It goes with the proposal you’ve accepted, including the project schedule and the list of what you’re getting at delivery.
We’re set up for post and implementation reality: spotting notes, theme sketches, timed mockups you can sign off on, then final stems and exports that match your cut or build. If something is unclear, we’d rather resolve it early in writing than surprise you later on a deadline.
What we’re doing
We’ll provide film and game scoring as a project, following the agreed cue list and delivery schedule. The goal is simple: music that hits to picture or gameplay beats, stays out of dialogue, and is deliverable as clean, organised files your mix team or implementer can use.
What you get is listed below. We’ll also tell you what we need, and when we need it, so we can start on schedule. At minimum, we expect a locked cut or current build, a timecode reference, and any temp music notes you want us to react to. If those inputs change midstream, we’ll treat that as a change to scope and handle it under “Changes and revisions”.
* Spotted cue list * Theme sketches * Timed cue mockups * Final stem set * Alternate mixes * Music edit exports
Payment
To book film and game scoring, you pay 30% of the total price when you sign the proposal. We schedule the team and hold your delivery dates once that booking payment is in.
The remaining 70% is due when we hand over the finished work. “Hand over” means we’ve delivered the final stem set and the agreed alternate mixes and exports in the agreed format.
We invoice as the project moves through those points. Each invoice is payable within 14 days of its date. If a payment goes past due, we’ll pause new writing and delivery until the account is brought up to date, and we’ll confirm any knock-on schedule impact with you in writing.
Changes and revisions
We keep revisions practical and tied to the way scoring actually runs. A “round of notes” means one consolidated set of feedback from you (or one person you’ve put in charge) on what we’ve sent, returned within the review window we agreed so we can stay on the delivery schedule.
Each phase includes one round of notes: spotting notes, the theme sketch pass, and the timed cue mockup review. Once you sign off in writing on theme sketches and timed cue mockups, that sign-off is what we mix and export finals from.
Extra rounds are no problem. We’ll price them and agree the cost and timeline with you in writing before we do the extra work. If picture edits, timing, or in-game requirements change after spotting, we’ll update the cue list and schedule first, then quote the added re-timing, re-mocking, and stem reprints.
Who owns what
Once the balance is paid, you own the finished work we deliver for this project, and you can use it in the film or game (including trailers, patches, updates, festival cuts, and platform-specific versions that are part of the same title or release). That ownership is for the specific delivered files and mixes we hand over as finals.
We keep ownership of our underlying tools and materials, including session templates, synth patches, sample library programming, custom routing, and our working sessions and project files. We also keep our working files so we can make fixes or create new deliverables later if you need them.
If your project has credits, we ask for an “Original Music by” credit for the composer, plus “Orchestration” and “Music Editor” credits when those roles are used.
Portfolio use
Unless you ask us not to in writing, we can show the finished work as part of our portfolio. That usually means a short clip with picture, or audio-only excerpts, posted on our website and social channels, and used privately in pitches for similar work.
We won’t share anything while you’re keeping the project under wraps. If you have an embargo date, a festival premiere, a platform reveal, or a publisher approval process, tell us and we’ll follow it.
If you need the work to stay confidential long-term, we can do that. Just put the request in writing before final delivery so we don’t schedule posts or assemble reels that include your material.
Problems and fixes
We’ll do what we say we’ll do: write to the agreed brief, hit to picture or implementation needs as agreed, and deliver organised files on the agreed schedule, assuming we receive the inputs and approvals we need on time.
If something we deliver is technically wrong, we’ll fix it. Examples: a stem is missing, a file is the wrong sample rate, an export doesn’t line up with the provided timecode, or a cue was delivered from the wrong approved version.
We’re not responsible for issues caused by things outside our control, like a cut or build changing after you’ve approved mockups, last-minute conform changes introduced by editorial, or problems introduced during mix, mastering, or game audio implementation. We’re also not responsible for losses that are hard to tie directly to our work, like missed release dates or lost profits. If a risk comes up, we’ll flag it early so you can make the call.
Ending the project
Either of us can end the project by giving notice in writing. Because notice periods depend on where we are in the schedule and what deadlines you’re facing, we’ll agree the notice period with you in writing when termination comes up.
If you end the project, you’ll pay for the work completed up to the end date, including any approved cues in progress and any costs we’ve already committed to for your project. If you’ve already paid more than the value of the work completed, we’ll refund the difference. If you’ve paid less, we’ll invoice the balance under the same 14-day payment terms.
On termination, we’ll hand over what’s been paid for to that point in a usable form. Working sessions and our internal tools stay with us. If you want us to package additional exports or do a handover call with your editor or implementer, we’ll quote that before we do it.
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