![Eric Barndollar](/img/default-banner.jpg)
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Eric Barndollar
United States
Registrace 7. 05. 2020
Tools + virtual orchestra templates for film, TV, game scoring.
I’m a composer + software engineer, and I help other serious composers through the tricky, technical aspects of the end-to-end scoring process.
I’ll share as many tips, templates, and custom software tools as I can to help you create high-quality music with more impact-always on time + on budget.
I’ve been writing music and using virtual orchestra sample libraries for over 20 years (since the GigaStudio days!). Hope to bring an interesting perspective as both a “classically trained” musician and having spent the previous decade of my career as a software engineer (most of that at Google).
Our current state-of-the art approaches to building massive orchestral templates and dealing with the chaos of picture changes have a lot to learn from the tech world. I’m always learning + tinkering, and I’m excited to share everything I can figure out with you along the way.
I’m a composer + software engineer, and I help other serious composers through the tricky, technical aspects of the end-to-end scoring process.
I’ll share as many tips, templates, and custom software tools as I can to help you create high-quality music with more impact-always on time + on budget.
I’ve been writing music and using virtual orchestra sample libraries for over 20 years (since the GigaStudio days!). Hope to bring an interesting perspective as both a “classically trained” musician and having spent the previous decade of my career as a software engineer (most of that at Google).
Our current state-of-the art approaches to building massive orchestral templates and dealing with the chaos of picture changes have a lot to learn from the tech world. I’m always learning + tinkering, and I’m excited to share everything I can figure out with you along the way.
Fix 2 Annoying Kontakt Problems (Virtual Orchestra)
Here are 2 free Kontakt scripts I made to fix transposition (without breaking keyswitches) and control a keyswitch with a MIDI CC controller instead. See them in action fixing a couple annoying things with Cinematic Studio Strings.
🔗 *GET THESE 2 KONTAKT SCRIPTS*
github.com/barndollarmusic/kontakt-tools
These scripts are useful for any Kontakt library that uses keyswitches (not just the Cinematic Studio series), and they work even with locked libraries.
⏱️ *Timestamps*
00:00 Introduction
00:42 SCRIPT #1 - Transpose Range
02:01 Don’t Break Keyswitches
03:10 SETUP Instructions
04:51 Per-Channel Transposition
06:03 SCRIPT #2 - CC Split to Keyswitch
▶️ *VIDEOS I MENTIONED*
czcams.com/video/8RwrDlsu7tg/video.html
czcams.com/video/Q8ZO2SSmLNA/video.html
If you’re following along with Cinematic Studio Strings and also want to remap your keyswitches down the bottom of the MIDI range, **Shift+Click** on an articulation tile or assignable switch and then press the MIDI note you want to reassign it to.
🔗 *GET THESE 2 KONTAKT SCRIPTS*
github.com/barndollarmusic/kontakt-tools
These scripts are useful for any Kontakt library that uses keyswitches (not just the Cinematic Studio series), and they work even with locked libraries.
⏱️ *Timestamps*
00:00 Introduction
00:42 SCRIPT #1 - Transpose Range
02:01 Don’t Break Keyswitches
03:10 SETUP Instructions
04:51 Per-Channel Transposition
06:03 SCRIPT #2 - CC Split to Keyswitch
▶️ *VIDEOS I MENTIONED*
czcams.com/video/8RwrDlsu7tg/video.html
czcams.com/video/Q8ZO2SSmLNA/video.html
If you’re following along with Cinematic Studio Strings and also want to remap your keyswitches down the bottom of the MIDI range, **Shift+Click** on an articulation tile or assignable switch and then press the MIDI note you want to reassign it to.
zhlédnutí: 764
Video
How to Quickly Add Multiple Mics for Mixing (Virtual Orchestra)
zhlédnutí 568Před rokem
Here are 3 techniques to save 1,849 clicks and 25 minutes versus the naive manual approach to switching from 1 microphone position to multiple mic positions in a virtual orchestra project-and that’s just for a brass section! This lets us compose our music using a more efficient 1-mic template and then quickly load additional mic positions when it’s time for mixing. My favorite solution uses Vie...
