Score your film

Published October 2026

Drop a cut into the studio. An AI composer watches every shot, writes an original score that hits your cuts, has every part played, mixes each cue under your dialogue and hands back the scored film, a printmaster, an M&E and every stem. No library to search, no track to trim to length: the music is written to this edit.

What you get back

• The scored film: your picture, copied untouched, with the new soundtrack (MP4 with AAC 320k, or a MOV with 24-bit PCM if that is what you sent).
• The printmaster: the whole mix as a 24-bit, 48 kHz WAV, normalized to the delivery loudness you pick (web −16, streaming −14 or broadcast −23 LUFS) with the true peak under the limit.
• An M&E: music and effects without the dialogue, for a dub or a trailer.
• Dialogue, music and effects stems, when your film had a soundtrack of its own.
• Every cue's mix and every part as its own stem, with the notes it played, on a timeline you can keep editing.
• A Logic Pro or Ableton Live project of the whole score, one button from the studio.

The demo reel

Films that are free to use, one per genre, each scored through the studio with nothing touched by hand. The picture is the original; the music is new.

How it works

1. Watch. It reads every frame: each cut to the frame, each shot's light, colour and motion, and where people talk. From that it proposes cues (1M1, 1M2 …) with SMPTE timecode in and out and the moments worth hitting.
2. Listen. If the film already has a soundtrack, it splits it into dialogue, music and effects, so the score can replace the old music, re-orchestrate it, remix it or leave it alone, and the dialogue stays as it was.
3. Write. An AI composer writes every part as notes, on a tempo map that lands the big moments on downbeats, thinner under the lines and bigger where the picture opens up.
4. Perform. Instrument models trained on real recordings play every part, one stem each, and each part comes back with a check of whether it played its notes.
5. Mix and deliver. Each cue is mixed in a hall, laid at its timecode, dipped under the dialogue and normalized to your delivery loudness, then put back on the picture.

Pick the sound, or describe it

Choose a sound and the composer is briefed with it; add a line of direction for anything particular (a theme for the hero, the moment that matters, what to stay away from). Each of these opens the studio with that sound picked:

Orchestral · Animation · Fantasy · Thriller · Horror · Sci-fi · Action · Drama · Documentary · Comedy · Western · Noir · Silent film · Trailer

Change anything

• Notes on one cue. Darker, brighter, more energy, calmer, hit the cuts harder, different instruments, or no music there. Only that cue is redone, then the film is delivered again.
• Every version is kept. Switch between them, and flip any of them against the original picture at the same moment.
• Or just say it. "Pull the music back under the argument", "a bigger ending", "strings only in the second half".

If the film already has music

Temp music, a cue you have outgrown, or a track you have no licence for: the soundtrack is split into dialogue, music and effects first, and you choose what happens to the music. Replace it with the new score, recreate it (the same tune and harmony, re-orchestrated for new players), remix it (its own parts rebalanced with new ones over them), or keep it and score only where it is silent. On a test scene, replacing left the old music 34 dB down in the printmaster with the dialogue untouched. More on replacing a film's music.

Who it is for

• Editors: an original cue cut to your edit, with stems and an M&E for the mix.
• Directors: a score for a short, a pitch or a festival cut, with notes you give like you would to a composer.
• Composers: a mockup of your own parts, or a first draft to rewrite, with every part as audio and MIDI in Logic or Ableton.
• Creators: music written for your video instead of a stock track everyone else is using.

What it costs

Watching the film, mixing and delivery are free. The performances use credits, like any render on Doseedo: 10 credits for every 30 seconds of music for each group of up to six parts, and a flat 20 to split the film's own soundtrack. A one-minute scene with a mid-size orchestra is usually 60 to 140 credits; the panel shows the estimate for your film before you start, beside what you have left.

A free account comes with 120 credits a month. Pro is $12 a month with 2,000. You own what you make, to the extent the law allows (Terms §6.3).

Honest limits

• Instrumental only. No songs, no vocals.
• Instrument models, not a session orchestra. They are trained on real recordings and each part is checked against its notes, but a live orchestra on a scoring stage is a different thing, and a picky ear will hear it on exposed solos.
• It sees the picture, not the plot. The composer reads the keyframes to decide what a scene is about; your direction is what tells it what matters.
• Long films are scored in up to eight cues per pass, the ones the picture needs most. Ask for more afterwards.
• Splitting a busy soundtrack is not perfect. When the old music is replaced, some of its percussion can stay in the effects, about 10 dB down.

Related

• Music for video editors
• Replace the music in a video
• Big Buck Bunny, scored
• AI film scoring tools compared