r/filmscoring

Looking For Orchestral Composer - The Mirror of Malevolence: Dark Fantasy Puppet Film

ABOUT THE MIRROR OF MALEVOLENCE:

The Mirror of Malevolence is a dark fantasy adventure series told entirely with marionettes and shadow puppetry. In the town of Dreary, where no happy wish ever endured, twelve-year-old orphan, Henry Button, seeks to escape his wicked foster mother. This film has played in festivals and won 5 awards for Audience Choice, Best Visual Effects, Best Talent, Best Animated Film, and Best Visionaries.

The Mirror of Malevolence: Chapter One - The Dreary Orphanage, is the opening pilot adapted from my upcoming middle-grade fantasy novel. When a runaway orphan’s wish dims, his bitterness feeds life to a sinister reflection. In an attempt to restore his hope, the rebellious flaerie tasked with guiding his fractured wish, unveils corruption within her magical realm, linking them to confront the dark force that threatens their worlds. Step into the haunting world of malevolence.

The Mirror of Malevolence is thematically and stylistically similar to Coraline, Harry Potter, Annie, A Series of Unfortunate Events, and The Dark Crystal, with elements of whimsy and horror.

AUTHOR'S NOTE:

Before I release the short online, I wanted to explore options for an alternate cut with an original score.

Instructions/Deadline: Thu, Oct 22, 2026 12:00AM EDT
Please include your portfolio and/or piece of music reminiscent of the story's spirit.
Please submit your work to the casting page here;

The Mirror of Malevolence: Dark Fantasy Puppet Film (Chapter One) | Casting Call Club

PAYMENT RATE; $100 starting rate per minute of finished music. (Rate has been updated to better compensate the work involved.)

Info: The full film is 13 minutes. Aprox. 10-12 minutes require music. My budget for the entire composition would be up to $1500. We can negotiate price if I reach out for interest.

Payment: Paypal, Cashapp.

Country: USA

Overall Musical Style:
I am looking for something timeless, but not too subdued or digital sounding. My idea for the music is something twinkly, whimsical, dreamy, and haunting, played in orchestral and lullaby-esque styles. Here’s two motifs that are present through the story.

Main Theme/Mirror Theme:
Beautiful, Entrancing, Dramatic, Horrific. I like the idea of the Mirror as the main theme and title.

Think of Dracula (1979) The opening theme is super dramatic but plays in softer variations throughout the film. Swan Lake’s theme is beautiful and entrancing but grows gothic/horrific as it builds to the Black Swan. The Mirror in tone is much the same, a beautifully eerie presence, pulling one’s darker desires. I imagine the allure of it similar to when Frodo is tempted by the One Ring. An eerily romantic tragic theme which grows bolder and more classically-horror driven in dramatic moments.

  • Music references:

Dracula (1979) by John Williams – https://youtube.com/playlist?list=PLkAUJkbhd-RhCKviO4EZLrPLWMg65KyXT&si=XC2wdflx88LRLFdK

Main Title and Storm Sequence

Night Journeys

The Love Scene

End Titles

Swan Lake by Pyotr Tchaikovskey –

Swan Lake (Ballet Suite), Op. 20: I. Scene (Swan Theme) https://youtu.be/7L8Cpl6U9-A?si=-tyN0MOd32m6UnwY

The Lord of the Rings by Howard Shore – The one ring theme

The One Ring Theme

Henry’s Theme:

Wistful, Lonely, Twinkly. A feeling of youthful wonder like a soft lullaby tune of longing dreams.

It could be interesting in fitting moments to have an undertone of darkness or connection to The Mirror theme, similar to how Anakin’s Theme briefly bridges into Darth Vader’s theme, when his anger lashes out.

Music references:

Home Alone by John Williams - Somewhere in my memory - John Williams (Home alone soundtrack)

Somewhere in My Memory

Hook by John Williams - When You're Alone ((From "Hook" Soundtrack))

When You’re Alone

Harry Potter and The Sorcerer’s Stone by John Williams - https://youtube.com/playlist?list=PLVYyjhfI93m15MKBbUNB6BH0QiRY--LhC&si=u1-00mw2bf32erMW

Family Portrait

Lonely First Night

Leaving Hogwarts

Star Wars: The Phantom Menace by John Williams – Anakin's Theme

Anakin’s Theme

Coraline by Bruno Coulais - Dreaming- Coraline Soundtrack
Dreaming
Alone Alone- Coraline Soundtrack

reddit.com
u/RegularPhilosopher71 — 4 days ago
▲ 2 r/filmscoring+2 crossposts

My business partner and I got tired of zooming into call sheet PDFs at 5 AM, so we built an app for it. Looking for honest feedback from crew.

I’m a director and producer based in Milan, and my business partner and I created a small iOS app called The Set. Full disclosure up front: it’s ours, so take this as a “please break it” post rather than a recommendation.

The problem is one everyone here knows. Call sheets arrive late at night as A4 PDFs, and on a phone you end up pinching and panning across a huge table just to find your row.

What the app does:

  • You upload the PDF you got by email or WhatsApp, and it pulls out call times, scenes, cast, crew, transport and locations into sections you can open with a tap
  • You select your name once and it shows your call time, pickup, hair & makeup and scenes
  • Night shoots that roll into the next day are handled, so no “is this today or tomorrow?”
  • One tap to call or WhatsApp anyone, open locations in Maps, nearest hospital always visible
  • A time tracker that compares your real hours with the call sheet and calculates overtime, with a PDF export you can send to the production manager
  • No account, works offline, files stay on your phone

It’s free with 3 uploads a month; there’s a cheap Pro tier if you need more.

