Feature Request: Workflow for Film Composers-Cubase & Dorico

Dear Users & Support,

maybe you have some ideas related to combining Cubase and Dorico in the future. It would be nice if some more composers would list some thoughts about possible workflows -> Here is one workflow I could suggest for getting Midi Parts from Cubase into Dorico for a performance or recording:

I suppose some composer have already a template with an (Orchestral) layout inside Dorico. I tend to compose as many music cues as possible inside a single cubase project. One way to get the scores done in a faster and more beautiful way would be:

Workflow A)

  1. Having Cubase / Dorico opened at the same time
  2. Select a Locator Range of a Music Cue in Cubase -> Cubase - Copy Time Signature & Tempo & Keys to current selected Dorico Flow
  • Empty Bars in a current flow are created with a correct timing
  • (Each Music Cue is supposed to be a separate Dorico Flow in the future)
  1. Duplicate Cubase Tracks with Track Versions and manually quantize their midi
  2. Having the Locator Range of a Music Cue still selected in Cubase -> Select a Cubase Midi Track and have the option to
    a) Paste Midi In selected Flow as New Staff / Player Part
    b) Paste Midi In selected Flow as already existing (Clarinet, Oboe etc. Player) Part (this way the layout formatting remains preserved in Dorico)

PS1: Can Dorico have multiple Flows Versions ? Thats would be cool to integrate in DOorico and comparing them would be even cooler -> because music cues could change a lot, even after the scores are prepared…

PS2: For me as a film composer there is no need to change and re-learn Dorico unless I see a dramatic improvement in the most time consuming part -> and that would be the improved workflow between Cubase / Dorico …

Workflow B)

Maybe some other users come up with mor workflow ideas ? :mrgreen:


Cheers, nostaller

+1 for Flow versions!

In the update following the imminent 1.0.30 update, you will be able to duplicate a flow, which you could then use as a means of saving one version of a flow and working on a new one, as a kind of ersatz flow versions feature.

I hope that we will be able to build the kinds of deep integrations you describe in your original post, lokotus, in due course, but we do have a lot of work to do on the core notation features that will make Dorico most useful for people who don’t need that unified workflow and for whom Dorico has to stand alone, so it will be a balancing act for us to figure out the right order to attempt these sorts of things.

For me, the biggest and most revolutionary workflow improvement would be a fairly sophisticated “Play” environment in Dorico, such, that you could do a reasonable midi mock-up inside of Dorico, instead of having to go back and forth between Dorico and Cubase (or, for that matter, any other DAW). I know that this is on the roadmap (with unknown ETA). “Reasonable” means not with all the bells and whistles of a full fledged DAW, but good enough to get a fair impression that’s good enough to get approval from a film director.

Dorico was not intended to be a replacement for either Cubase or any other DAW program, so the “integration with Cubase” thing to me doesn’t really mean all that much. You’re still copying midi back and forth between two separate programs. Early last week the “Orchestral Template for Reaper” was released, which is pretty spectacular in terms of work flow (a comprehensive template for showing / hiding sections and instruments, automatic routings, aux buses for different reverbs; all color coded and organized, with dozens of scripts to easily bounce sections to stem, midi automation, and so on). Especially now I don’t see myself switching to Cubase any time soon.

To each their own of course.

In reality, the Hollywood workflow for film composers - by and large, and there are exceptions - is that composers write scores in a DAW, cue by cue. After approval - assuming there is enough money in the budget - it’s sent off to orchestrators, who then transform the cues into something real musicians can work with. Those are two separate worlds. So for Daniel and his team to focus first and foremost on the notation makes perfect sense to me.