An original score for your short film

Published October 2026

A short usually ends up with a library track or a favour from a composer friend. Here you direct the score yourself: upload the film, say what the music should do, and an AI composer writes a score to your picture, cue by cue, which you can send back with notes as many times as you like.

Direct it like a composer

• Spotting. The film is watched cut by cut and a cue sheet comes back: where music starts and stops, with SMPTE timecode, the mood of each scene and the moments worth hitting. The composer keeps, merges or drops cues and says why.
• A sound and a direction. Pick one of 14 sounds (orchestral, drama, thriller, horror, fantasy, western, noir …) and add what matters: "a theme for her that comes back at the end", "nothing until the door opens".
• Notes per cue. Darker, calmer, more energy, hit the cuts harder, different instruments, no music here. Only that cue is redone.
• Versions side by side. Every delivery is kept; flip any of them against your original sound.

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.

Festivals and distribution

The printmaster is a 24-bit, 48 kHz WAV normalized to the loudness you pick, and the M&E is ready for a foreign-language version. You own the score, to the extent the law allows (Terms §6.3), so it can go to festivals, online and to broadcast with your film. If your edit already has music you can't clear, the soundtrack is split first and the score replaces it with the dialogue kept.

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.

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

• AI film scoring
• Music for video editors
• Score a silent film
• For film composers