We’re filmmakers. We’re always chasing that magic moment in the theatre – the lights are out, the popcorn’s fresh, and the audience is poised, breathless, enraptured: the moment we know we got ’em.

Making an emotionally satisfying product requires a scale of collaboration and skill usually required to build a city – every facet must be laser-precise. The audience doesn’t care about that, though – all that matters to them is how it feels. When we get it right, it feels like being part of a miracle. And miracle-making is where I come in.

I thrive at the nexus of story, craft, passion, resource management, expertise, and technology. That’s what it takes to get it just right. I fuse your creative direction & story with a seamlessly woven musical experience. The best of both our worlds – THAT’s what moves our viewers.

So okay, it’s not magic. But when you and I team up, it sure feels like it.

Let’s get to work.


Red Janes has a split musical personality. A classically-trained mezzo-soprano and flautist, her performance and composing work refuses to be pigeonholed. Composing everything from choral to orchestral, rock to electronic, she’s thirsty to keep it fresh.

Red was deeply honoured to accept Leo Award nominations for Best Original Score in a Motion Picture for her work in ‘White Raven’ (Directed by Andrew Moxham – White Buffalo Films) and for ‘Charlotte’s Song’ (starring Iwan Rheon & Katelyn Majer – Done Four Productions) culminating in a win for the latter picture – along with her music team colleague Maya Saxell, they were the first female composers ever to win a Leo award in that category. She has additionally been recognized with a Best Music gong at the 2017 Seattle Web Fest for her work in the 2016 webseries Telegraph Cove. Recently Red was selected as the panel favourite at the 2017 Whistler Film Festival’s inaugural blind composition challenge, featuring such esteemed panelists as Janine Scalise Boyd (VF Music, Starz Entertainment) Tony Scudellari (SVP TV Music, Sony TV) and Julie Weitz (EP/President, Carol Mendelsohn Productions/Sony Pictures Television).

‘Brother, I Cry’ a dramatic feature scored last year by Red, and directed by Jessie Anthony has made a strong showing at film festivals worldwide and has won 5 awards and 8 nominations. She is currently scoring for both Lifetime and Hallmark.

Our work springs from the nexus of craft, passion, resource management, expertise, and up-to-the-minute technology.

But in the audience, none of that matters.

It might not be “magic”, but it sure feels like it.

So that’s me – now how about you?

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