls where I’d be explaining that the song was going to play over three minutes of the cast constantly having loads of pretty insane sex, or that it’s a montage where Otis can’t stop pleasuring himself and gets caught by his mum in the car. You get hilarious mails back asking “how much jizz do we actually see”, or “how explicit is it when Jackson has a finger in his bum?”.

What was your highlight/most memorable moment of working on the fourth season of Sex Education?
Matt: Probably the last ever session we had together to choose the song for the finale. We had 4 of those sessions, and each of them had about 25 songs laid to picture, meticulously edited so that each one was as great as it could be. The poor assistant editors had pages of notes from me asking them to cut an intro by 4 bars, come in at the second verse, cut the first half of the guitar solo, come back here, play through to the end. It drove everyone in my house beserk because they could hear me play a fragment of a song, stop it, then play another bit endlessly until I’d worked out what was best.
Anyway, with each session, no one could agree on anything – 4 people would love something, and one person would be totally allergic to it, so it was a very involved process. I realised though that every one of those meetings was potentially the last time we’d ever be in a room again. I kept detailed notes with the date and time, noting every reaction to every song. The last one was very emotional at the end – we inevitably felt incredibly reflective on what we’d achieved over the years. When I look back at the full 4 season song list, I feel incredibly proud – immodestly, I think there are some absolute bangers there.

Could you tell us a bit more about your other recent and upcoming projects?
Matt: I’ve just had “The Woman In The Wall” come out – that show was amazing to work on, chiefly because we managed to get an unreleased Sinead O’Connor song for the finale. She’d agreed to let us have it before she died, but then I had to iron out all the details, which was a delicate process. The song itself is unbelievably moving, and we stripped it down to just her voice for the first part of the use, so it’s almost unbearably powerful when you hear it.
I’ve got lots of projects happening with all the usual streamers but the next thing to come out will be “The Buccaneers” on Apple in November. For that one, I came up with a concept that was about as complicated and difficult as you could possibly imagine, and then I idiotically pitched it to Apple and the producers. They said, “sounds amazing, go away and do it”, and then I had to find a way to make the bloody thing real. So I got Stella Mozgawa from Warpaint on board to produce about 15 entirely new bespoke songs with all sorts of American female artists. I think it turned out pretty well, but see what you think when it comes out.

Thanks again for taking the time out to speak with us!

You can listen to the full soundtrack below.

Sex Education is now available to stream on Netflix.


Founding UK & European GMS President Iain Cooke (Amy, It’s A Sin) along with GMS full working board members Nick Angel (Bridget Jones Trilogy, Paddington 2), Sarah Bridge (The Crown, Theory Of Everything) and Catherine Grieves (Killing Eve, Slow Horses) announce they have joined forces to launch 45 RPM – a music supervision collective of some of the UK’s most respected, experienced and accomplished creative music supervisors.

45 RPM specialises in all aspects of music supervision for film and TV, from collaborating on the creative vision for the soundtrack, choosing the perfect song, helping engage the best score composers, negotiating the music rights and managing the music budgets as well as specialising in on-camera music supervision, all in delivering a nuanced and dedicated commitment to the creative industry.

With over 50 years of collective experience, the multi-award winning team’s recent projects include Wham! (Netflix), Champion (BBC/Netflix) What’s Love Got To Do With It? (StudioCanal), Extraordinary (Disney), Raindogs (HBO), Liaison (Apple TV), Mayflies (BBC), Back To Black (StudioCanal), Ticket To Paradise and BAFTA nominated See How They Run.

“We are very excited to bring our collective experience to 45 RPM. We pride ourselves in taking a unique approach to creative and collaborative partnerships. 45 RPM is the perfect opportunity to underline our shared ambition to not only work with established talent on a global scale but to also find and nurture the very best in new talent for our partners. A truly personal approach, drawing upon our ability to understand and interpret creative vision across music connectivity and on an array of projects.” said the 45 RPM partners.

45 RPM also has a non-exclusive deal to work on the development and production of all music services on all StudioCanal films and TV.

For more info visit :

BFI London Film Festival 2022

The full festival program has been announced for the 66th BFI London Film Festival in partnership with American Express.

