What we do.

Music Supervision for Film and TV.

Our slate includes some of the most exciting content from the UK and US. We pride ourselves on perfectly balancing the art of music to picture with the business of music licensing. Overseeing every aspect from song research and licensing to composer creative.

We offer an all encompassing service for all film and television formats. services can be contracted separately depending on the productions needs.

• Creative searches and delivery of creative cues within budget and brief. Covering any era, genre or territory.

• On-set supervision, pre-record, playback and coach management.

• Composer, Exec Music Producer and Songwriter searches, negotiation and contracting.

• Music budget analysis and management.

• Bespoke composition and re-records

• Cue Sheet fulfilment and contractual delivery.

• Score supervision.

• Score funding

• OST deal partnerships and negotiations.

• Score publishing, administration and collection of music royalties.

• Music Editing

Who we are.

Will began his film career working at Academy, Jonathan Glazer’s production company in London before moving into post production at Empire Design where he learned the ropes of music supervision for trailers.  After 10 years he was recruited to join Mob Scene in Los Angeles as theatrical music supervisor, before joining award winning agency GrandSon as Director of music, spearheading music creative for clients such as A24, Focus Features and Netflix soundtracking campaigns for titles such as Roma, Downton Abbey, Uncut Gems, Euphoria, Moonlight, Atlanta, House of the Dragon and The Green Knight among others. In 2021 he won a Golden Trailer award for Best music for Netflix's Ma Rainey's Black Bottom and a Music & Sound Award for Apple+’s Oscar winning CODA as well as three Clio trailer music awards for A24 titles, Uncut Gems, Waves and Zola. 

In tandem with trailer supervision, Will was invited by Matthew Vaughn to bring his music creative skills to his breakout 2010 action comedy feature Kick-Ass beginning his feature music supervision career.  Returning to London he joined Redfive as senior music supervisor and has supervised major feature films for NEON and FilmNation among others. Will is a member of the UK Guild of Music Supervisors. 

Cheryl Xiaoning Wang is a bilingual music supervisor from China, currently based in Los Angeles. After years of experience in film accounting and distribution in China for companies like DreamWorks and IMAX, Cheryl relocated to the US, obtained her Film MFA in Creative Producing from Columbia University, and found her calling in music supervision.

Committed to the synergy between music and visual storytelling, Cheryl has curated soundtracks for films, television shows, and documentaries, with her work featured at prestigious film festivals worldwide, including Cannes (Armageddon Time, Splitsville, The Last Movie Stars), Sundance (Shortcomings), NYFF (Janet Planet), TIFF (The Ballad of Suzanne Cesaire, Bruiser), SXSW (X, Bunny), among others. She is a proud member of the Guild of Music Supervisors, a Women In Film Fellowship recipient, and the first music supervisor accepted into the BAFTA US Newcomers Program. Deeply passionate about women's stories and global music, Cheryl strives to bring more diverse, inclusive narratives and sounds to the forefront through her work.

Nicholas Phillips is an award-winning composer, music editor, and producer. As music editor, he recently worked on projects including Box to Box’s Make or Break and Break Point. He collaborated with Jessica Rose Weiss on Pierre Morel’s forthcoming thriller Canary Black starring Kate Beckinsale, and contributed to the upcoming series The Tower with Nainita Desai. He also played a key role in developing initial themes for both score and source music in Tim Story’s Tom and Jerry feature animation.

As a composer, he has created soundtracks for documentaries such as Edward Watts’ Escape from Isis featuring Samantha Morton, Jane McMullen’s 54 Days: China and the Pandemic, and Alison Millar’s Kids in Crisis. His first feature film score, Abducted, earned him the Marshall Hawkins Award for Best Independent Feature Score at the Idyllwild Film Festival.

Nicholas served as the music director for Dynamo the magician’s worldwide stadium tour, Seeing Is Believing, where he crafted immersive soundscapes for Dynamo’s performances. His work as a score mixer spans projects like Adrian Corker’s The Village to Disney’s songs for Frozen. He also worked in the Sound Edit/Mix team at Disney/Marvel on films like Iron Man 3 and Tron. His background as an artist and producer gives a unique perspective, allowing him to collaborate effectively with musical artists exploring the world of film scoring. He is a voting member of the PRS and Ivors Academy.

Rupert is co-founder and creative director of Redfive. Ru started his career in music publishing in 1998, initiating the synchronisation departments at both Music Copyright Solutions, and latterly Kingstreet Media. Subsequently, as a freelance music supervisor, Ru worked on various global advertising campaigns with brands including Marks & Spencer, Nike, as well as the Discovery Channel and National Geographic. After four years as a freelance music supervisor, in 2009 joined Imagem (now Concord) as Head of Film exploitation. During his time at Imagem, he represented the Rodgers & Hammerstein and Boosey & Hawkes catalogues, as well as numerous artists and bands on the contemporary roster including Daft punk, Mark Ronson, Pink Floyd, Vampire Weekend, Genesis, and The Stone Roses. During his five- year tenure, Rupert worked with brands such as Reebok, Skoda, Next, Hyundai, and Tesco amongst others, and several successful US, UK and European-based films. He joined Metropolis Group in 2014 as Creative Director and founded the publishing division (Metropolis Music Publishing) and quickly secured an impressive repertoire of artists, bands and composers, racking up multiple synchronisation placements and campaigns. Having also founded and set up Metropolis Music Supervision, in 2016 he won both Best TV Advert and Overall Sync of the Year as music supervisor at the MusicWeek Sync Awards.

Since co-founding music supervision agency Redfive, Ru's film and TV projects include Golden Globe, BAFTA, and Oscar-nominated projects films such as “The Wife”, “McQueen”, and Number Nine Film's adaptation of the Kazuo Ishiguro novel, “Living”, starring Bill Nighy, and also films & TV series such as “Mothering Sunday”, Guy Ritchie’s, “Ministry of Ungentlemanly Warfare”, “The Critic”, “Boat Story”, “The trip to Greece”, The Salt path”, and The Surfer”.

Ru is co-founder and Vice President of The UK & European Guild of Music Supervisors.

Kadambari is a Music Supervisor at London-based creative agency, Redfive. Working across film and TV, her credits include The Surfer and We Bury The Dead (NEON) . In 2023, she was selected for the Netflix music supervision training/ mentorship programme, as part of their in- house production, Supacell (2024).

Prior to making the switch to music supervision, Kadambari’s career spanned both live and recorded music; curating shows and series as part of the 'Beyond The Main Stage' programming team at London’s Royal Albert Hall from 2018-2020 and the compilations/ international catalogue department at Sony Music’s Mumbai office from 2014-2016.

Kadambari has an MA in Ethnomusicology and the Anthropology of Media from SOAS, University of London (2009-2010). She sits on the advisory board for UK & EU Guild of Music Supervisors and is part of both the panels and masterclasses and the D&I committee.