generate music cue sheet from regions?

[Phil Jeffers]

Hi,

I need to generate a music cue sheet for 5 episodes of a program I mixed for international sales requirements.

In the past I've just gone through the session listing the music clips and typed up manually.

Is there a way of generating data from highlighted regions that'll give you active region names and TC IN/OUT points?

Who usually generates these? I would have thought an EDL could do the same thing if the editor keeps all music on the same tracks.

Cheers, Phil J.

[TVPostSound]

Remove the non music tracks, export session as text. It will create an EDL type report.

[Dallas Taylor]

Delete all tracks except your music tracks, then...

File > Export > Session info at Text

In the Dialog box you have a few choices.

I select:
Include File List
Include Region List
Include Track EDLs
Combine Crossfaded Regions

Time Format:
Timecode

File Format:
Most of the people I work with like it when I export a MS Excel file. You can also export as Text only.

Once it's exported, open it in Excel and tidy it up! Muuuuch easier than manually entering everything.

[Ayush Ahuja]

Hi,

I use the above format for File export as txt ('Text Edit' txt on a mac) and then use this software called "Agent Orange" which makes brilliant cue sheets in my opinion.

You can get it from here, its mac only.

http://www.soundepartment.com/agent_orange/

If you do use it - just make sure you check the 'Print Frames' checkbox otherwise the timecode that appears on the cue sheet is only minutes and seconds - which can be difficult to comprehend if you have a project that runs over the hour mark.

Yush

[Frank Kruse]

Originally Posted by DIAFXMX

Remove the non music tracks, export session as text. It will create an EDL type report.

Is this the common way it´s done in the US? I usually write cue-list that reflect how the music is audible in the mix not how long the clips are in the original session.

This can be quite different at times.

frank.

[Phil Jeffers]

Thanks all for that wonderful info. I admit I hadn't even really gone looking for a solution... that'll work fine since I think the copyright isn't for duration, only artist/title.

Cheers, Phil

[Frank Kruse]

Originally Posted by Phil Jeffers

Thanks all for that wonderful info. I admit I hadn't even really gone looking for a solution... that'll work fine since I think the copyright isn't for duration, only artist/title.

Cheers, Phil

Interesting. Here composers, musicians, lyric writers all get money from GEMA (ASCAP equivalent) depending in the length of the music in the film. Also the producer, cinemas, DVD sales etc. all have to pay GEMA/ASCAP a certain amount wich is then devided up to the different composers also depending on their share of the sound track.

Therefor it´s important that the cue-list reflect the audible music in the end product.

I thought this was the same all over the world...

thanks,

frank.

[jimlongo]

Cue sheets are only supposed to reflect the actual length of audible music. So I don't do such a "dumb" export of session info. First you need to trim regions (if you've done fade outs), I also duplicate edited pieces (to make the cue sheet more legible), remove extra tracks (cause there's no sense in having 2 pieces of music simultaneously) - then export as Session Info text. It all takes about 15 minutes per half hour episode.

[Phil Jeffers]

Originally Posted by Frank Kruse

Interesting. Here composers, musicians, lyric writers all get money from GEMA (ASCAP equivalent) depending in the length of the music in the film. Also the producer, cinemas, DVD sales etc. all have to pay GEMA/ASCAP a certain amount wich is then devided up to the different composers also depending on their share of the sound track.

Therefor it´s important that the cue-list reflect the audible music in the end product.

I thought this was the same all over the world...

thanks,

frank.

I think it's canned music from a beat box drive, not CD listed or composed music as such. The producer was leaning heavily for a cheap (free) solution since they've already gone way over budget. It seems like a good start point anyway, and one could then perhaps tidy up the raw data from there.

Cheers, Phil

[Dallas Taylor]

Originally Posted by Frank Kruse

Is this the common way it´s done in the US? I usually write cue-list that reflect how the music is audible in the mix not how long the clips are in the original session.

This can be quite different at times.

frank.

Well.. yes, that's correct.

My personal preference is not to have a music region in my session unless it's audible in some way. I usually trim/fade up/down instead of faders down.

I guess that works for me, but not everyone works the way I do

..carry on.