Music that carries the picture.
Original background scores composed, arranged and sound designed in house, for film, streaming and branded films. Built to sit under the story, not on top of it.
Composition to final delivery.
Background score for features and series, with work across Netflix, Amazon Prime Video, theatrical and more.
Score and sound design cut to picture, like the Nike ICC T20 World Cup campaign, built entirely from scratch in house.
Title music and recurring themes that give a property its identity, written by the same roster behind the catalogue.
Arrangement, additional production and sound design on existing music, including live arrangement for India's top stages.
Heard here.
The composers and producers behind them are all on the roster.
From spotting to stems.
We watch the cut with you, mark every cue, and agree the emotional map before a note is written.
Main themes and palette for sign-off before the full score is built out, so revisions happen early and cheap.
Full score composed and arranged to picture, mixed, and delivered as final masters plus stems, cue sheets included.
Scored in house, start to finish.
A background score is the part of the film the audience feels but never notices: it holds continuity between cuts, tells you what a scene means before a word is spoken, and gives a series a sound it can own across seasons. When it is working, nobody mentions it. When it is missing, everybody does.
In house means the composers, arrangers, producers and mix sit in one room, with no hand-offs between a writing camp in one city and a delivery vendor in another. Notes travel in hours, revisions land inside your review cycle, and the theme you approved is the theme that survives to the final mix.
The palette runs as wide as the roster: orchestral, electronic, and songwriting-led scores in the languages our writers create in natively. A 15 second brand edit and an eight episode series are different jobs with the same discipline, themes approved first, then the full score built to picture.
Deliverables you can plan around.
A score is finished when the edit room and the dub stage have everything they need without a follow-up call. Delivery is specified at spotting, down to the file naming, and the room stays small enough that notes reach the people writing the music, not an account layer.
Every cue delivered as a named, versioned master matched to the locked cut, so conforming the edit never means hunting through bounces.
Score split into stems so the re-recording mixer can ride music against dialogue and effects without calling us back for a new bounce.
Cut-downs, alternates and clean beds in the lengths the campaign or the series actually needs, planned at spotting rather than requested after.
Cue sheets filed, credits specified and the commission's rights papered at delivery, because Outwrite is a publisher before it is a vendor.