We would like to take this opportunity to highlight and celebrate all the music supervisors and composers who have been involved in the making of the movies that are showcased at the 2022 LFF. Congratulations!

ProjectsYear _______CountryMusic SupervisorsMusic By




Chile/ Argentina/

Mariá Portugal

The African Desperate2022
USBen Babbitt/ Colin Self/ Aunt Sister
After Sherman2022
Lucy Bright
Oliver Coates
Juliet Holohan
Daragh O’Toole
Spain/ ItalyFrederic SchindlerAndrea Koch
All That Breathes
2022UK/ India/ USRoger Goula
All That Money Can Buy
1941USBernard Herrmann
All the Beauty and the Bloodshed
2022USDawn Sutter MadellSoundwalk Collective
2022UKDavid FishGeorge Fenton
Argentina, 1985
2022Argentina/ USPedro Osuna
2022France/ Tunisia/ QatarThomas Kuratli
2022DenmarkJohan Carøe

The Banshees of Inisherin
2022Ireland/ UK/ USCarter Burwell
BARDO, False Chronicle of a Handful of Truths
2022MexicoLynn FainchteinBryce Dessner
The Black Pharaoh, the Savage and the Princess
2022France/ BelgiumPascal Le Pennec
2022AustraliaAndrew KotatkoAngel Olsen/
Sam Petty
The Blue Caftan
2022France/ Morocco/ Belgium/ DenmarkKristian Eidnes Andersen
Blue Jean
2022UKChris Roe
Bobi Wine: The People’s President
2022UK/Uganda/ USDan Jones
Boy From Heaven
2022Sweden/ France/ Finland/ DenmarkJean-Paul WallKrister Linder
Brainwashed: Sex-Camera-Power
2022USSharon Farber
2022CanadaJody Colero/ Kaya PinoTodor Kobakov
Butterfly Vision
2022Croatia/ Czech Republic/ Sweden/ Ukraine Dzian Baban


Call Jane
2022USWilla YudellIsabella Summers
Casa Susanna
2022France/ USThibault Deboaisne
2022USAlex Somers
The Circus Tent
1978IndiaM.G. Radhakrishnan
2022Belgium/ Netherlands/ FranceValentin Hadjadj
The Cloud Messenger
2022India/ USNikhel Kumar Mahajan
Corsage2022Austria/ Luxembourg/ Germany/ FranceGuillaume Baurez
2022UKVincenzo Lamagna


The Damned Don’t Cry
2022France/ Belgium/ MoroccoNadah El Shazly
Decision to Leave
2022South KoreaYeong-wook Jo
2022IndiaSushin Shyam

Eight Deadly Shots
1972FinlandErkki Ertama
Emily The Criminal
2022USNathan Halpern
Empire of Light
2022UK/ USNicoletta ManiTrent Reznor/
Atticus Ross
2022Poland/ ItalyPawel Mykietyn
The Estate
2022UKAndy RossWill Bates
The Eternal Daughter
2022UK/ USCiara Elwis/ Maggie Rodford
Exterior, Night
2022Italy/ FranceFabio Massimo Capogrosso

2022IndiaSameer Rahat
Fast & Feel Love
2022ThailandMellow Tunes
Foolish Wives
1922USAndrás Hamary/
Sigmund Romberg


Getting It Back: The Story of Cymande
2022UKGary Welch
Glass Onion: A Knives Out Mystery
2022USJulie Glaze HoulihanNathan Johnson
God Said Give ‘Em Drum Machines
2022US/ Japan/ Russia/ South Africa/ UKLauren MikusReggie Dokes
2022Denmark/ Iceland/ France/ SwedenAlex Zhang Hungtai
The Good Nurse2022USKatarina Julie Madsen/ Steve TallamyBiosphere
Guillermo del Toro’s Pinocchio
2022US/ Mexico/ FranceSteven GizickiAlexandre Desplat


2022ArgentinaRoberta Ainstein
Hidden Letters
2022ChinaChad Cannon
Leona Lewis
Holy Spider2022Denmark/ Germany/ Sweden/ FranceMartin Dirkov
Horseplay (Los agitadores)
2022ArgentinaPedro Irusta


