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Steinberg Nuendo 4 Operation Manual

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    Video
    About Thumbnail Cache files
    ÖTo display video thumbnails in the Project window, the 
    option “Show Video Thumbnails” has to be activated in 
    the Preferences dialog (Event Display–Video page).
    When working with video in Nuendo, video files are dis-
    played as events/clips on the video track with thumbnails 
    representing the frames in the film. These are calculated in 
    real time, i. e. they have to be redrawn during scrolling or 
    moving. As this consumes quite a lot of processor power, 
    reaction sometimes may be sluggish. To remedy this, you 
    can generate a thumbnail cache file.
    The cache file is used in situations where the processor 
    load is very high and the correct redrawing or real-time 
    calculation might use system resources necessary for ed-
    iting or processing. When the cache file is used and you 
    zoom in on the thumbnails, you will see that they are in a 
    lower resolution, i. e. the pictures are not as clean as when 
    they are calculated. When the processes that rely heavily 
    on the computer CPU are finished, the frames will be au-
    tomatically recalculated, i.e. the program automatically 
    switches between real-time calculation of the pictures and 
    using the cache file.
    The generated thumbnail cache file will be stored in the 
    same folder as the video file and will get the name of the 
    file with the suffix “.videocache”.
    Generating thumbnail cache files during video import
    Thumbnail cache files can be created when a video file is 
    imported into the project.
    Proceed as follows:
    1.On the File menu, open the Import submenu and select 
    “Import Video File…”.
    A file dialog is opened.
    2.Locate and select the desired video file, activate 
    “Generate Thumbnail Cache” in the lower part of the dia-
    log and klick “Open”.
    The Generate Thumbnail Cache option in the Import Video dialog.
    A window will be displayed, showing you the progress 
    and the estimated time for the process.
    The thumbnail cache file is created.
    After the cache file is created, the window will be closed 
    and the video clip is inserted as usual. When you now 
    start video playback and perform processor consuming 
    operations, the thumbnail file is used to display the video 
    frames in the Project window. When enough processor 
    power is available, the “real” calculated thumbnail frames 
    are displayed again.
    ÖTo automatically create thumbnail cache files for all im-
    ported video files, activate “Generate Thumbnail Cache 
    on Import Video File” in the Preferences dialog (Editing–
    Video page). 
    Generating thumbnail cache files from within the Pool
    When you have video files without thumbnail cache files 
    (e.g. if you did not create a thumbnail cache file during im-
    port or if you are working with an older project), you al-
    ways have the possibility to generate the thumbnail cache 
    file at a later stage. This is done from within the Pool.
    Proceed as follows:
    1.Open the Pool window and locate the video file you 
    want to create a thumbnail cache file for.
    2.Right-click on the file to open the context menu and 
    select “Generate Thumbnail Cache”, or select “Generate 
    Thumbnail Cache” from the Media menu.
    Just as when creating the file during import, the status window opens 
    (see above). 
    						
    							472
    Video
    After the file is created, the window will be closed and the 
    thumbnail cache file is used when necessary, i.e. under 
    high load.
    Adopting the Video Frame rate
    When using video files within Nuendo, it is important to set 
    the project’s frame rate to that of the imported video. This 
    ensures that the time displayed in the SMPTE readout of 
    Nuendo corresponds to the actual frames in the video.
    1.Pull down the Project menu and select “Project Set-
    up…” (or press [Shift]+S) to open the Project Setup dialog.
    2.If a video file has been placed on a video track in the 
    Project window, a button now appears in the frame rate 
    section of the Project Setup dialog called “Get From 
    Video.” This will automatically detect the frame rate of the 
    video file and apply that setting to the project.
    Extracting audio from a video file
    If a video file contains audio, it can be extracted. Regard-
    less of the audio format in the actual file, the imported au-
    dio file will always be in the format (Sample Rate and 
    Record Format) that is specified for the Project in the 
    Project Setup dialog.There are three ways to extract audio from a video file:
    By activating “Extract audio” in the Import Video dialog.
