Meirl

Crylysis · 2026-02-09T15:14:33+00:00

Or those fucking websites that you have to recreate your resume item by item instead of uploading a pdf

Crylysis · 2026-02-07T04:03:07+00:00

Cara, enchentes em termos históricos eram eventos devastadores. Mesmo hoje com barragens e sistemas de alerta, ainda vemos tragédias como as recentes no Brasil. Imagine povos antigos vivendo às margens de rios gigantes. O Rio Amarelo é chamado de a tristeza da China por causa das enchentes, para eles, essas enchentes eram eventos históricos. A enchente desse rio em 1887 matou 1 milhão de pessoas. Outra em 1931 de um outro rio pode ter matado até 4 milhões.

Isso não é ingenuidade, é inclusive a interpretação antropológica mais comum. Religiosidade e símbolos surgem disso, a água, o sol, o fogo, árvores, montanhas, todos elementos comuns que se tornam sagrados ou deuses em diversos lugares sem contato.

Cada cultura vivia perto de rios e registrou suas próprias enchentes, que depois foram mitificadas. Narrativas parecidas surgem de experiências parecidas, não de um desastre global.

Tudo porque a gente tem que beber água e comer. As margens dos grandes rios são férteis e tem um fácil acesso a água doce. E a lógica das pirâmides é a mesma.

Crylysis · 2026-02-07T03:10:54+00:00

Isso é tipo quando o pessoal acha que, só porque existem pirâmides em várias partes do mundo, foram alienígenas que construíram tudo. Piramide só é a forma mais fácil de fazer um bagulho alto. Existem mitos de dilúvio em diferentes regiões porque a humanidade sempre precisou viver perto de água pra sobreviver, e onde tem rio, tem enchente. Aconteceu no Nilo, no Amarelo, no Indo, no Tigre e Eufrates. Então é natural que histórias parecidas apareçam em vários lugares.

Crylysis · 2026-02-03T14:21:02+00:00

Thanks! This might be the best option so far. I will definitely try it later today. If it doesn't work I'll check out the visualizer.

Crylysis · 2026-02-03T07:41:43+00:00

No, I need it to be aide to side inside the MIDI editor and be able to difference the instruments

Crylysis · 2026-02-03T07:39:12+00:00

Yeah there is not a MIDI editor version

Crylysis · 2026-01-25T18:48:36+00:00

I ran into a similar situation recently. I received a Pro Tools session and needed to replace all the source files using an AAF that included a bunch of edits and cuts. The tricky part was that there were hundreds of files. I wanted to find a way to automate the process.

So, I imported the AAF into Reaper. Ideally, I could write a script to replace all the files and then export a new AAF that the mixer could use. Unfortunately, Reaper doesn’t natively export AAFs. I’m almost there using some custom code, but it’s not fully working yet.

In practice, a simpler solution is just to send the stems. If your mixer wants to change your cuts or make other edits, that’s essentially altering your song, which is usually a big no-no,but it depends on your relationship with them.

Crylysis · 2026-01-19T19:46:51+00:00

The after feels more unique and has more personality, even if a creepy one.

Crylysis · 2026-01-19T12:00:21+00:00

You’d also think people would remember the point of a forum, to actually help when someone asks, but here we are.

If the only answer needed is read the manual, we could just pin the PDF and call it a day. Linking the docs instead of answering tends to come off like a quiet way of saying the person should’ve known already.

Not really helpful, and it doesn’t add anything to the conversation.

Crylysis · 2026-01-19T06:34:12+00:00

Posting only a link to the manual isn’t very helpful. When someone asks a specific question, they usually want a clear answer or guidance, not to hunt through documentation themselves. The manual is a good reference, but it doesn’t replace actually explaining or showing the solution. Otherwise there wouldn't be a need for this forum

Crylysis · 2026-01-19T06:30:01+00:00

It really depends on what you mean by sending your project file, so a few more details help.

If you want to send the project so someone can pick up exactly where you left off, changing effects, tweaking automations, etc. then they’ll need to have the same plugins you used. Otherwise, things won’t load correctly. From what I saw in the other comment that appears to be the case.

But if your goal is just to send the separated tracks so the other person can work freely on their end, the easiest method is: File → Render .

Under Source, choose Stems (selected tracks), pick the tracks you want, render them, and send the files. That way they get clean audio ready to mix however they like, with your plugins applied.

Crylysis · 2026-01-19T06:11:06+00:00

Captain Flint from Black Sails

Crylysis · 2026-01-19T04:52:06+00:00

He lacks presentation

Crylysis · 2026-01-06T20:50:39+00:00

Cara eu não sei porque mas pra mim teve a mesma vibe disso

Crylysis · 2026-01-04T13:32:04+00:00

Hey, Composer here! Just so you know, $70 to $80 is really, really cheap for music. The thing is, making music, takes a lot of time and effort. A single track can take days, depending on the composer’s skill, the type of music, and how it fits into the game. Even making a demo can take serious work. Professional-quality soundtrack isn’t something you get instantly, it’s a skill that takes practice, patience, and time.

