One winner will win the following:

All of Westwood Instruments current sample libraries including Lost Piano* and everything we release in 2022!

Your choice or e-gift card for either or


5 runners-up will win:

A copy of Lost Piano* sample library.

* If you have already purchased Lost Piano sample library, will will refund your purchase price if you are the winner or a runner-up. No alternative prizes will be offered.



Beautifully worn and naturally warped, Lost Piano is a Kontakt instrument that’s designed to create a mood and inspire the way you play. It’s not a synthesiser but neither is it really a piano anymore. It’s the somewhere in-between that you won’t have been before. 

The Judges

We are extremely proud an honoured to have a fantastic set of composers on the judging panel.
Nainita Desai

RTS award winning composer Nainita Desai is an Ivor Novello (2020), BIFA, Triple World Soundtrack Awards and Cinema Eye Honors nominee; a BAFTA Breakthrough, and the IFMCA Breakthrough Composer of the year.

Amongst numerous BAFTA, Oscar and Emmy acclaimed productions, Nainita’s recent projects include Oscar 2020 nominated and BAFTA & Cannes winning feature doc For Sama, Sundance 2020 winning feature The Reason I Jump, Bad Boy Billionaires (No1 Netflix series in India), Bafta nominated American Murder, Netflix’s most watched documentary to date, BBC drama series Unprecedented (James Norton, Olivia Williams, Gemma Arterton), and Interactive game / video game Telling Lies, the acclaimed release by Annapurna Interactive.

Recent scores include Kevin MacDonald’s The Day That Changed Britain, Netflix original Sophy: A Murder in West Cork. Upcoming features include Netflix 14 Peaks (exec: James Marsh), BBC1 Crossfire (Keeley Hawes), SKY’s Funny Girl (Gemma Arterton) and ITV crime drama The Tower (Gemma Whelan).

Following a degree in Maths and studying sound for film at the NFTS in the UK, Nainita began her career as a sound designer on feature films for directors including Werner Herzog and Bertolucci, as well as being an assistant music engineer to Peter Gabriel.

Chris Dudley

Chris Dudley is an American composer/multi-instrumentalist most known as the keyboardist in the multi-Grammy award nominated band Underoath.

After almost two decades and over one million albums sold, Chris is finally bringing his unique ear and style to the film scoring world in a way that’s already leaving a prominent mark.

His most recent work includes the score to Whelm, which has won Best Feature Film at the BIFF and God’s Waiting Room, which has just premiered at the prestigious Tribeca Film Festival in New York.

A huge supporter of Westwood since our very first release, his infectious energy and passion for music continues to be wildly influential in our journey to be the best we can be.

Kevin Matley

Kevin Matley is an award-winning film composer. His work can be heard in feature films, documentaries, and advertisements for National Geographic, Apple, Google, Microsoft, Facebook, Ferrari, and more. Most notably is his recent collaboration with director Ricky Staub on the 2020 TIFF sensation Concrete Cowboy starring Idris Elba and Caleb McLaughlin.

The Hollywood Reporter calls out Matley’s score, saying the crime and chase scenes were “boosted also by Kevin Matley’s soulful score with subtle Western accents.” The American western drama released by Netflix is available for streaming now.

Matley pours his heart and soul into every note and believes that when music and story are combined, something magical happens. Matley’s mission is to help filmmakers tell stories with the language of music and elevate narratives using unique and unconventional methods and scoring styles.

Rob Hill

As writer/director of the film and founder of Westwood, Rob will be closely overseeing the judging process, along with the rest of the team.

What will the judges be looking for?

We will be judging each entry on a simple premise:
“How well does the music elevate the story?”

What we mean by this, is how well does the music heighten the emotion of the film to make it something much stronger than before.
The music should support the narrative and propel the meaning of the voice over.

We will take into account the overall sound quality including how well it’s mixed, but over and above everything else, your ideas are the most important thing.


Does it cost anything to enter?
No. We want to make the competition as inclusive as possible, so there is no fee for entry.

Do I have to use Westwood sample libraries in the score?
No! You can use any instruments you choose. Real or sampled.

Will using Westwood sample libraries give me extra credit?
Not one bit. We will NOT give any additional credit to scores featuring our instruments.

Who is judging the competition?
Rob Hill and the team at Westwood
Nainita Desai
Chris Dudley
Kevin Matley

Please see above for details.

When is the deadline?
Midnight GMT, Tuesday December 7th 2021.

When will the winners be announced?
Before Christmas 2021.

Do I need to mix the score with the dialogue?
Yes, we expect you to mix your score with the existing sound. We would recommend writing the music with the existing dialogue in mind, rather than waiting until the end to make it work in the mix.

Can I add foley to the film?
No, please keep your entry to purely music. Do not add any real-world sound like footsteps or wind.

I’ve never scored anything before, I’m never going to win. What’s the point in taking part?
Use this opportunity to practice. Use it to gain experience and advice from your peers. And well, because someone much smarter than us once said, “You miss 100% of the shots you don’t take.”

Can I / will I receive individual feedback on my entry?
Unfortunately we will not be able to provide feedback on every entry. We recommend connecting on Facebook or YouTube and asking your peer group for their critique. Please be nice and support each other!

Can anyone in the World enter the competition?
Please check your local restrictions as not all countries and territories allow participation in this kind of event.

Will I retain rights to my work?
Yes, you will retain all your rights to the music you create. If you are chosen as a winner or runner-up, your name and submission will be used on our website and social media channels.

Can I use my final music and scored film in my portfolio and on my website?
Yes! Please ensure you reference it as a scoring competition entry for Westwood Instruments.

If I enter, how will my data be used?
• We will only use your email address to contact you if you win and arrange how to award prizes.
• We will not share your email address with any third party.
• You will not receive any marketing emails from Westwood Instruments, unless you have subscribed and opted-in to our newsletter list.

Terms & Conditions

1  Only one entry per person. Multiple entries will disqualify you from the competition.

2  You must be over 18 to enter.

3  The music you enter must be entirely your own and 100% original.

4  Entries posted after the closing time will not be accepted. No exceptions!

5  All entries must be submitted by the form on this page. No entries via email or social media will be accepted.

6  By entering this competition you agree that if you win a prize, your name and final submission can be used on our website and social media channels.

7  This competition is not supported or sponsored by,, Facebook, Instagram, YouTube, Soundcloud, or Twitter.

8  Do not alter the existing sound of the film in anyway except for adding your own music.

9  Do not change the frame rate, length or change the look of the film.

10  Judges decision is final.

11  Current employees, freelancers or people personally known to the judges or the team at Westwood are not permitted to enter.

12  No prize alternatives are offered.


With thanks to



Cairn Emmerson