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Gaja wrote:I'd try and look at it this way: if you're going to score for films you'll need something that can play two hours worth of video (so far there's no really practical solution for Reason) in perfect sync. I have to join the sucks but it's been staring me in the face too long.
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I HAVE to learn Pro Tools anyways, I can't do what I plan on doing and get the serious contacts in Los Angeles or Burbank without it. Going to absolutely start with the Ozone Package though and learn that, which shouldn't be that hard.
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I'm running the free "First" version now, for training.
(I'd also like to get something Ableton-y, but I'm in no hurry and watching to see what Bitwig does.)Įxactly. Between Reason and PT you will have enough tools to sound good, and you may find you don't need Ozone so much - or at least not all of it.
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That's not to denigrate Reason's lovely mixer and patch cables - just that there may be DAWs better suited to that end of the process. It means you have a second DAW for added versatility, options, different workflow for different jobs, VSTs, etc - and also a tool more built with that purpose in mind. My current theory is it's probably best to invest in Reason for the creative things it's good at, and invest in something else for mastering, or final mixing and mastering type work. I totally understand the "invest more in Reason" vs "invest elsewhere" dilemma. I currently use Studio One Prime for whizzing about chopping up WAVs because it's free and better than Reason for that kind of thing. I'm also going through the process of choosing a 2nd DAW to offer me things (beyond VSTs) to complement and fill gaps for Reason. That's a lot of money though - is that the cheapest price point of PT that's useful? It can sit there on your computer being a necessary evil, and you can get fluent in it, certified etc. All the rest will profit from proper composition more than proper mixing/mastering, especially since re recording mixers will want to get their fingers on it (Not always of course, but for cinematic films they usually do).ĮdGrip wrote:I would suggest that IF you're going to have to do the dirty Pro Tools thing sooner or later for political reasons, you might as well get it out the way. Ozone will only deliver some icing on the cake for those projects you desperately need it.
So practically, if you need to work outside of Reason, I'd buy ProTools first, as this delivers more bread and butter to get you paid. If you're composing for orchestra, chances are they won't even let you mix that, as those many tracks need to be adjusted in relation to all the sounddesign, foley and of course speech. Then again for feature films the re recording mixer will want to have the music unmastered, because there is usually lots of compression and equalizing happening at the mastering stage in the movie. And if it is a feature film you'll most likely make enough to pay for both ProTools and Ozone. Then if you're going to score films, you're going to get paid for it. I'd try and look at it this way: if you're going to score for films you'll need something that can play two hours worth of video (so far there's no really practical solution for Reason) in perfect sync.
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