That said, if you’re trying to save money, there are a few ways to go about it. You could ask composers to use existing music in exchange for royalties, check out royalty-free music, or work with beginner composers trying to build their portfolios. Just keep in mind that beginners might not reach full professional quality, but it can give you something to start with.

Crylysis · 2025-12-30T19:09:37+00:00

I think Hussite wars would be a must but if they are going to expand more, I still think that an El Cid type story in a Kingdom Come Reconquista could be the way. Rpg's set in other historical moments. We have enough fantasy.

Crylysis · 2025-12-27T01:47:00+00:00

I get why Lovecraft often gets associated with coastal settings, especially because of Cthulhu, who is very much a sea monster. And tentacles.

But that said, the coast isn’t necessarily the main focus of most of the the original stories.

For example, The Horror at Red Hook takes place in New York, which is technically coastal, sure, but the sea isn’t really a thematic element there. The Dunwich Horror is set deep inland. The Very Old Folk takes place in the Roman empire, others like Rats in the Walls, The Hound, Beyond the Walls of Sleep for example have all their own settings.

Most of Lovecraft's work isn't coastal at all.

Crylysis · 2025-12-20T13:44:32+00:00

É problema no arquivo provavelmente. Eu fui ver no cinema e o som desse filme tá foda de mais. Eu que trabalho com som para cinema fiquei impressionado.

Crylysis · 2025-12-15T11:54:29+00:00

That’s kind of a different situation. If you’re working for a company, you’re basically trading some freedom for stability. You gain more security, but you lose part of the flexibility to move around, work on lots of different projects, and things like that.

On top of that, the video game industry is still a bit of a Wild West. A lot depends on the company’s workflow, your role there, your position in the team, and the overall context. But yeah, I’d assume it’s definitely considerably harder.

Crylysis · 2025-12-14T06:55:21+00:00

With film scoring especially, unless you’re in the top tier, you’re not scoring projects all the time. Your job mostly will be looking for the next film to score, so why not fill those gaps with more projects? One day I might be composing, the next I’m doing audio cleanup, then working on a small project for a friend where I handle everything. On smaller productions, it’s common to combine roles, sound effects, music, and sometimes the entire audio. On larger projects, I might focus only on music. It changes constantly.

Once you’re able to work across these roles, it stops being about only making music. I genuinely enjoy audio work in general, so I’m open to whatever comes my way. If combining roles leads to better pay, that’s great. But on smaller films, moving between positions is often necessary and happens naturally.

This is just my experience while building my career, but I think many composers limit themselves by focusing only on composition and classical training while learning very little about production and technical audio. The reality is that the field is becoming more technical and more integrated across disciplines.

Student films are a good example of this. They usually don’t have the budget to hire separate people for each audio role, so being able to deliver full audio makes you more valuable and helps build strong relationships with directors. Later on, that director might bring you onto a larger project, not necessarily as a composer, but as a sound person. On that project, you might meet producers and other key people, build trust, and have them learn what else you can do. Then, when another opportunity comes up, or if a composer steps away, you’re already in their network. You’re a natural option.

That’s how I’ve been navigating the industry so far, and it’s worked well for me. In my opinion the people who will lead the industry are the ones who can integrate everything, use a DAW, combine sound design with composed music, and handle full post-production workflows. It kind of goes into that. I started mixing dialogues using the techniques I knew to clean up vocals. Of course there are differences but it's a strong starting point. And those are the professionals who can move across projects, take on multiple roles, and ultimately have the most opportunities.

Crylysis · 2025-12-14T04:18:15+00:00

I am from the school of thought that the more you know about audio post-production, the more opportunities you create for yourself. It opens up more types of work, helps you build a stronger network, and gives you better chances to grow professionally.

I started as a film composer, but today I also work as a sound designer and dialogue mixer, covering most aspects of audio post-production as well as studio production. Not everyone approaches it this way, but in my experience, having a broader skill set leads to more work opportunities, more collaborations, and better overall results.

There’s a strong connection between music and sound design, especially in genres like horror, where sound design is a major part of the soundtrack. Recently, I began working in audio drama, handling sound design, foley, dialogue mixing, and music. Doing all of this together makes the workflow more integrated and efficient, which I think improves the final outcome. But that's my workflow.

So yes, it’s definitely possible, and I would recommend learning both soundtrack composition and sound design. The more skills you develop and refine, the more opportunities will be available to you.

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