Put Your Keyswitches Under the Piano (+3 more tips)
zhlédnutí 2,9KPřed rokem
4 tips for more effectively using keyswitches in our virtual orchestra templates, including moving them to the very bottom of the MIDI range below the standard 88-key piano for better consistency. I show examples in Cubase (with Expression Maps) as well as quickly showing the equivalent Articulation Set setup in Logic Pro, but these techniques are adaptable to most DAWs that have articulation f...
BOTH! Best Way to Manage Articulations (Virtual Orchestra)
zhlédnutí 7KPřed rokem
When setting up your virtual orchestra templates, you don’t have to choose between keyswitches or track-per-articulation-you can have both! Keyswitch tracks are great for quickly writing music while taking advantage of all of our available articulations. But individual articulation tracks let you refine details, especially by layering multiple articulations simultaneously. This video will walk ...
How to Capture PERFECT Audio for DAW Screencasts
zhlédnutí 216Před rokem
I found my new favorite way to record pristine audio from my DAW while screen recording, using a really useful feature of RME’s newer Fireface UCX UFX audio interfaces (DURec = Direct USB Recording). I also share 4 alternate approaches that don’t require specialized gear and a few practical tips around synchronization performance. All of these will work for any DAW: Cubase, Logic, Ableton, Pro ...
Music Log in Depth: timecode cue tracker in Google Sheets, Excel (film & TV composers)
zhlédnutí 735Před 2 lety
Deeper dive follow-up about Music Log spreadsheet for tracking cues using timecode in Google Sheets or Excel, for film & TV composers. Watch after 1st video: czcams.com/video/OUTrYqiRkrE/video.html I know this one's super long! If you just want to *use* the Music Log as is without understanding how it works or being able to deeply customize it, try to make it through the first half 😃 (until 14:...
Music Log: timecode cue tracker in Google Sheets, Excel (film & TV composers)
zhlédnutí 3,6KPřed 2 lety
2 free tools for film & TV composers: (1) Music Log spreadsheet for tracking cues using timecode, including RapidCue cue sheet export; (2) custom functions to handle all the timecode math for you, in any Google Sheets or Excel spreadsheet. PROJECT LINKS Music Log (Sheets version): docs.google.com/spreadsheets/d/1xPi0lxi4-4NmZmNoTXXoCNa0FGIAhwi2QCPjTABJCw4/edit?usp=sharing Google Sheets: github....
7 Stones Dance | world/folk style music (Slendro tuning)
zhlédnutí 189Před 3 lety
The world has so many more possibilities than 12 note scales and 4 beat bars. Quick dance in 7/8 time, with an eclectic bunch of instruments all in pentatonic Slendro tuning (non-equal temperament): marimbas, erhu, flute, double tracked acoustic guitar, electric bass, and percussion. (Okay, I might've snuck a 6th note in there...)
#DiscoveryCompetition Hawking's Vindication | by Eric Barndollar
zhlédnutí 682Před 3 lety
Music for the discovery of an entirely new universe, from the initial moment of entry through a journey of beauty, mystery, life, danger, and infinite possibility. This is my entry into the Orchestral Tools #DiscoveryCompetition (November 2020), entitled Hawking's Vindication. Hope you enjoy!
An Epic Departure | Cinematic Orchestral Music
zhlédnutí 249Před 3 lety
For when you need to turn the orchestra up to 11. Brass themes in octaves, epic arpeggios in the woodwinds and strings, thundering percussion, choir at full belt, plus stuttering synths & FX. Music notation playthrough (condensed score).
New Podcast Music: Programming Throwdown (Retro Game Style)
zhlédnutí 231Před 3 lety
Check out my new intro & outro music for the Programming Throwdown podcast! Featuring retro-modern video game style music. Listen to episode 105 at www.programmingthrowdown.com/ or wherever you get your podcasts.
Fantastic video. Thank You. If i may would be really great if You could make som kind of simillar video about CSS Control Panel. How to configure it properly ect. Im new with CSS and still search some ideas to fix this latency problems. That would be incredible helpfull for many. Thank You in advance. Greetings
Thanks! I personally don't use any latency "fixes" other than negative track delays (for short articulations only), but I am planning a deeper dive into Cinematic Studio libraries sometime soon, so I'll probably talk about a few ways to approach that including other scripts.
