Emmy-nominated composer and music supervisor crafting cinematic scores, trailers, and original music that elevate stories and captivate audiences.
Cameron Chambers, an Emmy-nominated composer, music supervisor, and guitarist from Los Angeles, California, is known for his cinematic, emotionally-driven approach to scoring. His expertise spans film, television, trailers, and advertising, blending orchestral, hybrid, and experimental elements to craft music that enhances storytelling and captivates audiences.
Cameron’s notable contributions include scoring the Disney+ documentary Not Just A Goof, as well as trailers and campaigns for Disney's Snow White, Marvel's Agatha All Along, Paramount+'s Good Burger 2, Lionsgate's Moonfall, FOX's The X-Files, Netflix's We Can Be Heroes, and A&E's Bates Motel and FOX's Gotham. His work as a music supervisor and composer has led to over 60 original music sync placements for major campaigns, including an Emmy-nominated Hulu campaign, Captive Audience.
In addition to his scoring work, Cameron has collaborated with session musicians and artists in the recording industry, contributing guitar, arranging, and production to projects for Atlantic Records and Def Jam artists like Trey Songs and Teyana Taylor, and supporting trailers and advertising content with high-end musical programming.
Tell me about your project and how I can help through the 'Contact' button above.
Tell me about your project and how I can help, through the 'Contact' button above.
Interview with Cameron Chambers
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I scored a documentary for Disney+ called Not Just A Goof. I composed, produced, and mixed the full score, shaping the narrative arc musically. It was particularly rewarding because the score enhanced storytelling and received strong positive feedback from both audiences and industry professionals.
Q: What are you working on at the moment?
A: I’m scoring trailers for feature films and releasing a recent documentary score that premiered on Disney+, integrating orchestral and hybrid textures.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I have connections with other composers and producers in the cinematic space and can refer specialized collaborators when a project requires additional expertise.
Q: Analog or digital and why?
A: Both. I combine analog synths for warmth and character with digital tools for flexibility, precision, and cinematic orchestration.
Q: What's your 'promise' to your clients?
A: High-quality, narrative-driven music delivered professionally and tailored precisely to the project’s vision.
Q: What do you like most about your job?
A: Bringing stories to life through music and creating emotional connections that resonate with audiences.
Q: What questions do customers most commonly ask you? What's your answer?
A: Q: How quickly can you deliver? A: I provide realistic timelines based on project scope while ensuring quality isn’t compromised. Q: Can you adapt to my style? A: Absolutely. My experience spans orchestral, hybrid, and ambient, and I always tailor my music to the project.
Q: What's the biggest misconception about what you do?
A: That composing music is just writing notes. In reality, it’s storytelling through sound and balancing emotion, timing, texture, and production quality.
Q: What questions do you ask prospective clients?
A: I ask about the story, mood, intended use, timing, and references to ensure my music aligns perfectly with the project’s goals.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Look for someone who understands your story and vision, not just someone who can write notes. Communication and narrative sensitivity are key.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Laptop with DAW High-quality headphones MIDI keyboard Sample libraries of orchestral instruments Portable audio interface
Q: What was your career path? How long have you been doing this?
A: I’ve been composing professionally since 2009, starting with independent films and expanding into trailers, television, and high-profile advertising campaigns. I’m also a music supervisor, which gives me a holistic understanding of how music fits a project.
Q: How would you describe your style?
A: Cinematic, emotionally resonant, and adaptive. I balance orchestral richness with modern hybrid elements, creating music that enhances narrative impact.
Q: Which artist would you like to work with and why?
A: I’d love to collaborate with Hans Zimmer or John Powell to learn from their approach to large-scale cinematic projects and explore blending orchestral and electronic textures.
Q: Can you share one music production tip?
A: Always start with the story or emotion before the instrumentation. The arrangement should serve the narrative, not the other way around.
Q: What type of music do you usually work on?
A: Cinematic orchestral, hybrid trailer scores, ambient textures, and emotionally-driven thematic music for film, TV, and ads.
Q: What's your strongest skill?
A: Translating emotion into music that supports storytelling, whether it’s tension, triumph, or subtle nuance.
Q: What do you bring to a song?
A: I bring narrative-driven emotion, cinematic depth, and a polished production quality that ensures the music serves the story while standing out on its own.
Q: What's your typical work process?
A: I start by understanding the story or project vision, then create thematic sketches or demos. After client feedback, I expand these into full arrangements, layer textures, mix, and deliver final stems or masters ready for sync.
Q: Tell us about your studio setup.
A: My studio combines high-end orchestral sample libraries, analog synths, and a precision monitoring setup. I use a hybrid workflow: a combination of live session musicians when needed, detailed MIDI orchestration, and meticulous mixing to ensure cinematic impact.
Q: What other musicians or music production professionals inspire you?
A: John Williams, Hans Zimmer, Ramin Djawadi, and Lorne Balfe—composers who combine memorable melodies with emotional depth. I’m also inspired by contemporary producers pushing hybrid orchestral and electronic soundscapes.
Q: Describe the most common type of work you do for your clients.
A: I primarily compose cinematic music for film, trailers, documentaries, and advertising campaigns. This includes full orchestral scores, hybrid trailer music, and custom cues tailored for storytelling or sync placement.
I was the Composer in this production
- Film ComposerContact for pricing
- ProducerContact for pricing
- Mixing EngineerContact for pricing
- Acoustic GuitarContact for pricing
- Electric GuitarContact for pricing
Contact for turn-around times.
