However, I'll be doing all of the spotting, composing, orchestrating, and part making by myself. Perhaps it's also worth mentioning that these Logic projects are just for a mockup and I'm using Logic to help me flesh out music that is gonna get put in front of an orchestra: getting these timings and tempos right is pretty important. So, for you film scoring gurus out there, how in the hell do you do this? I have my theme material notated down, a bunch of rough sketches and variations, etc, but now I want to use Logic to help me build the shell of the cue and then I can start filling in the notes.ĭoes anybody else work like this or am I just going about this all wrong?

If I go and manually change a Tempo then the Beat Mapping seems to lose it's mind and if I delete a beat map then the whole thing starts to get out of sync. However, the more times I do these above things the more unruly Logic seems to get. Maybe I see a measure that would work better as 5/4 so that I can hit beat 1 at another CUT marker and I won't have to very the tempo too wildly. What seems really nice is to be able to just use the Beat Mapping track to map a bar/beat to the marker: I choose the nearest 'beat 1' and map it to my marker. So, lets say I want to have Beat 1 of some given measure come in on a CUT which I have represented with a Marker. * Now, I start figuring out tempos and and time signatures. * I take my Spotting notes and start creating Markers based on agreed upon hit points (this is a whole mess by itself: ) * I create a project for my cue and go through the motions of importing the movie, adjusting all my SMPTE settings (Apple: can we have this on one screen, please?) and import the Audio from the Movie. * I'm working with the '1 project per cue' philosophy Here is the work-flow I've been following lately and I must admit that it doesn't seem to be working out in reality as well as it does in my imagination.(that happens a lot, btw)

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