(though I've NEVER delivered for film in 7.1.Thanks for the reply Guillermo, have looked through that thread and it does clear up some questions. I would say that if you work in surround, then just for anymix its great. Will it be useful for you? Well, interrogate the above ideas and make your mind up. There are a bunch of differences / things that composers CAN use. Oh - and the network collaboration can be cool if you are in a studio with an assistant in the next room too! Else, monitoring individual groups / stems is great using the 8 monitoring sources!) (One use case is if you are using a double DAW system - bringing in the temp audio - and you can switch it on / off inside the control room.
Amazing for stems.Ĭontrol Room has multiple sources for monitoring. The second video track in Nuendo can be VERY useful (you can put old + new cuts in to compare / switch between)Īnd we are all looking out for the new video rendering tools which I've been told will be nuendo only (although I'm surprised for this, as cubase pro users will be crying out for it!) Loudness Track for EBU128 mixing built inĪudio Engine runs up to 384KHtz from memory (Cubase is 192KHz) Also does Dolby Atmos.Īnymix Pro Panning tools are worth the price difference alone for any surround work. Game Audio Toolset (doing game audio music? This can help - though its more important for sfx guys with asset management)Īutomation tools (I *think*) are still more refined / have more options in nuendo (used to be the case - maybe C10Pro now has them all - I must check) Things like re-conform tools (which when you're doing features is invaluable).ĪDR toolset (can be useful when recording instruments for Sync!) And then a bunch more stuff specific to post (that many composers still find incredibly useful!) But in order to clear up any doubt at all : The posters here have already pretty much got it all covered.
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