Scoring Modern Motion Picture Advertising

Motion picture advertising used to live inside three or four genres. The 2010s broke that wide open. Today a single trailer cue can move from sub-bass texture to braam to vocal hook to silence inside ninety seconds, and the supervisors picking music are listening for something most production libraries still don't deliver: a point of view.

At Tonal Chaos we score every campaign as if it were its own short film. That means we start with the picture, not the brief. We write to the cut, refine the cut against the music, and ship cues that can stand on their own outside the spot.

The work that travels, the work that picks up awards, is almost always the work where music and sound design were never separated in the first place.