Stemming from DP to Pro Tools and save $20,000

[Macrozonaris]

I made a video how to create film score stems from Digital Performer to Pro Tools without an expensive split system (a separate Pro Tools rig). I hope you find this useful.

https://youtu.be/vwhe1rABgzo

[kwiz]

Great post!
I don't do this type of work, but your post was very educational!
I occasionally compose for TV (sonic beds) and never have these requirements.
Maybe one day I'll graduate to film composition!

[Morpheo]

That's nice but why would one even consider recording from one DAW to another?
Exporting .wavs is obviously the best way to go (or saving the sequence as OMF/AAF)

[Macrozonaris]

That's nice but why would one even consider recording from one DAW to another?
Exporting .wavs is obviously the best way to go (or saving the sequence as OMF/AAF)

I'm with you on this one Many film composers still record to a separate rig, I think they are starting to switch though

[Morpheo]

I'm with you on this one Many film composers still record to a separate rig, I think they are starting to switch though

Really? ...Damn! Welcome to the 21st century guys
I started working in film music 15 years ago and such insane technique never crossed my mind even for a nanosecond

[kwiz]

That's nice but why would one even consider recording from one DAW to another?
Exporting .wavs is obviously the best way to go (or saving the sequence as OMF/AAF)

Oh wow, I thought what he demonstrated was something that's required when delivering film stems.
You're right. Exporting OMF/AAF files is a much simpler process. Then you can avoid PT altogether.

[bralston]

99.9% of motion picture films are mixed on the dub stages in ProTools. Pretty much all sound designers and motion picture folks use PT. Delivering stems for cues is most typical in a motion picture environment as it allows the sound mixers options to get the music and competing sound fx to all sound nice and loud/full in the film's mix. Thus recording into PT rigs are an easy way to print into the PT sessions that film composers generally are contractually obligated to deliver their work in…regardless of the DAWs they choose to write in. Thus many, instead of using the OMF/AAF process which can sometimes be a pain in the neck…will just record their stems into a PT rig to picture and then simply deliver that PT session with those stems to the sub stage for immediate mixing into the film. The more complicated the stem delivery is (especially as composers start stemming out in 5.1 for each stem)….the more this makes things quicker to do.

[Morpheo]

99.9% of motion picture films are mixed on the dub stages in ProTools. Pretty much all sound designers and motion picture folks use PT. Delivering stems for cues is most typical in a motion picture environment as it allows the sound mixers options to get the music and competing sound fx to all sound nice and loud/full in the film's mix. Thus recording into PT rigs are an easy way to print into the PT sessions that film composers generally are contractually obligated to deliver their work in…regardless of the DAWs they choose to write in. Thus many, instead of using the OMF/AAF process which can sometimes be a pain in the neck…will just record their stems into a PT rig to picture and then simply deliver that PT session with those stems to the sub stage for immediate mixing into the film. The more complicated the stem delivery is (especially as composers start stemming out in 5.1 for each stem)….the more this makes things quicker to do.

Indeed.

But for me, it's easier to just export the timestamped files and spot them in Pro Tools during import. But since I use both DP and Pro Tools, I guess I'm not in the same situation as one who works entirely in DP, or any other DAW, and has to deliver a PT session. These days, depending on the type of music, I often find myself "writing" in DP but all the editing is done in Pro Tools, which is faster than DP in that regard.