@@barndollarmusic Thank you very much for your answer. The css series is also new to me. But seeing and hearing what results it still gives after so many years I decided to take Strings and solo strings. They are indeed fantastic. Unfortunately their biggest drawback is these latency problems (I work in cubase) I know that the CSS Control panel can help but unfortunately I don't really know how to configure it properly. I think that once I get over this problem , I will immediately pick up the rest of the CS series without hesitation.
Wow, this is the super most efficient approach, so good, thank you heaps! Learnt a ton here!
dude you just solved the biggest problem I've had with Kontakt, thank you!
Awesome, glad this was useful!
CORRECTION UPDATE: For anyone who installed these scripts before 18 Jun 2024, the Transpose Range script was completely missing the Channels selection box! This is fixed now, so please re-save the updated version if you're missing that. github.com/barndollarmusic/kontakt-tools/blob/main/transpose-range/README.md
By the way, is one instance of Kontakt not overload single CPU ? Instead of loading 5-6 Kontakt instances? (Good videos, thanks!)
Splitting articulations into separate Kontakt instruments (within the same Kontakt multi plug-in instance) certainly uses more RAM and CPU than one Kontakt instrument with multiple articulations, if that's what you mean? Or if you meant splitting those separated articulations across more Kontakt multis (plugin instances) rather than one, then I definitely don't do that -- across a full orchestral template, there are plenty of separated plugin instances to divide load across CPU threads, so I'd be surprised if there was any performance benefit to more instance splitting per instrument.
Excellent content and high production values. Well done.👍
Thanks, David! Hope this was useful
THIS SCRIPT GIVES SO MUCH OPPORTUNITY!!!! Thanks
Holy moly! I've never heard sampled shorts like in those trumpets before.
Hi Eric! Love your videos, it helps a lot. Do you recommend the Nektar P1 controller? Thanks!
Thanks, Eric, appreciate that! I've been pretty happy with the P1, yeah. I mainly like the 8 buttons I can map to keyswitch notes along with multiple quick to program MIDI CC faders. There are fancier controllers for either feature out there, but I think the P1 is a pretty good all rounder for what it costs. (I do also use a motorized Faderport for mixing fader rides and an expression foot pedal + breath controller depending on the instrument).
Eric, your videos are outstanding and I love the music you've composed! Congratulations! I'm trying to install your "transpose range" script and I'm getting an error on the last line, "set_event_par($EVENT_ID, $EVENT_PAR_MIDI_BYTE_1, $new_key)". Any ideas what's going on there?
So sorry I somehow missed this, Peter -- I haven't hit that myself, wondering if you ever figured out what was happening? If you have more details like particular error messages or how you configured, when the error shows up, etc. I'm happy to try and help figure out. (I also have an email contact on my website, if that's easier than YT comments). And appreciate the kind words!
more vids please!!!
Hello Eric, the downside with using midi channels in expression maps is when you are live playing/recording, each time Cubase stops the playback, as you know the expression map automatically reset the current articulation to the number 1 slot. The result is that your keyboard does not transmit to the right channel anymore, thus no sound is produced, or you are playing in the wrong midi channel. You need to use the remote key again, each time you hit stop with space bar or when you change the playhead cursor position manually, because Cubase loose track of the articulation. Putting a dummy empty slot 1 in the expression does not fix this issue. I am hapy to hear if you have any solution for this
I guess mainly I've just got in the habit of hitting the remote keyswitches whenever MIDI recording. The other thing I like to do is put sustain as the first long and some kind of staccato/spiccato as the first short, that way each track with expression maps has a reasonable default.
@@barndollarmusic sounds like a reasonable workaround Thanks for taking time
This is about as good as an explanation as I've seen
I attempted to use your transpose script in Reaper but ran into some problems probably because my template is different to the one you're using. I only have the Kontakt Player and my template uses a single instance of Kontakt containing every CSS instrument. Therefore when I apply your transpose script it affects every instrument, not only the one I want to apply it to. For example if I make the octave adjustment for say basses this appears above every other instrument. I think the problem originates from the fact that my Kontakt Player menu display lacks a channel selection box. Without this I'm unable to restrict a transpose instruction to an individual instrument. Is the channel selection box missing from the kps script? As a footnote I should mention that I've acted on your suggestion re. keyswitch location and purchased a Nektar Impact LX25+. It has really made a big dfference to my workflow.
