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Film composer

Luna Pan is an Australian film composer based in Sydney. Her scores include Time and Tide, winner of the Documentary Australia Award at the 2026 Sydney Film Festival; the features My Eyes and Streets of Colour; the AACTA-nominated short Jia; and additional music for Ice Road: Vengeance and HBO’s Surviving Ohio State.

The work

(13) projects

Hear it

(12) tracks

Prelude

2:27

You're Not Welcome Here.

1:40

Time And Tide

2:31

Sleepless Night

0:51

CEEBS Theme V3A NEW

0:11

Worries

0:43

You Are Never Gonna Get It Back

1:39

Childhood

3:12

Journey

2:14

Are You Spirtual

2:23

Tunnel Vision

0:47

Finale

1:05

Tap the moon to save a track to your brief.

Before you ask

When should I bring a composer in?
Earlier than you think. The best scores start in conversation while the film is still being cut. A temp track hardens fast, and it is easier to find the film’s own sound before one settles in. That said, plenty of my work has begun at picture lock with a deadline attached, and that works too.
Do you work with directors outside Sydney?
Yes. Most of my collaborations run remotely: shared cuts, notes over calls, cues delivered as we go. I have scored for directors and studios in the US and across Australia without being in the room, and recorded with orchestras in Sydney, Prague and Madrid.
Can you record with live players?
Yes, and it is my favourite part. I orchestrate my own scores and have recorded with the RTVE Symphony Orchestra, Smecky Music Studio in Prague and at Trackdown Studios in Sydney. For a smaller budget, a handful of live soloists over a produced score goes a long way.
What does a film score cost?
It depends on the length of the film, how much of it is scored, whether there are live players, and the schedule. Tell me about the project and I will come back with a clear range before anything is decided.

Directors' notes

“Luna was a delight to work with. Her narrative intuition was spot on. She didn’t give me what I wanted; she gave the film exactly what it needed.”
Vee Shi — Director, Jia (AACTA-nominated)
“Luna was incredible to work with. She’s not only musically talented but she also seems to be telepathic — she got my brief, even if I wasn’t quite sure what I was after at certain points. We have a beautiful, buoyant soundtrack that really helped my film come to life.”
Isabel Darling — Director, The Carnival (SBS)
“Beyond natural talents, I found that Luna has the greatest collaborative attitude and is willing to try different ideas to support my vision in every moment and every scene of the film. I’d like to work with her again and again!”
Pauline Chan — Director, My Eyes · Ultraviolet
“Luna is, quite simply, extraordinary! She has such a singular and clear voice. She fully characterises films without being ostentatious or forcing a scene that needs to breathe. She’s the most wonderful collaborator and friend.”
Mitchell Kendall Smith — Writer & Director, The Can

Recognition

  1. 2026Sydney Film Festival — Documentary Australia Award — WinnerTime and Tide (feature documentary)
  2. 2026Sports Emmy® Award — Outstanding Music Direction: Sports — NominatedSurviving Ohio State (HBO Max) — associate composer
  3. 2022Hollywood Music in Media Awards — Epic/Orchestral — Nominated“The Masquerade”, recorded with Smecky Music Studio
  4. 2021Hollywood Music in Media Awards — Instrumental/Orchestral — Nominated“Evolution”, recorded with the RTVE Symphony Orchestra
  5. 2020Independent Shorts Awards, Los Angeles — Best Original Score — Honorable MentionA Tea Party for Sad People, shared with Sandrine Rudaz
  6. 2018SFS Film Festival — Best Composer — Winner ×5A Momentary Yearning · Backstage Backstab · Barnett · Endless Night · Lockpick

Tell me about yours

A film, a series, a game, a campaign, or something that doesn't fit a box yet. I read every message myself.

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