    This will add the audio to the currently active audio track. The new audio 
    event will start at the same time as the video event, so that they are in 
    sync with each other.
    By using “Import Audio from Video File” from the File 
    menu.
    This is just as above, but no video clip is created, only an audio event 
    (starting at the project cursor position on the selected track).
    By activating “Extract Audio on Import Video File” in the 
    Preferences dialog (Editing–Video page) .
    This will automatically extract the corresponding audio from a video file 
    during import. This is also true if you import files using drag and drop.
    By using Extract Audio from Video File on the Media 
    menu.
    This creates an audio clip in the Pool, but doesn’t add any events to the 
    Project window.
    Playing back a video file
    Video files are displayed as events/clips on the video 
    track, with thumbnails representing the frames in the film – 
    if “Show Video Thumbnails” is activated in the Prefer-
    ences dialog (Event Display–Video page).
    A video event on a video track.
    In the Track list and Inspector, you will find the following 
    options:
    !Please note that the cache file will not be automati-
    cally updated if a video file is edited. Whenever you 
    change a video file (e.g. in a video editing applica-
    tion), you need to create a new thumbnail cache file 
    manually, as described above. (To refresh the “real” 
    thumbnails of an edited video file, resize the video 
    track so that they are calculated again.)
    !The frame rate setting will change to that of the video 
    file and the project start time will be altered to reflect 
    the change in frame rate if needed. For example, 
    when switching the project frame rate from 30fps to 
    29.97fps, the start time will be changed so that all 
    the events currently in the project will remain at the 
    same positions in relation to realtime. If you want the 
    project start time to remain the same, you must man-
    ually change it back after clicking the “Get From 
    Video” button.
    !These functions are not available for mpeg video files.
    Button Description
    Lock When this is activated, the video event will be locked, see 
    “Locking events” on page 50.
    Show Frame 
    NumbersWhen this is activated, each thumbnail is shown with the 
    corresponding video frame number.
    Snap 
    ThumbnailsWhen this is activated, the individual thumbnail images 
    will be positioned exactly at their respective start time po-
    sition. Also, no more than one thumbnail per frame will be 
    shown, even if you zoom in a lot.
    Mute Video When this is activated, video playback will be stopped, 
    but playback of any other events in the project will con-
    tinue (to decrease the processor load). You may have to 
    use the Track Controls Settings dialog to make this but-
    ton visible in the Track list. 
    						
    							473
    Video
    To view the video on the computer screen (as opposed to 
    on an external monitor, see below), proceed as follows:
    Under Mac OS, first make sure that “Onscreen Window” 
    is selected in the Video Output section in the Device Setup 
    dialog (Video Player page).
    Pull down the Devices menu and select Video (or use a 
    key command – by default [F8]).
    A video window appears. In Stop mode, this displays the video frame at 
    the project cursor position.
    Playback of the video is performed together with all other 
    audio and MIDI material, using the Transport panel.
    Video quality in QuickTime
    When you are using QuickTime as video playback en-
    gine, you can activate high quality mode, by selecting 
    “High Quality” on the Video window context menu, or by 
    activating “Use high-quality video settings when available” 
    in the Device Setup dialog–Video Player page (in the 
    Video Properties section for QuickTime).
    If the QuickTime video was recorded with the corresponding quality set-
    tings, this will make the video display sharper and smoother. 
    Note that this will also lead to increased processor load.
    Setting the Window size
    If you are playing back video in a window on your com-
    puter screen, you may want to adjust the size. 
    For the QuickTime and DirectX player, you can drag the 
    borders, just like resizing other windows.
    You can also right-click in the video window to open the context menu 
    and select one of the Size options.
