Sizzer began yesterday’s workshop with a simple two-note score: Jaws.

 
Next, they took a clip further into Jaws and transformed the scene into ”the impossible love story between man and shark”, as Marcel Wiebenga joked, by giving the scene a completely different soundtrack.

 
Immediately, participants in the workshop began to understand the potential for drastic change in atmosphere through sound, no matter the film.

 
Marcel Wiebenga, Partner & Music Supervisor, and Niall Rogers, Music Supervisor – both from Sizzer Amsterdam – hosted an engaging workshop at ADFEST yesterday called ‘How to Get Smarter With Music’.

 
The two went on to apply several soundtracks to a mystery clip, which they revealed later. At first it felt as though we were watching a car commercial, but with a change of tracks the audience was left feeling the excitement of a road trip.

 
As it turns out, both scenarios couldn’t be further from the truth. The shot was taken from the intro to The Shining – the cult classic horror was transformed using well-cut scores applied to create an entirely new perspective.

 
Marcel and Niall continued their workshop by showcasing several compelling works, driven by their musical composure.

 
In one example they revived the memorable rap song “Gangster’s Paradise” into a classical score to pay homage to 20 years of the “Need for Speed” video game franchise. It was invigorating seeing the dramatic feeling created by the Prague orchestra, which brought the score to life through the creative direction of Sizzer.

 
All of these things led up to the workshop’s thesis, “How to get smarter with music.”

 
They explained their process for previous commercial clients. While some clients provide direction, others trust in the sound team themselves.

 
“It’s important to trust the music agency you’re working with and the music agency should ask the right questions to ensure all goals are met,” said Marcel.

 
They walked us through the process of crafting music for a satirical Braveheart commercial. After cutting and adapting previous sound clips, Sizzer figures out which styles work best in which sections of the commercial.

 
After agreeing upon the styles per section, Sizzer then takes this information to a vast team of specialized composers. They then provide several adaptations, and Sizzer works with the client to define the final cut for production.

 
At the end of the workshop, several Young Lotus members had questions about the process. Would the process be the same for a jingle?

 
Niall answered by telling us that “those jingles are what we call sound logos, or ear worms, and it has less to do with music and more with the science of how the notes connect to each other”.

 
Perhaps, if we are lucky, Sizzer will return to ADFEST next year to explain the creation process for “sound logos” with as much insight shown in their 2017 workshop.

 
- Kyle Towb