TimeForMusic

Yes I understand that's how you get there -- my question is how you then set the "in point" of the bounce to these positions.

Thanks for this discussion everyone; it is really helpful. As for setting the bounce's in (and out) point after rewinding frames, could you clarify the best method for doing this? I'm used to using markers that I select and enable cycle on, but they don't seem the most draggable when it comes to frames. @wonshu, I see you mentioned using a NO OUTPUT track with a "banner" region to do this. Do you think that's the best method? Do you ever lock the SMPTE position on these to keep them precise (like what if you make a tempo edit somewhere before the "banner" region and it pushes it off several subframes)? Do you name the regions in any particular way (any info like manual TC input, etc.)? Could I also quickly ask what the downside of using negative bar positions is? I've been using this as the "dead space" area since I figured it's cleaner for the actual cue start/music to begin right on/around 1 1 1 1. But am I missing something?

This is exactly what I am trying to achieve, but the above comment says not to worry about this. Can I ask what you have found to be the easiest way to start the bounce from subframe .00? This is exactly what I am trying to do, but obviously, Logic likes to snap things to the musical grid (I can't even adjust a marker by frames), so I'm at a loss for the cleanest workflow here. I understand you can move picture, but then you either have the start of the bounce at .00 or the downbeat of cue start at .00 (which, when you're syncing right on a cut, is kinda important). So the question is how you get both at a .00. Great idea, I think perhaps I'll start doing something similar. Again what's your method for bouncing from those extra 10 frames?

Hi all, I am doing a score-to-picture with individual Logic projects per cue. I've set the 1 1 1 1 position to match the exact frame I need for each cue. However, I also include about 4 bars of pre-roll in my exports to give the client some headroom. The issue I'm facing is that when I add this pre-roll, the starting timecode of the file no longer aligns with an exact frame. Even if I include timecode in the filename, aligning it to that timecode puts my 1 1 1 1 position out of sync by several sub-frames. I'm wondering if anyone has encountered a similar problem and found a better solution? I'm curious to hear how others are working around this issue.

Hi all. I've noticed when I export my Logic project to video in a score-to-picture project, the file wants to save under the name of the imported video. It would be much better if the file would default to the name of the Logic project, as it does when you do an audio bounce. Just want to check if this is indeed correct behavior or if I am missing an advantage to this somehow, or if there is a workaround I am not aware of for this.

Glad to hear that's your take -- I should mention again, though, that it's been doing this since at least 10.7.9 (and I think ever since the 10.7 update in general, maybe even 10.6?), suggesting to me it was an intentional change. But I would LOVE to see this switched back if anyone out there's listening or if there's any way around it...

Thank you, David! It's reassuring to hear you say that 😁 To recap, here is the side-by-side behavior between 10.5.1 and 10.8.1:

Yeah... having to switch to that screenset and back just to tab into the library would be a ton of extra steps. I hate to say it, but it's simply just so much faster to use Logic 10.5.1 where, ahem, this behavior didn't occur, and the library remembered your settings globally no matter what track you select.

This was one of the first things I tried. Sadly this does not work if your Tracks window and Library Browser are open on two separate displays. This would require a "Cycle Through Windows" command before "tab" to jump between windows, then select the library. Sadly the first window to get the "blue frame" may also change based on what's previously selected, meaning it's difficult to build a single macro. The best workaround I have found via Keyboard Maestro is sadly just a "point and click" macro to select the window and pop open patch merging when needed. This is still not ideal so very open to other suggestions.

I don't think this is the case because, as I said, a workaround fix to this is opening an empty project and inserting the plugin that is displayed DURING the freeze. For example, as mentioned, Logic will often freeze on Pro-Q 3 for me (i.e., that plugin is displayed upon the freeze during load). If I open an empty project, create an empty software instrument track, and insert a default stereo Pro-Q 3 instance to that track, then (re-)open the initial project, it will load fine. How would you explain this behavior?

Yes, I use it, but imperfectly. Nothing beats the 10.5.1 built-in behavior. If you have more thoughts on the EPM change, would love to hear them on the other thread -- let's try to keep this one on topic as I try to find a good fix!

See here.

How certain are we that it is a faulty plugin? Again, the issue is spontaneous, sometimes displays different plugins during the loading freeze, and is sometimes resolved by opening a blank project and creating a track with the plugin displayed during the freeze. It is hard to test, because sometimes I can load the project(s) just fine, so isolating a faulty plugin is tricky. I can only go off of what plugin is displayed upon the freeze during the load. How do we know the freeze is "after" Channel EQ is loaded? Doesn't Channel EQ being displayed indicate that the plugin is what is currently being loaded?

For the old Enable Patch Merging behavior.

Yes.