2022USMarchese Taylor/
Jake Weinreb
Jeremy Bullock
The Inspection
2022USAnimal Collective
Into the Ice
2022Denmark/ GermanySteve TallamyKristian Eidnes Andersen


Kamikaze Hearts
1986USWalt Fowler/
Paul M. Young
2022Ukraine/ TurkeyZviad Mgebry


Lady Chatterley’s Lover
2022UK/ USSpring Aspers
Last Flight Home
2022USMorgan Doctor
Leonora Addio
2022ItalyNicola Piovani
2022USMark Hadley
2022UK/ JapanRupert HollierEmilie Levienaise-Farrouch
Love Life
2022France/ JapanOlivier Goinard
2022USAaron Lawrence


Maya Nilo (Laura)
2022Finland/ Belgium/ SwedenArnaud BlanpainPer Störby Jutbring
Malintzin 17
2022MexicoDiego Espinosa
Medusa Deluxe
2022UKToby Williams
Meet Me in the Bathroom
2022UKKaren Crossan/
Gary Welch
Mini-Zlatan and Uncle Darling
2022SwedenStein Berge Svendsen
More Than Ever2022France/ Germany/ Luxembourg/ NorwayJon Balke
My Father’s Dragon
2022Ireland/ USJeff Danna
Mychael Danna
My Imaginary Country2022ChileJosé Miguel Miranda/
Miguel Miranda/
José Miguel Tobar
My Policeman
2022UK/ USKle SavidgeSteven Price
My Robot Brother
2022DenmarkPovl Kristian


2022USBarry ColeBartek Gliniak
Name Me Lawand
2022UKTom Hodge
Next Sohee
2022South KoreaYoung-gyu Jang
2022Syria/ UK/ FranceRupert HollierRob Lane/
Rob Manning
2022NorwayMartin Smoge
Nil by Mouth
1997Margot CoreEric Clapton

The Origin2022UKAdam Janota Bzowski
L’Origine du Mal
Origin of Evil
2022France/ CanadaPhilippe Brault
Pierre Lapointe


Palm Trees and Power Lines
2022USMikaila Simmons
The Passengers of the Night
Les passagers de la nuit
2022FranceAnton Sanko
The Passion of Remembrance
Peter von Kant
2022France/ BelgiumClément Ducol
Pretty Red Dress
2022UKPhil CanningBrijs


The Queen of Spades
1949UKGeorges Auric


2022Germany/ France/ AustriaFritz Ostermayer/
Herwig Zamernik
Roald Dahl’s Matilda the Musical
2022UK/ USBecky BenthamTim Minchin
Robe of Gems
2022Argentina/ MexicoSantiago Pedroncini


Saint Omer
2022FranceThibault Deboaisne
She Is Love
2022USChris Hyson
She Said
2022USNicholas Britell
2022Ukraine/ FranceDavid Federmann
The Son
2022UK/ FranceIan NeilHans Zimmer
The Store
2022SwedenGiorgio Giampà
The Stranger
2022AustraliaJemma BurnsOliver Coates
2022IranSami RadRamin Kousha
Summer with Hope
2022Canada/ IranSoheil Peyghambari
The Swimmers
2022UK/ USKirsten LaneSteven Price


2022USMandy MamletAbel Korzeniowski
Triangle of Sadness
2022Sweden/ France/ UK/ Germany/ Turkey/ GreeceMikkel Maltha/
Leslie Ming


Under The Fig Trees
2022Tunisia/ Switzerland/ France/ QatarAmin Bouhafa
2022SwitzerlandLi Tavor


The Whale
2022USRob Simonsen
White Noise
2022US/ UKDanny Elfman
Winter Boy
2022FranceYoshihiro Hanno
The Woman in The White Car
2022South KoreaHa Geun Yeong
Women Talking
2022USMandy MamletHildur Guðnadóttir
The Wonder
2022Ireland/ UK/ USSarah GilesMatthew Herbert
The Woodcutter Story
2022Finland/ Netherlands/ Denmark/ GermanyPeter AlbrechtsenJonas Struck


2022SenegalHenri Guillabert/
Freres Guissé


You Won’t Be Alone
2022UK/ Serbia/ AustraliaAndrew KotatkoMark Bradshaw


This month we feature an exclusive interview with Gareth Allison, London-based Music Supervisor at BT Sport, who shares insight into his career to date and what inspired him to pursue a career in supervision.