Hi Andy, MIDI channel controls should all be there (within Kontakt Player and in both of the scripts). How do you control the instruments separately, 1st Violins on channel 1, 2nd Violins on channel 2, etc.? If yes, then that's the channel assignment piece in Kontakt Player. (If not or you don't see channel assignment there, click on the "i" button next to the camera to show channel controls for each instrument). Then if you have Basses on channel 5 for example, you would also select channel 5 within the Transpose Range script in the rightmost "Channel(s)" dropdown menu. Let me know if any of that doesn't work (and tell me a little more about how you have the instruments set up). Glad to hear the keyswitch workflow has been helpful!
In my Reaper project for CSS the channel selection box appears in your second script but not the first (Transform). Yes I have each instrument on a separate channel. The single instance Kontakt template I use is from the Reaper Blog, So I only have the instruments on separate channels, not the individual articulations (YET!). Somehow I need to be able to select the channel to which I need to apply your script so your channel box is what I need to make this work. Alternatively I could separate those instruments that demand octave adjustment and give them their own tracks and script. I can't see any selection option in the rightmost box. In fact only the word "empty" appears and when I click to find a dropdown option nothing appears. Related to the second script, am I right in assuming that the button of say Con Sordino won't physically move. It's only the effect/sound that will change?
@@andyhyner9467 Many months late, but I finally realized I had uploaded an older version of the script to GitHub that was completely missing the Channels dropdown! Sorry for the confusion. Corrected version is now on GitHub here: github.com/barndollarmusic/kontakt-tools/blob/main/transpose-range/README.md
Nice scripts. Thanks!
Sure thing, hope you find them useful too!
what a gem of a channel. Sub"d!
Hey thanks! Appreciate it
Subbed! Great tips and great energy from you. Just got this recommended :)
Thanks, Rickard, really appreciate that!
Great and very useful video Eric. I took this hybrid approach initially as well, but then switched completely to key switches as I found myself accidentally layering say Violin1 Staccato and pizzicato when doing one articulation per track, which isn't realistic as a section can't play two articulations simultaneously in non-divisi. So even though everything seemed good in the DAW, when preparing for actual orchestral recording, It made me hit a brickwall.
Thanks! And sure, I understand why -- if you're writing for studio/stage players, you have to make sure parts are notation + player practical. Hopefully you don't need quite as much "realism" from the virtual orchestra demo in those cases, so that might be the right tradeoff for you.
@@barndollarmusic Agreed. For cases where its not going to be recorded by live orchestra, this hybrid approach of keyswitches + one Art/track is excellent. ❤️
Woah, surprised you don't have more subs. Great video!
Hey thanks! I'm still pretty new at all this, so glad it was useful
@@barndollarmusic Keep going consistently and you will get there. You def have the quality!
Appreciate that, Dylan! Looks like you're doing some really interesting stuff on your channel, so I'll absolutely check more out + learn a few things
Excellent Currently experimenting with Early reflection reverbs as a way to simulate the depth of the room component
Tricky, but fun when it works! Always nicest when a library's mic positions already have the right space for us, but it can take a few tricks to simulate more when it doesn't.
jesus christ how much did you pay your editor? i wont ever use this for anything since i dont do mixing but this is high quality content
Haha, not enough (he's... he's me)
Cakewalk has Articulation mapping. czcams.com/video/owkYPMuhcQo/video.html
Can you do this with the free kontakt player?
Absolutely! Nothing here is sampler specific, so this type of setup works to manage articulations in any sample library. (The one detail that matters is whether a sample player lets you load articulations on separate MIDI channels within one plugin instance, a.k.a. is "multi-timbral". Im not 100% sure, but I think the free Kontakt player still supports multis?)
Thank you for this. Are cue music film score sheets normally prepared by the re-recording mixing engineer or the composer? The music provided to us to mix was just premixed and not named accordingly in each scene. Should we title them or get the composer to do that?
I think there's a ton of variation. Technically, they're the responsibility of the production company, but they can be prepared by music editors, music supervisors, composers--you name it. I think regardless, composers usually have a strong interest in making sure cue sheets are accurate, so I'd always encourage looping them in for questions like that.
Nicely done!
Thanks, appreciate that!
Thanks so much for this video and tools
Hi! I’m Dan from PTYA cohort 8. Great to connect with you here and happy to help if you need any support with your CZcams journey. Looks like you already have amazing oratory and editing skills though! Have subbed to your channel.