    For the DirectShow video player (Windows), open the 
    Device Setup dialog from the Devices menu, click Video 
    Player in the Devices list and use the buttons in the Video 
    Properties section to select a size.
    Playing back video in full screen mode
    When viewing video on the computer screen, you can 
    choose to let the video occupy the whole screen during 
    playback or in Stop mode:
    For DirectShow video, right-click in the video window to 
    switch to full screen. Right-click again to exit full screen.For DirectX and QuickTime, right-click in the Video win-
    dow to open the context menu and select “Full Screen 
    Mode”. Right-click again or press [Esc] on your computer 
    keyboard to exit full screen mode.
    Disabling Video Playback
    In the Track list and Inspector of a video track, there is a 
    Mute button. (Note that this can be hidden for the Track 
    list, see “Customizing track controls” on page 507.) When 
    you mute a video track, the video will not play and the 
    CPU resources it used will be freed up for other purposes. 
    When performing complex editing tasks that do not re-
    quire watching the video, temporarily muting the video 
    track can help speed up performance of Nuendo by re-
    ducing the strain on the CPU.
    Playing back a video file via FireWire (Mac OS X only)
    For Apple computers equipped with a FireWire port, you 
    can easily use this to connect to external video hardware, 
    as OS X has built-in video support for the most common 
    formats (NTSC/PAL/DVCPRO). FireWire is capable of 
    high data-transfer speed and is the most common stan-
    dard for communicating with video-related peripheral 
    equipment.
    To play back a video file via hardware connected to the 
    FireWire port, select “FireWire” on the Outputs pop-up 
    menu of the Device Setup dialog (Video Player page).
    When FireWire is selected as output, a number of format options appear 
    on the Format pop-up, allowing you to select between various video for-
    mats and resolutions.
    Adjust the Frame Offset value to compensate for DV 
    processing delays in the external device.
    Due to delays while processing DV video through the FireWire port, the 
    video image will be behind or later than the corresponding audio in Nu-
    endo. By using the Frame Offset parameter, you can compensate for this 
    effect. Each hardware setup could have different processing delays so 
    you must experiment to determine what value is appropriate. Usually, 7 
    frames is a good starting point. All values for the frame offset are positive 
    and indicate how many frames the video will be delivered earlier in order 
    to compensate for the processing time.
    ÖNote that there is a difference in the frame offset in 
    stop versus playback. The frame offset is defeated in stop 
    and scrub modes so that you can see the correct frame of 
    video since the processing delays are not an issue in 
    these modes. It is only used during playback when pro-
    cessing delays are noticeable. 
    						
    							474
    Video
    Playing back a video file using graphics cards (Windows 
    only)
    Multi-head graphics cards which support overlay function-
    ality can be used to display the video picture on an exter-
    nal TV or computer monitor in full screen mode. As of this 
    writing, the manufacturers nVIDIA and Matrox have work-
    ing solutions available. Check the card’s documentation 
    for information on how it handles video output and how to 
    set it up for multi-monitor display.
    Playing back a video file using video cards
    Video cards can also be used to display the video on an 
    external TV or computer monitor. As of this writing, e. g. 
    the “Decklink” card (Blackmagic) can be used. For further 
    information, check the documentation of the video card.
    Video playback preferences
    In the Preferences dialog (Event Display–Video page), 
    there are two options for video playback:
    Show Video Thumbnails.
    When this is activated, thumbnail frames of the video contents are shown 
    in the track.
    Video Cache Size.
    This determines how much memory is available for video thumbnails. If you 
    have long video clips and/or work with a large zoom factor (so that many 
    frames are shown in the thumbnails), you may have to raise this value.
    Replacing the audio in a video file
    Nuendo has a special function for replacing the audio in a 
    video file:
    1.Pull down the File menu and select “Replace Audio in 
    Video File”.
    2.In the file dialog that appears, locate and select the 
    video file on your hard disk, and click Open.
    A new file dialog appears.
