Quick-tip - if you click the up arrow during the spot dialogue, it'll fill in the timecode for you! (Assuming the files are timestamped the same as the code you have in the filename)
Thank you so much for all these videos! I’m a hobbyist, not a film composer, and the more I watch your videos, the more I realize how patient, resilient, and multi-skilled a film composer needs to be. Thanks for the unvarnished view!
@@AnneKathrinDernComposer I think everyone is answered now! But not just that a huge burden fell off my shoulders, I‘m really happy to not need to use Pro Tools‘ MIDI Section 😂 and keep working with my beloved DAW 😇
Thank you so much for this video (and all your other ones)! Small question though (as I will be preparing my first orchestral session very soon): why not set up all cues in the same session (over the main movie file)? I understand the time maps won’t import correctly, but wouldn’t it still make more sense (especially if you prepare click in your DAW on beforehand and setup markers for measure counts). Very curious to hear your opinion on this. Thanks again for an excellent channel!
There are many reasons why that's a bad idea. 1) It's not standard and will confuse the workflow of an experienced scoring stage staff. 2) Having everything in one session is risky in case the file gets corrupted. 3) You'll lose session time if they have to count too much. None of their shortcuts and other things will work with this approach. 4) The players use the transport counter for orientation when they're lost. This isn't possible in your approach. 5) Editing will be a nightmare without a grid and with all the takes in one session. 6) You'll have to separate the cues out for mixing later anyway. 7) Prepping the sessions will actually take longer. 8) It often happens that players request a different click or count into a new section - there's no way for the PT operator to provide that without a grid. There's no reason to do this - you'll lose more time overcoming all the obstacles of this approach. I'm sure I could come up with at least 10 more reasons why this workflow would cause problems during a session.
Thanks, Anne for the great video. All questions answered except for one: You have one click track and some tempo changes. How would you set up the click track if there are going to be cuts at the tempo changes, the orchestra would record the cue in sections and each section would need another two bar count in? Also, what do you think of a voice count in? Waste of time and space?
So, just so I get this one right: the audio from your mockup only goes into the session for reference purposes, just in case, right? Because it should be clearly laid out in the score anyway? Will the orchestra/the studio team typically listen to the mockup or will they mostly ignore this stuff and just record the score (especially if you are conducting yourself anyway)?
It's not just for reference purposes. Almost every movie score you hear these days - even the ones recorded with a full live orchestra - have the mockup mixed into the final product to give it that larger than life sound. Also, a lot of percussive or "specialty" instruments are often not recorded or can be pre-recorded at the composer studio. Normally you record the orchestra sections separately these days so during recording you mute only the section that is being recorded. So say I record the strings for two days, then we would only mute the strings and let the rest of the mockup play to allow the players to hear the full piece. Sometimes when I conduct there will be cues where I want to hear the mockup strings as well in that scenario to make sure it blends. But I usually make that call on the stand if I feel there's a need for it. This generally has nothing to do with the written score since it will contain all relevant information. It's more of an acoustic and mixing question, or helping the players understand the piece by letting them hear what the other sections will be playing on different days.
@@AnneKathrinDernComposer you've tried to do the same with cubase? As in import midi from logic suppose. It wouldent work the sane it does on protools?
@@AnneKathrinDernComposer thankyou for responding! Another reason to switch to protools. But this sort of prep is only useful for tracking live instruments I suppose? The rerecording mixers session will not have much to do with tempo and time signatures I guess. As in the final protools session which has all the audio files from dialogues to SFX. Thankyou somuch for your time!! Love your channel! 🙏
Your page is possibly the most straight forward, open, and informative I've seen on the real day to day of film scoring. Thank you!!
Thanks, I’m glad you find it useful!
Quick-tip - if you click the up arrow during the spot dialogue, it'll fill in the timecode for you! (Assuming the files are timestamped the same as the code you have in the filename)
Very good tip indeed!
Thank you so much for all these videos! I’m a hobbyist, not a film composer, and the more I watch your videos, the more I realize how patient, resilient, and multi-skilled a film composer needs to be. Thanks for the unvarnished view!
So happy I can provide a more detailed look on all the behind the scenes processes!
This is great Anne, I'm really glad I won't have to wait until the workshops anymore to get these awesome tutorials. Thank you!
Hahaha, am I putting myself out of work here? ;-P I'm glad this is helpful to you (and hopefully the other ArtEZ students)!
Thank you for sharing such specialized knowledge and insights. Wunderbar!
Wonderful video Anne, you are doing something really good for the composer's community and I sincerely wish you the best in all your endeavors !!
Thank you so much, that's very kind!