Hahaha. I have that same Keith McMillan keyboard also and I've been trying to get it to do key switching at C-2 for forever. I even tried reprogramming the midi note with keyboard maestro but the original note plus the note that Keyboard Maestro reprogrammed is sent as midi data. I really wish the new Midi Remote in Cubase was able to program midi notes. That would be awesome. Great video! Thanks.
Some kind of virtual MIDI software that lets you transpose MIDI input from the hardware controller and then output the transposed notes via a virtual MIDI device that you'd configure in the DAW would probably work. Maybe overkill for this use case alone, but I think you could do that in Divisimate. There's also free MIDI Patchbay software, but I don't know if it works on the most recent versions of macOS or Apple Silicon processors, depending on what you're running.
Very good, Eric. I'm now checking my small MIDI keyboards to see if any of them will go down -2 (or lower! -3). I like the idea of having a MIDI keyboard handle this instead of a separate controller like the Nektar P1 since it gives at least 25 keys to fill...so guess I'l find out how low they can go. Definitely have been using the idea of putting the most frequently used articulations at the very bottom as you indicate. To achieve some consistency among different instruments I'm following the Babylon Waves patterns....seems a good starting point. Also as an experiment, Itried setting up a virtual keyboard on my iPad which (I thought) would be an advantage since I could label the keys. Alas, this all turned out to be too much work.
This is a fantastic tutorial. A much better way than I have been doing key switching. It's much more efficient using separate midi tracks and switching between them using key switches. Thanks so much.
Appreciate that! Glad you found it useful
Wow! A truckload of great info here! Will have to find a way to implement all this as I primarily work in Dorico and then export to Cubase. And I couldn't agree more with the idea of starting out with keyswitches and then tweaking with individual articulations. It took a lot of time to create all those extra tracks with single articulations, but it surely has been worth it.
I think that notation -> DAW direction is harder than DAW -> notation, though both are still more painful than I hope they'll be in the not too distant future. But one workflow is to put all notes for an instrument onto the keyswitch track, start assigning articulations in the key editor (tip: I always use attributes, not directions with expression maps to make that easier), and then you can move down to individual articulation tracks as I show in this video whenever you need to layer multiple articulations simultaneously.
@@barndollarmusic This is why I appreciate your methodology as I'm increasingly finding the need to layer multiple articulations.
Thanks for going through a giving an example of how to switch between articulation methods. I appreciate it a lot. Also I've been looking up info and watching others give a demo on the Tecontrol bbc2. I was wondering if I should get the first bbc1 with only breath and bite or bbc2 with added nod and tilt. My question is do you use the nod and tilt much when recording?
Thanks! With the breath controller, honestly I mostly just use breath alone.
@@barndollarmusic Okay thanks. I think I'll get the bbc1 then. Save myself $100. 🙂
I like the simplicity of the design that Studio One and VSL came up with called Sound Variations. It quick and easy to use. czcams.com/video/I-jHIVTI0u4/video.html
Another option is the expression maps from Art Conductor.
Cool vid. I'd like to also recommend Expression Maps to anyone who prefers keeping everything in a single track (and when using a DAW which supports the function, such as Cubase). Using Expression Maps helps keep everything in one track, and allows you to simply highlight a MIDI note and select the specific key switch articulation you want, and it will assign that key switch to that note. This way you can have all the key switches you want active and ready for us without having to spend more CPU/RAM to load up all the individual tracks.
Thanks, and absolutely agree that Expression Maps etc are worth the setup time for that one track approach too
NIce contribution to the community. You're software engineering mindset shows through :)
Thanks, Bill, appreciate that :)
I don't have Abbey Road One, but in the BBC SO plug-in, you have the option to use midi channels for switching between articulations. The only snag is that the string sections have more articulations than there are channels!
That's good to know, thanks Andrew!
@@barndollarmusic The other snag is that it seemingly ignores the channel information on CC data, merging it all together, as you've alluded to in the video. I have a suggestion for an alternative approach, which is to have e.g. the shorts loaded up on one VE Pro channel and the longs on another, and give each their own midi channel. You can still access them both from a single Cubase track when playing in, switching between the two midi channels as needed via the expression map; but then if you want to stack a long and a short together, you can just add a duplicate Cubase track and record one of the articulations into that, with the added bonus of separate expression data per stacked articulation (i.e. track/channel).
