Music
The score is written in the same room.
Nobody here sends a picture out to be scored. The person who directed the scene writes the music for it, watching the cut as the cue takes shape.
That matters more than it sounds. A composer working from a locked cut is guessing at intent: what the scene is about, which beat carries it, whether it wants music at all. Here the person who shot it answers those questions, and the answer can change the cut as easily as 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 no tool makes it for you. Plausible music is cheap now. The right music never was, and it is the only kind worth putting under a performance.
The score for Retina was written, performed and mixed this way, along with its sound design. 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. Scores for CGF Films and for other people’s films go out under that name.
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