Scoring to Picture in Logic Pro: Explore synchronization techniques for film, TV, and multimedia composers using Apple’s flagship DAW [Team-IRA]

Cover
Copyright
Contributors
Table of Contents
Preface
Part 1: An Introduction to Scoring to Picture
Chapter 1: Understanding Film Music Industry Standards
	What is film music?
	How does the film music industry function?
		A step back in time
		Scoring to picture today
	What is a spotting session?
		Understanding spotting sessions
		Before the meeting
		Spotting notes
		During the meeting
		End of the meeting
	What are the character qualities of a successful film composer?
	What skills are required of a film composer?
	Summary
Chapter 2: Understanding Film Scoring Terminology
	What is SMPTE timecode?
	What is BITC?
		What is a 2-pop?
		What is a 3-pop?
		What is an end pop?
		What is a 2 second pre-roll?
		What is a 3 second pre-roll?
	Errors in drop frame and non-drop frame timecodes
	Exploring SMPTE and BITC errors
	Reviewing correct SMPTE timecodes in individual reels
		Reviewing timecodes with Adobe Premiere
	Reviewing dialogue and temp music
	Summary
Chapter 3: Reviewing QuickTime Video and Video Components
	Technical requirements
	Opening the QuickTime Inspector
	Understanding video file components
		General
		Video Details
	Summary
Part 2: Project Setup and Navigation
Chapter 4: Setting Up a Movie in Logic Pro
	Technical requirements
	Opening, saving, and closing a Logic Pro session
	Opening a movie file in Logic Pro
	Importing a movie file
		Extracting audio from a movie file
		Setting up the sample rate
		Setting up the frame rate
		Moving and adjusting the position of the movie
		Changing the movie size
		Adjusting the movie size aspect ratio
	Saving a session with a movie file
	Summary
Chapter 5: Syncing Logic Pro to Picture
	Technical requirements
	Reviewing visual synchronization tools
		Giant Time and Beats Display settings
		Logic Pro SMPTE display without subframes
	Syncing Logic Pro to picture
		Importing the movie file
		Accessing and reviewing the movie project settings
		Accessing and reviewing the synchronization settings
		Locking the movie
		Saving a project session with a movie file
	Syncing Logic Pro with different movie files
		Syncing a movie file with a countdown leader
		Syncing a movie file with a 2-pop
		Syncing a movie file with a 3-pop
		Syncing a movie file with multiple reels
		Syncing a movie file with SMPTE Offset View
		Scoring a movie from any bar location
	Creating a custom scoring to picture template
	Summary
Chapter 6: Working with Hit Points and Scene Markers
	Technical requirements
	Defining hit points
	Reviewing music spotting notes
	Copying the spotting notes list into Logic Pro
	Creating markers without rounding
	Naming and renaming markers
	Changing markers to the SMPTE view position
	Creating scene markers
	Comparing standard, SMPTE-locked, and scene markers
	Creating and removing movie scene cut markers
	Navigating with markers
	Creating new marker sets
	Summary
Part 3: Methods of Scoring to Picture
Chapter 7: Creating Tempo Maps
	Technical requirements
	Dealing with tempo in film music
	Watching a movie with a metronome
	Using Tap Tempo
	Reviewing the Logic Pro LCD position display
	Reviewing marker positions
	Creating a tempo map
	Creating a tempo map based on hit points
	Adjusting the tempo to match the hit points
	Summary
Chapter 8: Working with Beat Mapping
	Technical requirements
	Understanding beat mapping
	Creating a Tap Tempo using an instrument track
	Beat mapping single MIDI notes
	Beat mapping an entire MIDI region
	Editing tempo points
	Editing a Beat Mapping track
	Using Beat Mapping scene markers
	Beat mapping the hit points
	Summary
Chapter 9: Working with a Time Signature
	Technical requirements
	Understanding a time signature in film music
	Reviewing a time signature in Logic Pro
	Adding time signatures to existing marker positions
	Adding time signatures to a constant tempo
	Comparing musical choices versus technical choices
	Summary
Part 4: Synchronizing Music to Picture
Chapter 10: Scoring a Commercial
	Technical requirements
	Choosing a mood and style for the commercial
	Structuring the cue
	Choosing music choices over technical choices
	Reviewing the composing process and layering instruments
	Summary
Chapter 11: Shaping the Score and Exporting to Video
	Technical requirements
	Evaluating the mix
	Setting the volume level of tracks
	Setting panning for each track
	Shaping the sound and finalizing the basic mix
	Exporting the score to video
	Summary
Chapter 12: Advanced Concepts for Dealing with Timing in Film Music
	Technical requirements
	Outlining structure and timings
		Scenario 1 – using 120 bpm and the 3/4 time signature
		Scenario 2 – using 120 bpm and the 4/4 time signature
		Scenario 3 – using 192 bpm and the 4/4 time signature
	Calculating timings using a DAW
		Method 1 – calculating timings inside Logic Pro
		Method 2 – calculating timings using formulas
	Synchronizing music to picture during the Golden Age of Hollywood
		A single frame of a 35mm film
		Click book
		BPM versus FPB
		Calculating timings using fpb formulas
		Displaying time as feet and frames in Logic Pro
		Displaying tempo as frame click in Logic Pro
	Exploring visual synchronization methods used today
		Picture cueing
		Digital metronome
		Implementing punches and streamers today
	Summary
Index
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