Music
The score is written in the same room.
Nobody here sends a picture out to be scored. The person who directed the scene is the person writing music to it, watching the cut while the cue takes shape.
That matters more than it sounds. A composer working from a locked link is guessing at intent: what the scene is really about, which beat carries it, whether the moment wants music at all. Here that question is answered by the person who shot it, and the answer can change the cut as easily as it changes the cue.
Scoring is not generating music. It is deciding what the film needs. Whether a scene should be scored at all is the first and hardest call, and it is one no tool makes for you. Plausible music is cheap now. Correct music never was, and correct is the only kind worth putting under a performance.
The score for Retina was written, performed, mixed and delivered this way, alongside its sound design and final mix. Where we stand on tools.
The composer
Carlos Ferrer composes as 10UTO
Analog synthesis welded to live orchestra, written to picture rather than dropped onto it.
10UTO is the name the music goes out under. Same person, same room, a separate body of work: cues written for picture, and records that stand on their own. Scoring for CGF Films happens under that name, and so does scoring for other people’s films.
If you are looking for a composer rather than a director, that is the door to knock on.
- Composer
- Carlos Ferrer, as 10UTO
- Written for
- Original score · sound design · final mix
- Credits include
- Retina (2018), and the CGF short films
- Listen & hire
- 10uto.com
Let’s talk
Need a score, or a whole picture?
Scoring for outside films goes through 10uto.com. For a film that needs a director who can also finish it, start here.
Get in touch