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You can bounce your cues to audio as you go and import them into a master score session with the full edit of the vid to see/hear how its all playing out. I would suggest getting the film in reels if possible, also quicker re importing/downloading new edits. ![]() Import the video always in the same start position and move your cue to where it needs to be in the revised edit/timecode etc.then save that new revised e the links below re simple labeling system that will help you with multible versions of cues etc. Hopefully you will be working with locked edit,if not,re-import the new vid edit into each session as you go #FILM TIMECODE CALCULATOR MOVIE#(This usually only happens after the movie is on the dub stage and they're asking for just one more little thing to go on top of the stems they're already mixing against.) On bigger projects I use a separate Pro Tools machine to record my stems into - this way the Pro Tools session represents the whole movie (or the whole reel in the case of multi-reel projects) and I can easily hear how the current cue in Logic will overlap with the next / previous cues that are playing from Pro Tools.ĭefinitely 1 project for 1 cue. This project is also built from my template, so I can overdub just one string line or whatever on top of a finished set of stems at the last minute and re-bounce if needed without loading up the original cue's project file. To see the "big picture" I create a separate "whole movie" project in Logic into which I dump rough mixes as I work, and then the final mixes as they are finished. With "preserve" turned on, the VEPro setup stays the same as you load various cues in your DAW. VEPro is nice if you're using lots of Kontakt instruments. #FILM TIMECODE CALCULATOR DOWNLOAD#A free one is available from the same guy who makes VideoSlave, download it here by signing up to his email list: #FILM TIMECODE CALCULATOR CODE#A time code calculator app can help if things get really complex. Adjust the timecode / tempo map for each cue that's affected - individually. But if you have or can get a spare Mac, then VideoSlave is an excellent way to go. The time code counter in Logic will always match the visual time code in the movie if you're doing it right, and the tempo map controls where the music falls relative to that. ![]() But in terms of time code, having the video inside Logic itself is no different - adjusting the Project start point just moves the music around relative to the video. I run video on a separate Mac Mini using VideoSlave software, so I can just slip and slide the cues in Logic against that. Sometimes I do one of the biggest / most complex / biggest scope cues first, then use that project file as the template. ![]() I leave a few empty instrument slots in my template for those one-off / wild card instruments that you want to load as you go and use only in that cue. All built from the same template, which hopefully includes 80% of the sounds you're likely to use in the whole film. I wind up with 25-30 separate project files for an hour-long television episode and as many as 80 for a five-reel feature film. Any other method leads to pain and suffering. This way I can make an absolute mess in a single cue, or go crazy with the tempo maps without disturbing any other cues. ![]()
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