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?

 

[Subin1986]

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?

Personally, I’m not rigid about having a fixed rate or charging a specific amount per minute. For me, it ultimately depends on the overall budget and circumstances of the film.

At the end of the day, I believe every member of a film team should be committed to the success of the project, regardless of its budget. If the budget being offered is not acceptable to you, you always have the choice to accept or decline the job. However, once you accept the project, I believe you should give it your full commitment and put your heart into the work, because someone has entrusted you with that responsibility and placed their confidence in you. One tendency I have seen several times is when someone joins a project knowing from the beginning that they may not be paid, or that the compensation may be limited, but then decides to walk away midway through the project after receiving another paid opportunity. In some cases, they may not leave entirely, but they stop giving the project the same level of attention and commitment simply because it is unpaid.

I understand that, from that person’s perspective, choosing a paid opportunity may seem like the right decision. Personally, however, I don’t agree with that approach. Once you have accepted a project and made a commitment to the team, I believe that commitment should be honored. Walking away because another opportunity comes along, especially when others are depending on you, feels like a breach of trust.

My personal policy has always been simple: I never want to break the trust that someone has placed in me, regardless of how much I am being paid or even if I am not being paid at all.

 

[Michael]

Personally, I’m not rigid about having a fixed rate or charging a specific amount per minute. For me, it ultimately depends on the overall budget and circumstances of the film.

At the end of the day, I believe every member of a film team should be committed to the success of the project, regardless of its budget. If the budget being offered is not acceptable to you, you always have the choice to accept or decline the job. However, once you accept the project, I believe you should give it your full commitment and put your heart into the work, because someone has entrusted you with that responsibility and placed their confidence in you. One tendency I have seen several times is when someone joins a project knowing from the beginning that they may not be paid, or that the compensation may be limited, but then decides to walk away midway through the project after receiving another paid opportunity. In some cases, they may not leave entirely, but they stop giving the project the same level of attention and commitment simply because it is unpaid.

I understand that, from that person’s perspective, choosing a paid opportunity may seem like the right decision. Personally, however, I don’t agree with that approach. Once you have accepted a project and made a commitment to the team, I believe that commitment should be honored. Walking away because another opportunity comes along, especially when others are depending on you, feels like a breach of trust.

My personal policy has always been simple: I never want to break the trust that someone has placed in me, regardless of how much I am being paid or even if I am not being paid at all.

That’s an interesting point about commitment, especially on unpaid projects. I think there’s also a responsibility on the production side to be realistic about what an unpaid collaborator can commit to over time.

If a project gets delayed for months, for example, do you still feel the same obligation applies? Or do you think there should be a point where both sides can revisit the original commitment?