@@andrewventham ah, if controllers aren't separated then I don't feel as bad about having picked on the Spitfire player :). I like your idea on splitting longs + shorts that way, since that should cover most of the common layering and get most of the benefits of full separation.
@@barndollarmusic I've discovered that running a "fully articulated" BBC SO instrument on two duplicate VE Pro channels doesn't require any more resources than splitting those articulations between those channels (at least within the same VE Pro instance). I'm setting up my template with these duplicate channels disabled by default, to save on CPU, but other than that it pretty much makes the BBC SO instruments multi-timbral, similarly to a Kontakt multi.
There is a strange impact or clic at the very beginning 0:00 of your nice and cool video. If you can remove it's would improve it.
It starts off with a drum hit, if that's what you mean?
Great content and well explained
This is actually fantastic, gonna implement it on my own template right away. The presentation and video editing was really nice too, great job and thank you so much!
Appreciate that! Hope the approach helps in your composing workflow
I was just looking to be able to sum timecodes.. Now i'm managing a mutli composer unionised task force over schedules, copyrights and paternity leave ! you rock !
Right on! And congrats on multiple levels, then 🙂
@@barndollarmusic one thing I would comment on the document is the ability to copy paste directly TCs from your daw. Using nuendo copy/pastes I do are 00:00:00:00and I guess all other softs are like this. And that would be suuuper convinient to be able to paste them directly in the cells rather then type in 8 digits. But I guess all is not possible with excel.
@@moreausylvain My timecode functions work with either format, plain text "01:23:45:67" or integer 1234567 (which the custom number format renders with the colons). So you should be able to paste HH:MM:SS:FF format values from your DAW (I just tried this in the Google Sheets version). It's possible the Excel version would require you to convert those columns to Plain text format first and then paste in. BUT... the catch is I don't know of any clean way to get the best of both worlds: once you paste in plain text values like that, you can't do the type in 8 numbers thing, since the custom number format is lost. (You could use separate columns of each type and then a formula to choose whichever value is entered, but then things get less compact and clean to work with).
@@barndollarmusic oh ! wonderful I don't know what I did wrong. Thanks
Eric, thank you so much for your generosity in sharing such a comprehensive and well designed tool. I've been looking for a solution to reliably deal with multiple frame rates this way. I know you stated you're not able to offer comprehensive support and you've already shared so much. I do have 2 questions that I'm hoping you might be willing to assist with. 1) Undo appears to not be functioning as it normally should. 2) I'd really love to have a column with cue duration in the selected time code but obviously simply doing subtraction between "end" & "start" isn't gonna cut it. The "undo" thing is strange though. Thx Andy
Hey Andy, thanks for the kind words! On (1) undo, there's nothing I'm aware of that could affect undo, so no idea why it wouldn't work the same as any Google Sheet -- try refreshing your browser though, which can sometimes help if formula calculation gets "stuck", which maybe also affects undo? (2) There is an automatically computed Duration column in the Tracker tab, is that not working for you or are you looking for something else? Again, the only known issue is that sometimes Google Sheets gets "stuck" loading the custom functions and you have to refresh your browser for them to work.
Eric thanks for such a quick response. I should have clarified that I'm using the Excel version at the moment. As for the automatically computed column in the tracker tab for duration, I'm only seeing the one for mm:ss, not something that with frames. Just something I'd prefer to be able to have for full cross referencing with my DAW. I will keep testing to see if "undo" is actually consistently behaving strangely. I might try out the Google version too. If you have intel on the ability coach me on how to port the formula to display duration with frames, that would be amazing. Thx Andy
@@01amilne ah, okay, what format exactly do you want to see cue durations in? The custom timecode functions are documented on the GitHub page github.com/barndollarmusic/excel-timecode (see also the tutorial spreadsheet that walks through using some of them). The Music Log spreadsheet has hidden columns that compute cue duration in total # of frames, so you can unhide them to see how that works. Displaying duration in timecode like HH:MM:SS:FF is a little more subtle (to deal with drop and non-drop frame rates, i.e. you have to be more precise about exactly what the "MM:SS" portion means in each case), so my preference is to use either the human readable "wall time" like 02m 45s or an exact total # of frames (say if you're computing tempos for a section and need to hit an exact frame number).