When did you first learn about music supervision and decide it was something you wanted to pursue?

I’ve always been influenced by the music used in games, TV and films. I used to include my favourite theme music on mixtapes which resulted in the music from ER, Magnum PI & The A-Team being alongside tracks by Radiohead, NOFX, Hundred Reasons and other alternative rock bands. All sounds quite preposterous now that I think about it.

It wasn’t until I read an interview at University with Skins Music Supervisor Alex Hancock in the NME that I learnt there was a job where you picked music for TV and films and got paid for it.

From that moment I focused my studies on sync and music supervision and that led me to doing my dissertation on the history of sync, from the talkies to the present day.

As part of that dissertation a few music supervisors were gracious enough to answer a research questionnaire for me and that gave me a greater insight into what the role really entailed as well as opening a few doors to me for work experience.

What were you doing before?

Previously I’ve had various internships with labels, sync agencies etc. and those eventually led to my first job at a boutique electronic publisher where I was responsible for signing writers, pitching for sync and much of the administration duties. Although the business failed I learnt so much.

Immediately before starting at BT Sport I was actually working a 10pm – 7am night shift packing car parts. Obviously it wasn’t something I was planning to do but I think it’s important for people to know that careers aren’t always linear and it took me a while to find a job that I now feel very privileged to do.

Was there a particular ad/film that inspired you to explore music supervision?

Looking back now there are so many moments which combined music with media that clearly influenced the younger version of me – Tony Hawk’s Pro Skater, The OC, The Blues Brothers & Trainspotting to name a few.

One particular moment that still stands out is the come down scene in Human Traffic which used Orbital’s Belfast – that track has stuck with me ever since and I guess the film opened up a whole world of Dance music to me and led to me being a headphone Junglist when I’m stuck doing admin now.

Generally I think anything that broadened my taste or that endorsed what I was already listening to, that became an inspiration.

Tell us about a project you’ve worked on which you’re particularly proud of and why?

In 2021 I was asked to commission an artist to write and perform a song which reflected on the impact the murder of George Floyd has had on society and on sport a year after his murder.

We ended up working with the brilliant Kay Young who encapsulated everything we were hoping to say but from her own unique perspective.

Kay drew upon her own personal experience, to educate and articulate a subject many people feel far removed from.

You can view her incredible song Change HERE

and the whole It’s Time To Change Film HERE

What’s the biggest challenge you’ve faced in the job?

The biggest challenge is always trying to ensure all the stakeholders are as happy as they can be and that’s especially difficult when most of our projects are such a quick, almost immediate, turnaround.

I may be working directly with one person, usually a director or a producer but in the background there’s an editor, a sound mixer, heads of department, executives who can sometimes all have a say in how they want something to sound and that’s difficult when they’re not necessarily communicating directly with me.

We’re a small team so I can guess that’s an even greater issue for many Supervisors.

What’s your dream project? Are there any particular directors, brands, artists or composers you’d like to work with?

One of the things I love about working in Sport is that it covers almost every emotion but I’d love to do something a little longer form, a series that develops over time and where there’s more opportunity to try out different or unusual ideas, maybe something my mum might want to see too.

What’s the best/your favourite use of music in a film or advertising?

I’d find it hard to choose a favourite of all time that wouldn’t be a cliché but I recently watched The Figo Affair, the score by Rival Consoles is so good.

I’ve also just finished watching Under The Banner of Heaven which has another excellent score, all guitar based which felt especially rare at the moment. They’ve also used East Hastings by Godspeed You! Black Emperor which is a song I adore.

What advice would you give someone looking to become a supervisor?

Don’t be shy, say hi.

Listen to as much music as possible but also try to understand where and why it came about. Listen to the radio, read interviews and generally immerse yourself.

Also, be prepared to be a tool to help fulfil your collaborators creative vision and set aside your personal tastes and judgement.

Thank you Gareth for taking the time to speak with us at GMS, we wish you all the luck in your future work!