Direct the score.

Emotion in · specification out

Frame 01 · DialogueReel 3 · Sc.47

Director · Spotting Session

“It should feel like loss. But not sad, more the absence of something.”

00:42:18Cue 0014.3

Frame 02 · VocabularyReel 3 · Sc.47

Leitmotif · Structured Intent

Atmosphere: Absence
Function: Interior reflection
Density: Sparse
Arc: Static
Duration: 02′14″

Cue № 0014.3Reel 3 / 7

Frame 03 · SpecificationReel 3 · Sc.47

Composer · Musical Brief

Tempo: 42–48 bpm, rubato
Key: D modal, no third
Harmony: open 5ths, sus 4ths
Register: low strings, sub-bass
Exclude: perc · melody · vibrato

Brief unlockedK. Halland

Frame 01 · DialogueReel 3 · Sc.47

Director · Spotting Session

“It should feel like loss. But not sad, more the absence of something.”

00:42:18Cue 0014.3

Frame 02 · VocabularyReel 3 · Sc.47

Leitmotif · Structured Intent

Atmosphere: Absence
Function: Interior reflection
Density: Sparse
Arc: Static
Duration: 02′14″

Cue № 0014.3Reel 3 / 7

Frame 03 · SpecificationReel 3 · Sc.47

Composer · Musical Brief

Tempo: 42–48 bpm, rubato
Key: D modal, no third
Harmony: open 5ths, sus 4ths
Register: low strings, sub-bass
Exclude: perc · melody · vibrato

Brief unlockedK. Halland

Feed

24 fps

00:42:18

Book a demo →

№ IIVocabulary

Fourteen atmospheres,
each its own film stock.

Tap to read

№ IIITranslation

One scene, said three ways.

Reel 3 · Cue 0014.3

i. The Director

Emotional intent

“The room after she leaves. The light is the same. The chair is the same. Something has been removed and the room hasn’t noticed yet.”

№ IVThe Brief

The artifact a composer can work from.

Not a screen. A document.

Cue Sheet · LM-0014Reel 3 of 7 · Sc. 47

Quiet Cartography

Cue №0014.3

In00:42:18:00

Out00:44:32:00

Length02′ 14″

i. Scene

Interior. Apartment, late afternoon. She has gone. He stands in the doorway and does not enter. The room continues without him.

ii. Direction

It should feel like loss. But not sad. More like the absence of something. Hold the room. Let the music notice what he can’t.

iii. Atmosphere & function

Absence
Interior reflection
Sparse
Static
Non-diegetic

iv. Musical specification

Tempo: ƒ. 42–48 bpm, rubato
Meter: free / unmetered
Key: D, modal, no third
Harmony: open 5ths, sus. 4ths, no resolution
Register: low strings · sub-bass
Dynamics: ppp–mp; never crescendo
Timbre: bowed metal, felt piano

Reference cue · LM-0014.3.wav02′ 14″ · −18 LUFS

00:42:1800:43:0000:43:3000:44:32

№ VMethod

Three movements, one handoff.

From spotting to score

The director tags the intent.
In the language of feeling. Pick an atmosphere, name the function, set the density. Or paste the sentence you said in the room. Either works.
Vocabulary · 14 atmospheres
The system compiles the spec.
Tempo, meter, harmonic character, register, dynamics, exclusions. A reference cue is rendered so the direction can be heard before a composer’s week is committed.
Spec + reference cue
The composer receives the brief.
A document, not a prompt. Printable. Margin-noted. Designed so the composer’s first response is to start writing, not to start translating.
Brief · sent to composer

№ VIStet

What this is not.

Editor’s marks

Stet · not
a digital audio workstation.
Leitmotif does not produce final cues. The composer does.
Stet · not
an AI music generator.
The reference cue is a sketch, disclosed as a sketch. It exists to be replaced.
Stet · not
a creative ceiling for composers.
The brief is the floor. What you build above it is yours.

№ VIIAddress

Two readers, one document.

For directors

Say what you actually mean.

Leitmotif gives you a vocabulary that travels. The sentence you say becomes a brief they can act on, with a reference cue you can both hear together. The conversation that used to happen two weeks late happens now, with the room still in front of you.

addressed to directors and showrunners

For composers

A brief that respects your hands.

The reference cue is a sketch, and we say so. The exclusions are the director’s, not ours. The musical decisions are yours. What you build above the brief is what gets recorded.

addressed to composers and music supervisors

Next cue

Bring a scene.
Leave with a brief.

See Leitmotif run on a scene from your own film.

Book a demo →or read a sample brief →

Score what you feel.

Fourteen atmospheres. You already know them by scene.

What the composer receives.

Direct the score.

Fourteen atmospheres,
each its own film stock.

One scene, said three ways.

The artifact a composer can work from.

i. Scene

ii. Direction

iii. Atmosphere & function

iv. Musical specification

Three movements, one handoff.

The director tags the intent.

The system compiles the spec.

The composer receives the brief.

What this is not.

Two readers, one document.

Say what you actually mean.

A brief that respects your hands.

Bring a scene.
Leave with a brief.

Score what you feel.

Fourteen atmospheres. You already know them by scene.

What the composer receives.

Direct the score.

Fourteen atmospheres,each its own film stock.

One scene, said three ways.

The artifact a composer can work from.

i. Scene

ii. Direction

iii. Atmosphere & function

iv. Musical specification

Three movements, one handoff.

The director tags the intent.

The system compiles the spec.

The composer receives the brief.

What this is not.

Two readers, one document.

Say what you actually mean.

A brief that respects your hands.

Bring a scene.Leave with a brief.

Fourteen atmospheres,
each its own film stock.

Bring a scene.
Leave with a brief.