Collaboration Looking for Work Composer Available for Collaboration

[Subin1986]

Work Type

1. Remote

I’m Subin Karkani, a self-taught composer specializing in film scoring, television, games, animation, and music for visual media.

I’m looking to connect with filmmakers, directors, producers, animators, game developers, and other creative professionals who are interested in collaborating on upcoming projects.

My approach to composition combines orchestral instruments with modern synthesizers and sound design, creating cinematic and immersive scores tailored to the story. I particularly enjoy working with emotional character moments, suspense and psychological sequences, dramatic storytelling, epic/adventure projects, and atmospheric visual worlds.

What I can offer​

• Original film & TV scores
• Video game music
• Short-film and feature-film scoring
• Animation scoring
• Background and atmospheric music
• Trailer music
• Hybrid orchestral compositions
• Soundtrack production

I work remotely from my professional digital studio and am open to collaborating with both independent creators and established teams.

If you have a project that could benefit from an original cinematic score, I’d love to hear about it. Feel free to send me a message with some details about your project, your vision, and where you are in the production process.

You can learn more about my work here:

Home

Looking forward to connecting with fellow filmmakers and creators and hopefully making something memorable together.

 

[Cinema Doktor]

I’m Subin Karkani, a self-taught composer specializing in film scoring, television, games, animation, and music for visual media.

I’m looking to connect with filmmakers, directors, producers, animators, game developers, and other creative professionals who are interested in collaborating on upcoming projects.

My approach to composition combines orchestral instruments with modern synthesizers and sound design, creating cinematic and immersive scores tailored to the story. I particularly enjoy working with emotional character moments, suspense and psychological sequences, dramatic storytelling, epic/adventure projects, and atmospheric visual worlds.

What I can offer​

• Original film & TV scores
• Video game music
• Short-film and feature-film scoring
• Animation scoring
• Background and atmospheric music
• Trailer music
• Hybrid orchestral compositions
• Soundtrack production

I work remotely from my professional digital studio and am open to collaborating with both independent creators and established teams.

If you have a project that could benefit from an original cinematic score, I’d love to hear about it. Feel free to send me a message with some details about your project, your vision, and where you are in the production process.

You can learn more about my work here:

Home

Looking forward to connecting with fellow filmmakers and creators and hopefully making something memorable together.

When you start working on a film, what do you usually need from a director before you begin developing the musical direction? Do you prefer references and temp tracks, or do you like to build the sound of the film from the story and conversations with the director?

 

[Subin1986]

When you start working on a film, what do you usually need from a director before you begin developing the musical direction? Do you prefer references and temp tracks, or do you like to build the sound of the film from the story and conversations with the director?

The story obiviously. And lot of talk with director

 

[Michael]

The story obiviously. And lot of talk with director

That communication with the director is crucial. What happens, though, when a director has already become very attached to the temp track? Do you try to preserve its emotional direction, or encourage them to let it go and find a musical identity that belongs entirely to the film?

 

[Subin1986]

That communication with the director is crucial. What happens, though, when a director has already become very attached to the temp track? Do you try to preserve its emotional direction, or encourage them to let it go and find a musical identity that belongs entirely to the film?

I think the director’s vision should always be the starting point. As a composer, I value that perspective, especially when they already have a strong emotional connection to the temp track. For me, the temp track is more of a reference than something I need to replace immediately. I usually write a short piece based on my own interpretation and send it to the director for review. If they feel it works, I build on that idea and develop it further. If it doesn’t quite match what they have in mind, I’m happy to move on and explore the direction they suggest. Ultimately, I think the goal is not to “win” against the temp track, but to find what best serves the film. Sometimes that means preserving its emotional direction, and sometimes it means letting it go completely and discovering a new musical identity together.

 

[MICA]

I think the director’s vision should always be the starting point. As a composer, I value that perspective, especially when they already have a strong emotional connection to the temp track. For me, the temp track is more of a reference than something I need to replace immediately. I usually write a short piece based on my own interpretation and send it to the director for review. If they feel it works, I build on that idea and develop it further. If it doesn’t quite match what they have in mind, I’m happy to move on and explore the direction they suggest. Ultimately, I think the goal is not to “win” against the temp track, but to find what best serves the film. Sometimes that means preserving its emotional direction, and sometimes it means letting it go completely and discovering a new musical identity together.

From the production side, I’d also be interested in the budgeting aspect. Is there a typical percentage of a film’s overall budget that you would expect to see allocated to the music budget, or does it vary too much from project to project? What factors tend to have the biggest impact on that figure?