Do you still dedicate the first measure to CC# etc?

[markarnest]

Like Armageddon, I haven't needed blank bars since going 100 percent VI. Since I mostly do orchestral realizations that begin life in a notation program, it's very convenient to have the DP bar numbers match the score - there's a lot of looking back and forth to see what the %^&* I meant. (I hadn't thought of the negative-number pickup bar, but it hasn't been an issue.)

--Mark Arnest

[labman]

Kubi - I like what you are describing. So should I assume that you are first finding the score gap points and then calculating tempo to the end of the first cue spot, writing the first theme, then as you said, using the gap to make any needed major tempo changes to put you at the next correct start point? Are you using DPs Find Tempo in small incremental searches then? (As opposed to over say a full 20 minute reel)

Or perhaps you can provide us with a little step by step of your film work protocol?

Thanks for your insights