A recipient of many scholarships, Vincent was then selected for the Sundance Institute, where he had the opportunity to work under the supervision of noted film composers Edward Shearmur (Sky Captain & The World Of Tomorrow), Rolfe Kent (Sideways), George S. Clinton (Austin Power's Trilogy), Mark Isham (Crash), and Thomas Newman (American Beauty), among others. Since then Vincent has been working without pause, scoring no less than 35 feature films in the last 8 years, winning two Gold Medals (2005 and 2006) and one Silver Medal (2008) for his scores at The Park City Film Music Festival, being awarded the SUISA Prize for Best Score in 2005 at the 58th Locarno International Film Festival, and winning best score two years in a row (2007 and 2008) at the Moondance International FIlm Festival.  His rapid success has been the subject of two documentaries.

When a composer conveys the filmmaker's vision, the collaboration has been successful. Vincent firmly believes that a solid knowledge and understanding of cinema is essential for scoring a movie and communicating successfully with the director. To that end, Vincent wrote a thesis on film music, sharing his analysis of the different fruitful collaborations between legendary filmmakers and composers (Eisenstein/Prokofiev, Hitchcock/Herrmann, Godard/Duhamel, Marshall/Newman, etc.), discussing the multiple, and sometimes remote, functions of music in a movie.

Knowing and understanding what our elders achieved is the best way to tread new territories. Stravinsky believed that "A work of art should be unpredictable, and at the same time unavoidable". It is a sentiment Vincent believes and always strives toward. Vincent’s attraction to a project is not so much about the story, but how it is told. The principle behind Vincent's work has been to give each movie a unique musical identity, distinct from all others.