@@barndollarmusic I would ideally like the addition of a column with HH:MM:SS:FF for whatever FPS I happen to be working in. (just next to the Wall Time column). Mainly so I'm confident that I can maintain consistency with what I'm seeing in my DAW. I have unhidden the frames you created to help in computing cue duration but its perhaps gonna take some studying for me to figure out how to translate/convert to a HH:MM:SS:FF from total frames. Also, I was mistaken when I wrote about the undo function. It was actually "redo". After I undo something I've typed, in, I'm unable to redo the entry. Still haven't had a chance to try the Google version but hope to next week when things slow down. Thank you again for doing this and for sharing, (and for taking the time to respond to my inquiries.) Cheers. Andy
@@01amilne Guess I mainly want to say be careful. I'm not a fan of expressing *durations* in HH:MM:SS:FF timecode because of the non-obvious subtleties of what exactly that duration means. To be honest, I don't know what logic different video editors + DAWs that display durations this way even use (and I wouldn't be surprised if different programs implement this differently). For example, let's say you have a cue that starts at 01:20:00:00 and ends at 01:21:00:04. In 29.97 drop, frames 01:21:00:00 and 01:21:00:01 are dropped, so this cue is 1802 frames long (60.1267... secs of wall time). Should the duration be 00:01:00:02 or 00:01:00:04? In 29.97 non-drop, the cue is 1804 frames long (60.1934... secs of wall time). In the non-drop case, 00:01:00:04 is more clearly the correct way to display the duration as a timecode -- but you just have to remember that a duration written as 1 hour of timecode 01:00:00:00 is actually 1 hour 3.6 seconds of wall time. For cue sheets, wall time is how we get paid, so that's why the duration calculations I use in the Music Log (and the cue sheet tab) are based on wall time and not timecode durations. By the way, I also realized the hidden column doesn't actually show you the # of frames. The way to do that calculation with my custom functions would be with TIMECODE.TC_TO_FRAMEIDX(), so you'd subtract the frame index of the starting timecode from the frame index of the ending timecode to get a number like 1802 frames. I don't have any functions for converting that into an HH:MM:SS:FF duration because of the ambiguity I tried to describe above. Hope that all makes sense!
Thank you very much !
I am just SO thankful for the hard work you put into this. What an amazing tool. I'm sharing this with all of my colleagues.
Thanks, Phillip! Always good to hear when it's helping other composers. Questions + ideas both welcome.
Thanks for the song, the universe bless you!!
Hey, thanks Luis!
This is an absolute life-saver. Your template is really well set up, and has saved me a lot of time on formulas for calculated duration from timecode. Thank you for this!
Always glad to hear!
Same here!
Hi Eric ! Thank You So Much for sharing !!!!!!!! I always had a headache to manage and calculate all this informations. This is over now ! Thank YOU !!!!
Of course, glad it's helpful!
Hi Eric! This cuse sheet is amazing! I think it will be very helpful. Thank you VERY much for sharing this with us!
Thanks, hope it is!
@@barndollarmusic May I ask a quick question? Is there a way that, moving this Google Shhet file to a Dropbox folder. I am using Dropbox. As you know, Dropbox has Google Docs, Sheets support, but I couldn't find a wy to move this sheet to the Dropbox.
@@KemalGorey that I'm not familiar with. You'd probably need to make your own copy using Google Sheets first and then sync it over. But I'd also watch out to make sure the custom functions still work in Dropbox. Possible help: support.google.com/drive/answer/9191990?hl=en#zippy=
@@barndollarmusic Thank you so much Eric! I think sticking with Google Drive might simpler and smoother :). You have already made something really great! Like they say: 'if it's not broken, don't fix it :)'
Hi! Editor from Universal here. You can export out an EDL out of AVID that automatically spits out all this information, the clip name and duration used - no calculations needed!
Right on, thanks! Curious who you hand that EDL off to next and if/when the composer gets looped back in to verify anything? Also want to note that this Music Log isn't just about the cue sheet export at the end -- it's really aimed at day-to-day workflow (like tracking director approvals and "how much music do I have left to write?").
Do you mind making videos on how to use Cue DB,
I'm not using Cue DB on any projects at the moment, so not just yet, but I'll consider if that changes
@@barndollarmusic it seems to be what every one is in Hollywood
Amazing work, I have been looking for this