AI Scene Scoring for Video

1. 1

   Start from a segment list. Video analysis produces one, or you can state the scenes yourself if you already know where they are.

2. 2

   Set the mood, key, bpm and structure per scene. This is where a cut becomes a score: the quiet scene and the chase are different briefs, not one brief at two volumes.

3. 3

   Run it once and get two variants per scene. Audition them against the picture, keep the ones that work, and re-run only the scenes that do not.

A list of segments with a duration, and per segment a mood, key, bpm and structure. The segment list from video analysis drops straight in.

Two music variants per scene, as MP3 and WAV, each written to that scene’s length. Where a scene is longer or shorter than the engine can write in one piece, the clamp is reported per scene rather than applied silently.

WAV, FLAC and MP3, at 44.1 or 48 kHz and 16 or 24-bit. You pick the container and the rate on the form before you run it.

Editors scoring a short film or a trailer without a composer. Game cinematic teams who need a sequence underscored beat by beat. Creators whose cut has four moods in ninety seconds and one library track that fits none of them.

Composed from the music generator, so it is priced the same way: one credit per fifteen seconds, per variant. A four-scene cut with two variants each is eight pieces of music, and the total estimate is shown before the run.

Every run is a queued job. It holds its credit estimate while it works and settles to the real cost when it finishes; if it fails or you cancel it, the hold is released in full. You see the estimate before you spend anything.

See pricing

Everything you generate is royalty-free for commercial use — client work, monetised video, games you sell, ads. No per-use fee and no attribution requirement. Generations are yours; uploads stay private by default, and the inputs to the isolator and splitter are deleted automatically.

How is this different from generating music?

The music generator answers one brief. Scene scoring answers a brief per scene and keeps them in one job, so a ninety-second cut with four moods comes back as four pieces written to four lengths rather than one track you fade under everything.

Do I have to analyse a video first?

No, but it is the fast path. Analysis gives you the segment list already timed to the cut; without it you type the scenes in yourself, which is fine when you already know where they are.

What if a scene is too long for one piece of music?

The length is clamped to what the engine can write and the clamp is reported for that scene — which scene, the scene length and the music length. You find out on the estimate, before the credits move, instead of discovering it in the result.