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Services · Film & media scoring
Hybrid orchestral music written to your frames - one vision carried from the first piano sketch to the final master.
Scores carried by Jacquemus · NIO House Amsterdam · Television
What you get
Not a track that fits. A score that belongs
Every score is written to picture: themes that carry your characters, tension that breathes with your edit, and a final note that lands on your final image. The sound is hybrid orchestral - classical arrangement married to modern production - and because composition, production, mixing, and mastering all happen under one roof, nothing is lost in translation between the idea and the delivery. Scores from this studio have carried fashion films for Jacquemus, a 15-minute exhibition score at NIO House Amsterdam, and television productions.
What you can commission
From a single cue to a full score
Full scores and title themes - written to picture, from festival shorts to features, with themes your characters carry home.
Main titles, episodic scoring, and theme suites built to survive a season - as delivered for television.
Restraint-first scoring that carries real stories without pushing them - tension, tenderness, and silence in the right places.
Cinematic scores for brand storytelling and spaces - like the 15-minute orchestral work for the Fanal exhibition at NIO House.
Hear it first
Press play. The sound argues its own case
How it works
You bring the story, the timeline, and references held loosely. I bring an honest answer about scope, budget, and what the music should do.
The whole piece, written first at the piano. We lock the emotional direction while changing course is still cheap - it’s why round five of revisions never happens.
Orchestration, production, mix, and master - plus stems and cutdowns where the project needs them, with rights agreed in plain language.
How the score carries a scene
The exact feeling - written, not approximated
Grief is not nostalgia; dread is not tension; bittersweet is not sad. Each is built from different harmony, melody, and instruments. I score the specific feeling your scene needs, down to the shade, instead of a generic “emotional” or “epic” bed.
The most moving cues are usually the simplest - a solo cello, a piano, and the silence around them. As Zimmer puts it, complicated doesn’t reach the heart. Restraint and negative space do the emotional work; the size is added only when the story earns it.
For investigations, pursuits, and ticking-clock scenes: controlled energy with room to escalate, a repeating pulse and textures that breathe beneath the voices, and hits placed on the cut - suspense that supports the scene instead of shouting over it.
Every part is balanced so the ensemble sounds like a true orchestra even when it blends live players with samples and synths. That balance - the hybrid orchestral discipline - is the difference between music that sounds programmed and music that sounds performed.
Questions
A single cue can be ready in one to three weeks; full films and series are scoped to the deadline. Real deadlines get a straight yes or no at the first conversation.
Scores are scoped on minutes of music, production depth, and usage rights. Share the story, timeline, and a budget range, and you’ll get a clear, honest proposal - no mysteries.
Yes - based in Amsterdam, scoring worldwide. Briefings, sketch reviews, and delivery all run remotely as standard.
Go deeper
Tell me about the film. You’ll get a reply within two working days.