Question about film scoring with DP

a82music · Post by **a82music** » Sat Mar 12, 2016 9:52 am

I've been a loyal Logic user for a long time, but I'm making a slow transition from Logic to DP for film scoring. I've read the manual and forum posts, and I've also watched many tutorial videos. Is this the correct sequence for importing and scoring a video in DP?

1. Import the video file into DP.

2. Set the movie start time and set the frame rate.

3. Create a chunk/sequence for each individual cue (Seq-1 = Cue 1, Seq-2 = Cue 2, Seq-3 = Cue 3, etc...). A cue is referred to as a chunk/sequence in DP?

4. Within each chunk/sequence, create locked markers for the IN and OUT points, and any other hit points within the cue.

5. Set the chuck start time for each individual chunk/sequence so it is aligned to bar 1.

6. Add instruments to a V-Rack and compose the music.

Is this the correct method? Am I missing anything? Is there a quicker/more efficient way to do any of the steps above?

MIDI Life Crisis · Post by **MIDI Life Crisis** » Sat Mar 12, 2016 10:01 am

Sounds like you got it. Be sure to set both the movie and chunk times and when you do that, the counter should be set to FRAMES.

frankf · Post by **frankf** » Sat Mar 12, 2016 10:38 am

-using a template sequence chunk open a movie in the movie window. I rename the sequence "Spotting " or "Master"
-determine the start frame of the movie and enter that in the Movie Start Time field in the Movie window mini-menu
-in "Spotting" sequence set the DP counter to frames, set DPs frame rate to match the movie's frame rate and set the sequence start time to the movie start time
-import the movie audio to DP tracks via the Movie window's mini menu
-spot the cues using locked markers with names like "m1 In" and " m1 out"
- with Smart Selections off click on the "m1 In" locked marker in the Time Line to Select all tracks (except the conductor track) including your template tracks between "m1 In" and "m1 Out". Command Click the conductor track to include it in the selection
-Use the Copy Selection to New Sequence command to create a new sequence chunk for m1 with the correct start time, imported audio tracks for the cue and all your template tracks and the movie
-Go back to "Spotting" sequence and repeat for each cue.

-Get to work

a82music · Post by **a82music** » Sat Mar 12, 2016 10:48 am

Thanks!

My other question is ... after I've composed the music for each chunk/sequence/cue, can I bounce all of them as audio files at one time? Or do I have to bounce each chunk/sequence individually (which would be more time consuming)?

MIDI Life Crisis · Post by **MIDI Life Crisis** » Sat Mar 12, 2016 12:52 pm

You can string them into a " song" and bounce all at once. I usually bounce each cue and then move them into a "master" sequence and bounce from there. Makes changing individual cues a lot easier.

frankf · Post by **frankf** » Sat Mar 12, 2016 10:44 pm

What MLC said. In the case of my workflow, drag mixes done in each cue sequence then drag them from the Soundbite window back to the Spotting sequence, use Move to Original Time Stamp command to place them. Use two sets of tracks in the /Spotting sequence if the mixes overlap .

Frank Ferrucci

a82music · Post by **a82music** » Mon Mar 14, 2016 3:38 pm

MLC,

You said: You can string them into a " song" and bounce all at once. I usually bounce each cue and then move them into a "master" sequence and bounce from there. Makes changing individual cues a lot easier.

Just to clarify ... you're saying that you bounce each cue individually as a wav file and then you create a new master sequence and import all the individual wav files (cues) as soundbites? Finally, you bounce everything as 1 audio file? Is that correct?

MIDI Life Crisis · Post by **MIDI Life Crisis** » Mon Mar 14, 2016 3:50 pm

It depends on if you need to do stems or are delivering a complete package (what I usually do). I don't usually link sequences to Songs unless I want to consolidate sequences (which is rare). Also, depending on if I'm doing the final mix or it's going to someone else. I might need to export an AAF (OMF under duress).

Ideally, however, I prefer to do what I said initially: BTD per sequence (Chunk) and add the bwav to a master sequence and deliver a single audio file. In some instances (when I'm working on a web only release, for example) I also provide the final complete package ready for online distribution with picture. I won't do that for a DVD release as I don't want to be responsible for the inevitable errors that the duplication house will incur. I will get and "answer print" for final review of the audio and approve it, but even then I have seen many errors in audio after duplication.

Most folks will just provide audio and the "real" producers will always want stems for picts with dialogue and SFX. On indy projects, I usually provide a complete package, as well - and I'm sure to charge for each aspect I am handling with (maybe) a slight fee reduction per/task as I take on more responsibility.

ironchef_marc · Post by **ironchef_marc** » Wed Mar 30, 2016 11:57 am

I'd recommend creating a master template with all your audio returns sent to the standard instrument group busses so you can in one pass record your stems. Then you can easily import those tracks in Pro Tools which is likely the format you'll be asked to deliver in.

Also while one DP project has the ability to hold all the cues of a film (using a new sequence for each cue) I find it impractical. Depending how you are set up (ie all sounds generated from within DP or using external computer(s) thru say VEPRO5) starting with a sound palette that fits the film more than often many cues will require some unique patch or sound. Adding extra Kontakt or other VI in sequences as you go will quickly make that DP project very large and very long to load as you add up cues.

I prefer saving each cue as a DP project. I use VEPR05 and all my samples are loaded on external computers so loading cues is quick since I only load unique patches and signature sound for that given cue. (my template has empty Kontakt and Omnisphere racks so I can add patches and sound that are not in my main scoring template)

I feel much safer that way, the idea of putting all my eggs in the same basket so to speak by having one DP project that holds all my cues makes me nervous. Something happens to that file and you are screwed!

I've had issues not too long ago where certain cues DP project would not load. The version on my daily backup had the same problem. I did find a work around and figure out the problem many days later but when time is limited and you've got to keep delivering you don't want to have to deal with that kind of stuff.

frankf · Post by **frankf** » Wed Mar 30, 2016 12:04 pm

I use separate project/ cue and one project for all cues depending on the film. It's easy to copy a Project if you need to create a new similar cue.

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