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HEY guys,

just wondering why is DP so popular with film composers? What features does it have that make school's like berklee and others choice Dp over another Daw?

Chicks dig it.

DP is very deep, and has a loyal following from a time when there were fewer functions and greater stability. Nuendo is probably the top dog video app. for pro and intermediate pro-sumer level use, but DP has more MIDI editing finesse and features that you need every few months and are glad to find available.

It can't be the GUI lately, or the crackles, or the Beach Ball from hell. Must be tradition and loyalty that play into it as well.

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I'd say it's simply because it is a GREAT program!

Back when I was at Berklee it was still in pampers, compared to where it is now

Check the MOTU site to see all the film scoring features. One that I particularly like is the Cue Sheet view in the Quick Scribe, where you can see a detailed map (with beats) of all your selected markers and hitpoints.
I know a lot of people don't work like this anymore, but I really enjoy (when there's time) to just print the Cue Sheet, and SEE how the music will flow in time, structure, etc.

I haven't done it, but you can program flutters and streamers to see in your QT movie. The MIDI... the MIDI stuff is just DEEP as hell. Audio editing is a breeze.

Some of us use most of those features on a daily basis. And DP just lets you just concentrate on the music, and creation. DP has lots of different ways to do the same things, so your workflow will be always personalized, and after experimentation and experience, you can really forget about DP because everything just comes out almost automatic (without you having to think about technical things).

Sure. It might not be perfect. It still has a few things that need to be fixed (for some people more than others), but what app is perfect, after all? Every Forum like this is always full of complaints, no matter what app it is about.

At least all of the above is MY experience with this program. I do not work for MOTU, but I feel no shame in whole heartedly recommend it. I use it to make a living, after all, using mostly the features you asked about, so I'm very happy here.

BWIWAB (back when I was at Berklee)............ was the first time i was introduced to DP, and I was waiting to find that real 'thing' that film composers used DP for. I was using Nuendo before that, but as I started seeing how to sync music with picture it became clear that the real advantage of DP is that the conductor track and tempo/meter tools are perfect for film scoring. You ever try to calculate point A to point B in 7/8 using Logic? I tried...... it ain't pretty. Anyways - i really can't imagine switching to another platform to work on film music. My current setup (5.13) is working great............ except for that frakkin' beach ball.

I don't even have a beach ball problem, so DP5.13 is damn perfect. Reasons why it's still "top dog" for film: conductor track/time management (calculating hit points, finding correct tempos, ease of manipulating tempo, etc.); multiple sequences per project; multiple mixes; easily integrated video features (i.e. above mentioned streamers and pops), OMF import and export. Plus all the reasons it's a damn fine music program (super-advanced MIDI editing, easy and powerful audio editing, simple integration of multichannel VIs, etc etc.)

Of course Logic has caught up, I'd say at least half of the composers I know use Logic. Not sure why Nuendo was mentioned as top dog? I dont know a single soul who uses Nuendo in film... (though it may be really powerful, I don't know the app.) Now while DP and Logic are popular with composers, once you're on the stage it's ProTools and nothing else, period. So pretty much everyone mixes straight into a separate ProTools rig, or else prelay their mix stems into a ProTools session.

I think the biggest reason is that it handles time interaction in a robust way. I easily handles filmic time/SMPTE, real time, music time bars and beats, and tempo in a fluid way. It is very easy to set up DP sessions and set start times, then change where you want to start the music. (Not as easy in Cubase.)

Similarly, DP handles markers extremely well. You can lock individual markers as needed, as well as assign them to specific bars/beats OR SMPTE. You can also collectively shift markers as needed, which is extremely handy when you get new reels with picture revisions. (Cubase, for example, can't do that, and it drives me crazy when I need to in that sequencer).

Another HUGE feature is the VRack. The ability to make multiple versions of a cue, then quickly shift between them is extremely useful, particularly when you want to A/B compare them for a filmmaker on the spot.

DP also handles picture very well, and usually non-glitchy. not always true for me in Cubase.

It's important to point out, though, that DP and Cubase are about even with regard to film composer usage in Hollywood. There are strong points in both programs. Both could learn from the other, that's for sure.

bOing wrote:Chicks dig it.

DP is very deep, and has a loyal following from a time when there were fewer functions and greater stability. Nuendo is probably the top dog video app. for pro and intermediate pro-sumer level use, but DP has more MIDI editing finesse and features that you need every few months and are glad to find available.

It can't be the GUI lately, or the crackles, or the Beach Ball from hell. Must be tradition and loyalty that play into it as well.

Why is Nuendo the top dog? I know its good for post production but does it have any MIDI tools that DP 6 doesn't?

Kubi wrote:Not sure why Nuendo was mentioned as top dog? I dont know a single soul who uses Nuendo in film... (though it may be really powerful, I don't know the app.)

It's obviously more popular in Europe. On a related note: all my D/A hardware is RME. I remember calling Sweetwater in 2001 and they'd never even heard of it. I bought it anyway...

dexterflex wrote:Why is Nuendo the top dog? I know its good for post production but does it have any MIDI tools that DP 6 doesn't?

Okay, from here on in, I retract that statement for the benefit of the ensuing "Love In" and keeping the questioner focussed. Nuendo isn't Top Dog. It's a really cool cat.

LittleLeadMen wrote:It's important to point out, though, that DP and Cubase are about even with regard to film composer usage in Hollywood.

R U sure about that? I only know of two composers using Cubase. Not that it matters, I'm sure Cubase works great for the task. Anecdotally I'd say Logic has pulled to number one in terms of number of people using it, followed by DP. The rest I'd say is way back in the field. And as mentioned all ends up in ProTools for the dub.

Granted, even thinking about this topic qualifies as "geeking out" in a major way...

So most pros use another app to do the mix? For someone on a budget I guess Pro tools Hd is out of the question. Would Nuendo 4 be the next best thing? I'm also curious to see how the new pro tools 8 will be.

dexterflex wrote:So most pros use another app to do the mix? For someone on a budget I guess Pro tools Hd is out of the question. Would Nuendo 4 be the next best thing? I'm also curious to see how the new pro tools 8 will be.

No, all dubbing stages mix the film sound in ProTools. You can mix your music in whatever you like (I use DP).

Your finished stems will be laid into ProTools, so they like it if you deliver ProTools sessions, but I deliver simple AIFF stems and prelay them into the ProTools session on the dubbing stage.

If you do create a ProTools session for delivery yourself you do NOT need HD, you can do the whole thing in LE - though you have to get inventive to get around having to buy the expansion pack for sync capability.

And enough with the Nuendo already... just mix in whatever DAW you have.

SonNueBase Logical AcidPerformer - that's the one I'm getting for Xmas.

Kubi wrote:

LittleLeadMen wrote:It's important to point out, though, that DP and Cubase are about even with regard to film composer usage in Hollywood.

R U sure about that? I only know of two composers using Cubase. Not that it matters, I'm sure Cubase works great for the task.

Cubase: Harry Gregson Williams, James Newton Howard, Ramin Djawadi, Mark Mancina, Hans Zimmer, and everyone at Remote Control, just as a start off the top of my head.

Don't forget Wyle E. Coyoyte, Genius. There's no doubt that in the right hands, all of these tools are professional sounding. The challenge is to work on those hands...