A spotlight feature on the IMPF Global Music Summit in Palma de Mallorca by Paul-Loup Marquise – Music Supervision, Music Rights & Sync Licensing Consultant (France), Music Coordinator for Michelle
De Vries, Publishing & Sync Agent for Extra Mile Music and Music Administration Support for Mediawan Music.
[Photo: Evening Cocktails – IMPF]
There’s a special kind of energy that happens when music supervisors, publishers, and creatives
gather in the same place to talk about how stories sound. That was the feeling at this year’s IMPF Global Music Summit, held from October 7-10 in Palma de Mallorca— four days of conversation and connection set against the Mediterranean, where the future of sync felt both global and personal.
Day 3 — “The Sync Day” — offered a comprehensive look at music supervision today and its
changing landscape: exploring the creative, technical, and cultural facets.
The day opened with a keynote from Lindsay Wolfington (President, Guild of Music Supervisors (US) /
Lone Wolf Music Supervision) in conversation with Teri Nelson Carpenter (Reel Muzik Werks).
Drawing from her experience on U.S. productions like XO, Kitty and Love in Taipei — both series
rooted in Asian settings and storytelling — Wolfington discussed how authentic representation and
cross-cultural soundtracks are redefining what audiences connect with. She also addressed how the
sync market is rebounding post-Covid and industrial strikes, with new opportunities for independent
artists and catalogues from non-traditional markets.
[Photo: Lindsay Wolfington Keynote – IMPF]
The conversation continued with “The Global A/V Music Business: Where We Are Today and What the Future Holds,” a roundtable featuring Michelle De Vries (Extra Mile Music), Alkis Argyri-
adis (Ubisoft), Nicky Bignell (BBC), Monique Göschl, and Goran Obad (Ohlogy) — moderated by Nelson Carpenter.
Across topics from AI to rights frameworks, the shared takeaway was clear: creativity thrives where
trust and transparency lead. Genuine collaboration between supervisors, publishers, and creators
will be key to the next phase of sync. De Vries summed it up perfectly — AI might offer options,
but supervisors will always be needed to bring authenticity and emotional intelligence to the
process.
Then came the Breakout Sync Sessions — fast-paced, face-to-face exchanges where supervisors and publishers from over 30 countries shared projects, pitched music, and discovered fresh connections. For anyone curious about emerging markets or cross-border collaboration, it was an unparalleled opportunity to expand networks and creative insight in real time.
The day closed with a forward-looking presentation of Europe in Synch, led by Nuno
Saraiva and Hannes Tschürtz. Supported by Creative Europe, the initiative seeks to strengthen the role of music supervision across the continent by fostering shared training, co-production residencies, and knowledge exchange between supervisors, filmmakers, and publishers. Their message resonated strongly: Europe has the creative depth and diversity to tell its own stories through music
— and initiatives like this can turn that potential into a tangible, connected ecosystem.
Leaving Palma, it was hard not to feel that sync today is less about placement and more about perspective — a space where culture, storytelling, and collaboration intersect. The conversations sparked here, under the umbrella of the IMPF Network Project, point toward a more international,
inclusive, and emotionally grounded future for our craft.
Authored by GMS member Paul-Loup Marquise for the UK & European Guild of Music Supervisors