What I’d really like to know:

  1. Does it read your call sheets correctly? Every production formats them differently, and that’s where it’ll fail first.
  2. ADs and coordinators: what would make you actually use it to build call sheets instead of just reading them?
  3. Anything missing that you’d need on set every day?

Link: https://apps.apple.com/app/id6813001167

Happy to answer anything in the comments, and thanks to anyone who gives it a go.

u/vinsmauro — 5 days ago

Sound design is becoming music. A growing trend in modern trailers.

I'm genuinely excited about how trailer sound design is evolving, especially the way noise itself is becoming music.

Foley, breaths, metallic sounds, engines, glitches, and environmental recordings are no longer just supporting the music. They're becoming the music itself.

Looking at some of the trailers released in 2026, I've noticed a few interesting directions in how sound is shaping the narrative.

Minimalism = Stronger Sonic Identity
Especially in horror and thrillers, I'm hearing more trailers built around one or two distinctive sounds rather than dozens of massive cinematic layers.

A great example is the Infirmary trailer, which I absolutely love.

There's an incredibly effective drone that carries almost the entire first half of the trailer. It's simple, unsettling, and somehow keeps you completely glued to the screen, with very few additional elements around it.

Then, halfway through, everything opens up into a much more aggressive sonic landscape, with glitchy impacts, distortion, and full-blown sound design.

The contrast is what makes it so effective.
https://www.youtube.com/watch?v=n8g04jrDkek

Negative Space & Pacing
A pause can completely change how we perceive the next sound. In sound design, negative space doesn't necessarily mean absolute silence. It can simply be an intentionally less dense moment within the sonic composition.

And pacing is what ultimately shapes the experience you take away from a trailer, even after it's over.

It’s about what you hear and how long that feeling stays with you.

Shorter & Stranger Impacts
Another interesting shift I'm noticing is the use of shorter, drier, and more unusual impacts.

Organic transients, cracks, distorted slams, and heavily processed textures seem to be taking the place of those enormous cinematic hits with endless reverb tails.

These shorter sounds can emphasize cuts and visual transitions much more precisely, while leaving room for more distinctive sonic signatures.

I'm also hearing interesting approaches involving distorted string plucks, manipulated vocal tails, and unconventional sound sources that blur the line between percussion, sound design, and musical elements.

Instead of simply making everything sound bigger, the focus seems to be shifting toward making every sound more recognizable and intentional.

u/HorrorSoundFx — 7 days ago

EastWest Orchestra Opus Edit for $209: Worth It?

I've found that this orchestral library is currently $209. Compared to $1000 orchestral libraries that, according to Google Gemini, are same quality level, so I find this offer tempting. Thoughts on this?

reddit.com
u/hellorastawalker — 7 days ago

What are you listening / watching carefully when you watch dramas and movies to learn film scoring?

Hi, I’m new to film scoring and have just started actively analyzing scores while watching movies and TV shows.

To dive deeper into how it all works, I’d love to know: what specific elements do you pay closest attention to while watching?

How closely the music syncs to cuts or scene transitions?

Whose perspective or emotion the track is speaking for?

Tempo, genre, or instrumentation choices?

I’d really appreciate any insights or advice on how you break down a scene!

reddit.com
u/K-Frederic — 6 days ago
▲ 0 r/filmscoring+1 crossposts

#aegon #gameofthrones #Warnerbros #aegonconquest #got

I really think Warnerbros or Owen Harris should hire Ramin Djawadi to compose the score for Aegon’s Conquest movie.

We want to hear Ramin’s music in the theater in a new style, giving us the feeling of Westeros 300 years before Game of Thrones. No one can handle this movie and make us feel that this is the starting point of Westeros and all Game of Thrones stories but Ramin.

So please don’t make the mistake of choosing someone else. Ramin is the godfather of the Game of Thrones universe, plus he has a lot of blockbuster movies, so he can definitely do it.

Even from an emotional standpoint, if there is ever going to be a final chapter for Ramin Djawadi in the world of Westeros, he deserves for it to be on the big screen, with an epic story, and before a massive theatrical audience.

It is only fitting that his conclusion in this universe takes place at its very beginning. The creator of the sound of Westeros composing for the creator of the Iron Throne—with everything that follows being the aftermath of building that throne. I truly hope Warner Bros. and Owen Harris make the right choice and pick Ramin Djawadi.

Furthermore, I am absolutely certain that if they push him to give the film an ancient, raw, and epic tone—perhaps even taking an experimental approach by inventing new instruments and heavily featuring High Valyrian as a core choral element—Ramin will finally crown his legendary career with the Oscar he truly deserves.

reddit.com
u/Glum-Scallion8495 — 8 days ago

Composer looking for collaboration

Hey! My name is Mateo, and I’m a self-taught composer from Argentina. I’ve always dreamed of working on short films and feature films.

Would anyone be interested in collaborating? I promise I won’t disappoint! I can honestly say that I’m truly passionate about this.

If you’re a filmmaker, director, or fellow artist looking for original music for a project, I’d love to hear from you!

reddit.com
u/MateooRod7861 — 7 days ago
▲ 6 r/filmscoring+1 crossposts

Samuli Peräkorpi | Creation Of Something, Cinematic Composition, Op. 40

My latest composition. I hope to get some feedback on it and let me know if you like it :)

youtube.com
u/Schuldiner0707 — 8 days ago

Looking for BSO composers

Hi, I'm a young filmmaker, and I'm starting to make my own shortfilms, and my biggest problem is music's copyright, so I'm looking for young composers who would like to colaborate so that we can help each other out, if you're interested, I'd be glad to send you some of my work, Thanks!

reddit.com
u/tenzn00 — 11 days ago