Caitlin Perry Has 1.6 Million Views and a Seat in Steve Jablonsky's Scoring Studio

Los Angeles, USA, August 19th, 2026, FinanceWire

Caitlin Perry works as a studio technical assistant at Arata Music Inc., the Santa Monica scoring company associated with composer Steve Jablonsky, where she is currently on projects for Paramount and Netflix. She prepares and formats session materials, handles notation prep and part extraction for recording, checks scores before live players see the page, and manages session setup and delivery across Pro Tools and Cubase.

She also has an audience. Her independent scores, written for animated shorts released without studio distribution, have been watched over 1.6 million times.

Through Remote Control first

Before Arata, Perry worked as a studio assistant at Remote Control Productions, the Santa Monica company founded by Hans Zimmer. Remote Control functions as something closer to a pipeline than a studio. A significant share of working Hollywood composers passed through it early, and the room operates as an apprenticeship in the most literal sense: templates, mockup workflows, orchestral prep and the pace of a real scoring schedule, learned by being in it.

Perry spent that period assisting composers and technical teams in fast turnaround scoring environments, working inside professional template structures and orchestral mockup workflows. She moved from there to Arata in June 2026.

That progression matters more than a job title. Access in film music is not advertised. It moves through rooms, and the rooms are small.

Two skill sets, one person

The traditional route into film scoring runs one of two ways. A composer writes, chases small credits and waits for a break. Or a technician learns the software, takes an assistant chair and hopes proximity becomes opportunity. The two rarely overlap, which is why studios so often need a translator between the person who wrote the cue and the person preparing it.

Perry runs both tracks at once. A modern score moves through composition, orchestration, MIDI programming, virtual instruments, orchestral mockups, live recording and post, usually on a compressed schedule. Every handoff between those stages is a place where intent gets lost. Someone who understands the music and the machinery removes a handoff.

Her working toolkit reads as technical: orchestral and hybrid mockup creation, stem prep and delivery, score preparation and part extraction, MIDI orchestration, notation in Dorico and Sibelius, and DAW work across Cubase, Pro Tools, Logic and Vienna Ensemble Pro. In practice it is compositional knowledge applied to logistics.

She has also recorded as a session pianist for established composers including Mike Post, Trevor Gureckis and Stephanie Economou.

The audience she built herself

The independent catalogue is where the numbers live. Over the past year, Perry has scored four animated shorts for Spanish animator Isabella Ferreiro, who publishes as be3el. "Little Ballerina" has passed 856,000 views. "Hidden Words" is above 447,000 and "Pixie Hollow" above 319,000. This year's "Beltane" has added 45,000 more.

She has also scored "A Woman with Webbed Feet" for director Rose Mollet, "Heirlooms," a dark fantasy score for a Bristol stop motion short, and "How 2 Live Organically," a claymation film that screened at the MFA Film Festival in Boston.

None of it carries studio backing. All of it is publicly measurable, which is a newer condition in film music than it sounds. A composer's early work was once invisible outside festival rooms and demo reels. Now it has a view count, and the view count travels. For a composer being considered for a project, a number is an argument that a reel is not.

Next Steps in Perry and Ferreiro’s Work

The Perry and Ferreiro partnership is moving to long form. A feature-length animated film scored by Perry is due at the end of this year, their first project together at that scale after four shorts and a combined audience well into seven figures.

The jump from short to feature is the one that changes a composer's position. Short form work proves taste. A feature proves stamina, structure and the ability to hold a musical argument across ninety minutes rather than five. It is also the credit that studio decision makers actually read.

For Perry, it arrives alongside a scoring practice already operating inside the Los Angeles studio system, which is an unusual pair of things to hold at once.

She has been active with the Alliance for Women Film Composers since arriving in Los Angeles. Film music remains a field where the assistant chairs and the composer chairs are demographically different rooms.

About Caitlin Perry

Caitlin Perry is a British composer, pianist and music professional based in Los Angeles. She trained in classical piano and composition at Trinity Laban Conservatoire of Music and Dance in London, where she completed an LTCL piano diploma, and holds a Bachelor of Music in Screen Scoring and Jazz Composition from Berklee College of Music, awarded Magna Cum Laude.

She works as a studio technical assistant at Arata Music Inc., the scoring company associated with composer Steve Jablonsky, following a position at Remote Control Productions. Her independent scoring credits include "Little Ballerina," "Pixie Hollow," "Hidden Words," "Beltane," "A Woman with Webbed Feet," "Heirlooms" and "How 2 Live Organically," with a combined online audience of more than 1.6 million views.

Her work blends orchestral writing with ambient electronics, prepared piano and experimental sound design, with particular interest in horror, dark fantasy, and animation.

Website: play.reelcrafter.com

By: Jared Miller

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