Lock the Conductor Track?

hamburski · Post by **hamburski** » Wed Sep 11, 2013 8:41 am

Here's the situation: I'm working on a film score with all of the cues in one session, so I've got the conductor track changing numerous times. All's well if I'm just moving forward through the project, creating new meters and tempos as I go.

The problem arises when I have to go back into the *middle* of the project and change a tempo or meter (or both). I've locked all the tracks, so the ones I'm not changing all stay where they belong, but once I adjust any tempos in the middle of the session, all of the subsequent conductor track data slides around.

As I said, I've locked all the tracks, so they're fine, but if I now want to *work* on any of the tracks after the section I've just edited, all of the click tracks are now out of sync with what I've recorded. And I can't for the life of me figure out how to rectify this, short of doing all of my edits on new chunks. That would preserve my earlier work with its conductor track, but it makes it harder and harder to listen to/look at everything in sequence, and becomes a huge hassle remembering which edits of which cues are on which chunks.

Seems like if there was a way to lock the conductor track, it would solve all of this, but I'm not aware of a way to do so.

FMiguelez · Post by **FMiguelez** » Wed Sep 11, 2013 9:50 am

There's no way to lock the CT, since DP was designed to work with multiple chunks.

Please tell me that I'm understanding wrong and that you are NOT using only one chunk...

hamburski · Post by **hamburski** » Wed Sep 11, 2013 9:57 am

Thanks for replying! I *do* have everything in one chunk. But it sounds like the way to avoid the problem I'm having is to put each cue in its own chunk, and then use that function (which I've seen but never used) to link the chunks together for continuous playback?

FMiguelez · Post by **FMiguelez** » Wed Sep 11, 2013 10:07 am

I really think you are torturing yourself by using only one chunk.

That is contrary to how DP was designed to be used. I recommend ONE CHUNK per CUE.

There's a recent thread around the forum that shows a series of video-tutorials on everything that is chunk-related. Do yourself a big favor and watch them. I don't have the link, but a quick search will get it for you.

I can tell you that you will avoid all the workflow problems you are describing and work much more efficiently if you incorporate the suggested workflow. Try it!

mhschmieder · Post by **mhschmieder** » Wed Sep 11, 2013 10:11 am

BTW the MOTU website has a series of video tutorials on chunks -- including the usage suggested by FM -- which was posted in mid-August or thereabouts.

hamburski · Post by **hamburski** » Wed Sep 11, 2013 10:42 am

Thanks to both of you - I will go check out those tutorials. I may already be too deep into this current project to start reorganizing, but it absolutely sounds worth figuring out for next time.

hamburski · Post by **hamburski** » Wed Sep 11, 2013 10:59 am

Holy, holy COW - I just found and watched video #4 in the series ( http://www.youtube.com/watch?v=9cbwmmTzGMk )

This is *exactly* what I have be needing to do!!! It's too late for this current project but, wow, this is going to make the next one SO much less stressful to work on. Thanks for pointing me this way - so glad I asked here about this.

stubbsonic · Post by **stubbsonic** » Wed Sep 11, 2013 12:51 pm

You can duplicate your chunk as for as many main cues as you have, jot down the start frames for each cue and start truncating each.

In the song chunk where you link all the sequence chunks together, you can have another long sequence chunk for sound that need to bridge across the whole project. There's more to it than that, but I've not used that function in a long time.

Dan Worley · Post by **Dan Worley** » Wed Sep 11, 2013 3:02 pm

hamburski wrote:It's too late for this current project but, wow, this is going to make the next one SO much less stressful to work on. Thanks for pointing me this way - so glad I asked here about this.

You can make use of "Copy Selection to new Sequence" to get cues separated out.

stubbsonic · Post by **stubbsonic** » Wed Sep 11, 2013 4:19 pm

Do you know if it sets the chunk start time relative to the original chunk?

hamburski · Post by **hamburski** » Wed Sep 11, 2013 9:06 pm

Ok, I'm biting the bullet and copying each of my cues into its own chunk. Time consuming, but it's helping me consolidate cues from earlier sequence drafts using the load function, so that's cool.

However - I'm having some trouble with the Set Chunk Start Time. I'll make a new chunk from an existing cue, open it up as its own new chunk - so far so good. But when I try and set the start of the cue - measure 1 - to the proper time code in the film, it won't do it. I've tried pulling out all the conductor track date and any audio that's serving as a pickup, and still no luck.

I can select and nudge things into place by hand, but it's frustrating not to understand how this command is supposed to work - and I've gone over the video several times looking for clues. Any hints?

frankf · Post by **frankf** » Thu Sep 12, 2013 7:05 am

Try this to break out to multiple sequence chunks from a single source sequence:
With Edit>Smart Selections OFF, in the Tracks Overview edit window, drop a locked marker at the start and end frame location of each cue. Then click on the start marker and it will select all between the 2 markers. Important: Make sure the conductor track is included in the selection. If it isn't, manually add it. Then use the mentioned "copy selection to new sequence" command. The sequence start time will be equal to the start time of the locked start marker in the source sequence chunk.

Frank Ferrucci

hamburski · Post by **hamburski** » Thu Sep 12, 2013 7:30 am

Thanks, I'll try that right away!

Dan Worley · Post by **Dan Worley** » Thu Sep 12, 2013 10:16 am

frankf wrote:Try this to break out to multiple sequence chunks from a single source sequence:
With Edit>Smart Selections OFF, in the Tracks Overview edit window, drop a locked marker at the start and end frame location of each cue. Then click on the start marker and it will select all between the 2 markers. Important: Make sure the conductor track is included in the selection. If it isn't, manually add it. Then use the mentioned "copy selection to new sequence" command. The sequence start time will be equal to the start time of the locked start marker in the source sequence chunk.

Frank Ferrucci

That's a GREAT tip. Thanks!

hamburski · Post by **hamburski** » Fri Sep 13, 2013 11:49 am

Thanks again to everyone for being so helpful with this. I have been trying this method with Smart Selections off, and everything works up to the point where I try and include the conductor track. The conductor track simply proves to be un-include-able: I'm unable to select it along with everything else, nor can I add it after the fact to the rest of what I've selected. I do believe I'm proceeding exactly has Frank has laid it out, but perhaps I'm missing something?

MOTUnation.com

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