Live 11 TV / Film scoring?

[buckman]

The only work-around is to do your sound-design and creative tracks in Live 11, and then export to another DAW better suited for TV Sync, like Protools or Reaper.

Not idea I know..

[Aeph]

Biggest problem for me is not being able to change the project tempo without loosing all the syncs in the middle of a job. There has to be a way to lock the clips to absolute SMPTE time. That is not negotiable.

Latency compensation is the other big one. Put an Ozone or whatever you use on the master track and all your sync is messed up big time. Also not negotiable.

Opening AAF of OMF (either should be fine) is really bread and butter for a DAW in 2023. Also not negotiable.

I hope they address all this soon, such a great tool deserves it

:bump:

Hope this will be taken in consideration for Ableton 12 along the way

[onroll]

I also do professional work here in Argentina.
Live is the best tool for me, the one that makes me more creative.

Biggest problem for me is not being able to change the project tempo without loosing all the syncs in the middle of a job. There has to be a way to lock the clips to absolute SMPTE time. That is not negotiable.

Latency compensation is the other big one. Put an Ozone or whatever you use on the master track and all your sync is messed up big time. Also not negotiable.

Opening AAF of OMF (either should be fine) is really bread and butter for a DAW in 2023. Also not negotiable.

I hope they address all this soon, such a great tool deserves it

Such true !!! All this, please Ableton company, can you do something for us ? It's 2024 and it's been asking for years.......

[AGordon84]

Yeah, they are Cliff's project. I've produced several of these scores with him, and Live is always the go to DAW. It's definitely the best means of exchanging sessions and working quickly. We've always managed to work around the scoring limitations of Live, but could certainly make some suggestions for improving it. You're correct about the sampler analogy for pitching audio.

Greg

Wow. Huge fan of these and other Cliff (and your) work. How did you guys manage the deliveries? Did you export stems and manually lay them back in sync on Pro Tools or did you have some trick to cope with the lack of timecode embedded files/AAF compatibility/etc?

I’ve always done it manually but that’s been on shows with like 30 cues. Now I’m on a show that has like 60+ cues per episode and it’s gonna take an extra month of my life to handle the delivery since Ableton has NO solutions for sync/location/timecode start/etc.

[crunch]

Late to this thread but relevant — I score to picture in Live and built a standalone video sync app called FrameSync. It connects via AbletonOSC and follows the transport frame-accurately through play, scrub, and loops. No plugins in your session, handles ProRes and MXF alongside H.264.

Mac and Windows. https://all-the-machines.com/products/framesync