I'm so glad I found this Channel. There are so many great advises and tips. Please keep uploading :)
Glad you found this video! I had a feeling a lot of your questions would be addressed in this. :-)
@@AnneKathrinDernComposer I think everyone is answered now! But not just that a huge burden fell off my shoulders, I‘m really happy to not need to use Pro Tools‘ MIDI Section 😂 and keep working with my beloved DAW 😇
Thank u ❤️
Awesome. Thank you for the insights and sharing your workflow.
Thanks for watching! I hope this was helpful.
This is gold! Thank you so much!
Thanks for watching! Glad it was helpful!
Very cool Ane...danke for this great Video.
Thank you for watching!
Fantastic info as always!
Thank you!
Thank you so much for this video (and all your other ones)! Small question though (as I will be preparing my first orchestral session very soon): why not set up all cues in the same session (over the main movie file)? I understand the time maps won’t import correctly, but wouldn’t it still make more sense (especially if you prepare click in your DAW on beforehand and setup markers for measure counts). Very curious to hear your opinion on this. Thanks again for an excellent channel!
There are many reasons why that's a bad idea.
1) It's not standard and will confuse the workflow of an experienced scoring stage staff.
2) Having everything in one session is risky in case the file gets corrupted. 3) You'll lose session time if they have to count too much. None of their shortcuts and other things will work with this approach.
4) The players use the transport counter for orientation when they're lost. This isn't possible in your approach.
5) Editing will be a nightmare without a grid and with all the takes in one session.
6) You'll have to separate the cues out for mixing later anyway.
7) Prepping the sessions will actually take longer.
8) It often happens that players request a different click or count into a new section - there's no way for the PT operator to provide that without a grid.
There's no reason to do this - you'll lose more time overcoming all the obstacles of this approach. I'm sure I could come up with at least 10 more reasons why this workflow would cause problems during a session.
Super helpful info should I ever be fortunate enough to have a live orchestra play my music. Is the Urei click available online for free somewhere?
Glad this is helpful! I'm sure you can find the urei click online somewhere but it's probably also an option inside your DAW of choice.
Thanks, Anne for the great video. All questions answered except for one: You have one click track and some tempo changes. How would you set up the click track if there are going to be cuts at the tempo changes, the orchestra would record the cue in sections and each section would need another two bar count in? Also, what do you think of a voice count in? Waste of time and space?
So, just so I get this one right: the audio from your mockup only goes into the session for reference purposes, just in case, right? Because it should be clearly laid out in the score anyway? Will the orchestra/the studio team typically listen to the mockup or will they mostly ignore this stuff and just record the score (especially if you are conducting yourself anyway)?
It's not just for reference purposes. Almost every movie score you hear these days - even the ones recorded with a full live orchestra - have the mockup mixed into the final product to give it that larger than life sound. Also, a lot of percussive or "specialty" instruments are often not recorded or can be pre-recorded at the composer studio. Normally you record the orchestra sections separately these days so during recording you mute only the section that is being recorded. So say I record the strings for two days, then we would only mute the strings and let the rest of the mockup play to allow the players to hear the full piece. Sometimes when I conduct there will be cues where I want to hear the mockup strings as well in that scenario to make sure it blends. But I usually make that call on the stand if I feel there's a need for it. This generally has nothing to do with the written score since it will contain all relevant information. It's more of an acoustic and mixing question, or helping the players understand the piece by letting them hear what the other sections will be playing on different days.
Ahh, I wasn't aware of this. Very interesting, thank's for commenting on that!
@@AnneKathrinDernComposer you rock!
@4:42 what keyboard shortcuts are you using here to paste the clicks on the next beat? :)
Did you figure it out? Trying to replicate this as well
@@orestislykos5354 no but I always create my click tracks in Cubase anyway so I haven’t really had to know it.
It’s the “duplicate” shortcut, you donkeys. 😜 Cmd + D on Mac, and Ctrl + D on Windows. I think it’s the same in Cubase.
@@AnneKathrinDernComposer Oh duh! thank you:)
From which DAW did you export the midi clips? I am unable to do something similar in Ableton and importing that into Nuendo.
This works with any midi file but the import function is unique to Pro Tools. I don’t think other DAWs can do this in the same way.
@@AnneKathrinDernComposer you've tried to do the same with cubase? As in import midi from logic suppose. It wouldent work the sane it does on protools?
No it does not work the same way.
@@AnneKathrinDernComposer thankyou for responding! Another reason to switch to protools. But this sort of prep is only useful for tracking live instruments I suppose? The rerecording mixers session will not have much to do with tempo and time signatures I guess. As in the final protools session which has all the audio files from dialogues to SFX.
Thankyou somuch for your time!! Love your channel! 🙏