NARIP Trailer Music Supervisor Session: Natalie Baartz, LA
NARIP Trailer Music Supervisor Session: Natalie Baartz, LA
You will hear Baartz’s reactions and live feedback to cues and song snippets. This is invaluable to understand her needs, interests and preferences, and you will hear exactly what she is looking for now and for ongoing projects, and the types of music she most frequently needs and licenses. You will also hear her submission preferences, what works and what doesn’t, and why.
This audio program is a recording of NARIP’s Trailer Music Supervisor Session with Ignition Creative Music Director Natalie Baartz. Baartz commissions, licenses and places music for global movie trailer campaigns for the world’s biggest blockbusters.
Placement is the new radio. Get an insider’s peak at how a music supervisor does his job and evaluates music.
Artist Managers, Producers & Artist Reps
A&R, Artist Development and Marketing Executives
Record & Music Publishing Executives
Music & Entertainment Attorneys
Ad Agency Creatives
Composers, Producers, Production Music Library Creatives
Anyone seeking music placement opportunities in film & TV trailers and movie promotion campaigns.
NARIP PROGRAM NUMBER: P222
PROGRAM DATE: May 2, 2012
PROGRAM TIME: 2 hours, 18 minutes, 54 seconds (2:18:54)4)
Call 818-769-7007 or contact NARIP
SOURCES FOR MORE INFORMATION
Natalie Baartz, Music Director, Ignition Creative
A music supervisor for over 9 years, Natalie Baartz is Music Director at Ignition Creative where she manages the music department and is in charge of all music for all projects. As well as pitching a huge range of commercial artists, she also works closely with composers, DJs, and remixers to do custom scores (orchestral to dubstep). While at Ignition she has been responsible for such high profile campaigns as Martin Scorsese’s Hugo Cabret, Spielberg’s Tin Tin, 2011 Sundance winner Like Crazy, Super 8, Devil’s Double, Another Earth, 30 Minutes or Less, Fright Night, Transformers 3, Battleship, to name a few, as well as multiple primetime television show campaigns, most recently HBO’s Luck. Prior to Ignition, Natalie worked for four years as a music supervisor at the Ant Farm trailer house, selecting commercial music and working with composers on score for movie campaigns, building a foundation in dealing with the marketing departments of all of the major film studios. She worked on several prominent campaigns including Warner’s Where The Wild Things Are (garnering the Golden Trailer Award for Best Music with Arcade Fire), Sony’s Julie and Julia, and Eat Pray Love, (which set Florence and the Machine on the map with the use of Dog Days Are Over); Universal’s It’s Complicated, Paramount’s Iron Man, Star Trek, Transformers 1 and 2 and The Reader for the Weinstein Company. While at Ant Farm she also supervised numerous video game trailers. Prior to getting into entertainment advertising she spent four years working with independent music supervisor John Bissell where she started as an intern and was eventually promoted to music supervisor. During her time with Bissell, she worked on studio and independent features including Ladder 49, Lord of War, You Kill Me, The Architect, 10th and Wolf, and Junebug. Natalie completed her Bachelors Degree in Film and Media at the College of Cheltenham in England before moving to Hollywood to pursue her music supervision career. Her main passion is Composers and Film Score, and she constantly seeks new, innovative composers for her projects.
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