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For Directors

I write music that clarifies the rhythm of the scene and leaves room for your cut. I start from the emotional function, then bring you 2 or 3 directions on the same cut, with clear notes and tracked revisions. You choose fast. I close and deliver cleanly.

How I work

Spotting: where music enters

We watch the scene and decide what the music must do, where it enters, where it exits, and what it should avoid. It supports the direction, not cover it.

Options A, B, and C

Three solutions, same cut, same timecode. The intent changes, not the confusion. You compare, choose, move on.

Final cut

Once the cut stabilizes, I lock sync points, transitions, and mix. Numbered revisions and a short changelog, so the thread never gets lost.

File delivery

Ordered WAVs and stems, consistent naming, approved versions. If post needs materials, I prepare them in the right format.

Delivery ready for post

Scene case studies

Scene-by-scene breakdowns: goals, key moments, options tested, and delivery.

Sitting on the Seashore, First Theme Entrance (Beach)

Soggetto Obsoleto · Reveal · 01:44

Sitting on the Seashore, First Theme Entrance (Beach) thumbnail
01:44
Goal
Crack open Marco's emotions for the first time, without turning the moment into catharsis. Let the theme enter on the father reveal, then cut before the first line so dialogue lands clean.
Result
The scene finally breathes, but the ending lands in minor, keeping the release incomplete. The theme reads as recognition, not commentary.
File delivery
Final mix plus alternates, clearly labelled. Revisions tracked.
Video
Context

Marco reaches the beach. His father is already there, facing the sea. This is the first cue where the score is allowed to bloom fully. The music must open emotional space from the inside, not illustrate the location.

Music in/out
In: 00:00 Piano ticks begin (time held, no melody)
Change: 00:32 Theme enters on father reveal
Out: 01:44 Cut before 'May I sit here with you?'
Note: This is intentionally the first full cue. It opens the film emotionally, but exits before the first spoken line so the dialogue lands pristine.
What was needed
Wanted: Restraint. Internal breathing. Music that feels born inside the scene.
Avoid: Melodrama. Telegraphed emotion. Covering the first spoken line.
Options tested
  • A: Only piano ticks. No theme. Too cold, no emotional doorway.
  • B: Theme on father reveal (light strings + piano + airy synth), stop right before the first request to sit.
  • C: Theme earlier during the walk. Feels manipulative and telegraphs the moment.
Final choice: B
How the music sounds

Goal: unlock Marco's emotions for the first time after a full film of restraint, but without catharsis. 0:00-0:32: only piano ticks, acting as an emotional clock (time held, no melody). 0:32-1:44: the theme, in G major, enters on the father reveal with piano leading, light strings, and an airy synth bed. The orchestration stays deliberately clean and restrained so it opens space without pushing the viewer, then cuts before 'May I sit here with you?' so dialogue lands clean. Harmony keeps a major colour but lands in minor: G-F#m-A-Em, with B minor withheld until the final chord (promise held back, release not complete).

Delivery details
  • Delivery format: WAV (linear PCM)
  • Specs: 48 kHz, 24-bit
  • Sync: aligned to final picture
  • Stems: Piano, Strings, Synth
  • Alt: reduced version for dialogue/editorial flexibility
  • Clean filenames and versioning
Track: Sitting on the Seashore

I Veneti Antichi, The Battle With The Spartans (Action)

I Veneti Antichi · Action · 04:59

I Veneti Antichi, The Battle With The Spartans (Action) thumbnail
04:59
Goal
Hold a clear rhythmic spine for the edit, give the clashes weight, and keep the cue readable so the educational tone stays intact.
Result
The scene feels kinetic but intelligible. The rhythm stays locked to the edit, the clashes land with weight, and the narration still reads cleanly.
File delivery
Final mix plus a lighter percussion alternate, clearly labelled.
Video
Context

Reconstruction of the battle with the Spartans, built on fast cuts and long battlefield wides. The sequence needs drive without turning into a modern action trailer, and it must leave space for historical narration and sound design.

Music in/out
In: 00:00 Wide battlefield shot, pulse enters.
Change: 02:06 First clash, brass and percussion lock to cuts.
Out: 04:59 Aftermath wide, cue releases into sustain.
Note: Keep the cue lean until the first clash. Avoid constant hits so the narration and battle FX remain dominant.
What was needed
Wanted: Drive and clarity. A historical tone with orchestral weight, but never trailer-style.
Avoid: Wall-to-wall percussion, oversized hits, or music that masks narration.
Options tested
  • A: Percussion-only pulse. Too dry and not enough identity.
  • B: Low strings pulse, brass calls on shifts, full orchestra only at the first clash.
  • C: Full orchestral wall from the start. Overwhelming and flattened the dynamics.
Final choice: B
How the music sounds

Built on a low strings ostinato and a heartbeat kick to keep the pulse steady while the edit accelerates. Short brass calls and trombone figures mark shifts in formation, but the full orchestra is held back until the first clash, so the impact reads as a narrative turn instead of constant intensity. After the collision, the harmony opens into sustained low strings to let the aftermath breathe while keeping tension under the narration.

Track: “The Battle”
Delivery details
  • Delivery format: WAV (linear PCM)
  • Specs: 48 kHz, 24-bit
  • Sync: aligned to final picture
  • Alt: reduced percussion for VO
  • Stems: strings, brass, percussion
  • Separate stems where needed, clear naming and tracked versions for a safe post delivery.
View all case studies

Ready to send a cut?

Send the scene, your references, and what it must do. I will reply with options, timings, and next steps.