    3.Locate and select the audio file that you want to insert 
    into the video file, and click Open.
    The audio is added to the video file, replacing its current audio track (if any).
    By combining the functions “Extract Audio”, “Export Au-
    dio Mixdown” and “Replace Audio in Video File”, you can 
    create a complete audio track for a video file.
    Project window and Browser editing 
    operations
    Video clips are played back by events just as audio clips 
    are. You can use all the basic editing operation on video 
    events, just as with audio events. The following operations 
    are not possible on the video track:
    Drawing, Gluing, Muting and Scrubbing.
    The video track has no editor and does not make use of 
    parts.
    Pool operations
    For information about operations on video clips in the 
    Pool, see the chapter “The Pool” on page 296.
    The Edit Mode
    Video playback follows the Nuendo transport, so that the 
    video frame at the current project cursor position is shown, 
    during playback and in Stop mode (e.g. if you move the 
    project cursor manually or use fast forward/rewind). Nu-
    endo has a special Edit Mode that makes use of this fact, 
    allowing you to edit audio while getting continuous visual 
    feedback on the video display:
    If you activate “Edit Mode” on the Transport menu, the 
    project cursor will automatically follow when you make se-
    lections or perform editing operations (such as moving, 
    resizing, adjusting fades, etc.).
    Since the video automatically follows the project cursor, you will instantly 
    get a visual feedback when you edit! This makes it very easy to e.g. move 
    an audio event to a certain spot in the video.
    To avoid obscuring the view, the project cursor will be 
    hidden from the event display in Stop mode if Edit Mode is 
    activated.
    However, it will still be shown in the ruler. 
    Listed below are three examples of how you can use Nu-
    endo’s Edit Mode for matching audio and MIDI to video. 
    						
    							475
    Video
    Adjusting the position of the audio event
    1.If required, set the snap point in the audio event so that 
    it identifies a significant point in the audio recording.
    This would be the position in the audio that you want to match to a cer-
    tain position in the video. If you don’t set the snap point, the start of the 
    audio event will be used instead.
    2.Activate Edit Mode on the Transport menu.
    3.Select the audio event.
    The project cursor position is automatically moved to the position of the 
    snap point.
    4.While watching the video display, move the audio 
    event towards the correct position.
    Since the project cursor automatically follows the snap point position 
    and the video automatically follows the project cursor, you just need to 
    move the event until the desired video frame is displayed!
    Adjusting the length of the audio event
    If you have a video section and an audio event for it, that 
    doesn’t quite fit, you can use time stretch to change the 
    length of the audio:
    1.Use the method described above to position the start 
    of the audio event at the correct position according to the 
    video.
    2.In Edit Mode, select the Range Selection tool and 
    double-click in the audio event.
    This creates a selection range that spans the whole audio event.
    3.Click the right edge of the selection range and drag to 
    adjust it to the desired length.
    While you are dragging, the project cursor position follows the right 
    edge of the range, allowing you to pinpoint the desired end position in 
    the video.
    4.Use “Locators to Selection” (on the Transport menu) 
    to set the locators to the selection range you just made.
    5.With the Arrow tool, select the audio clip to be 
    stretched.
    6.On the Audio menu–Process submenu, select “Time 
    Stretch”.
    7.Click the “Use Locators” button.
    The time stretch ratio is set up so that the audio event will fit the locator 
    range.
    8.Make the desired settings and click Process.
    The audio is stretched or compressed to fit the range.
    Creating fades
    If you want the audio to fade in, reaching full volume at a 
    certain position in the video, and fade out at another posi-
    tion, here is a quick way of achieving this:
    1.In Edit Mode, select the Range Selection tool.
    2.Make a selection range in the audio event, roughly 
    covering the section that should be played at full volume.
    3.Click and drag the edges of the selection range so 
    that they exactly correspond to the end of the fade-in and 
    the start of the fade-out, respectively.
    While you are dragging, the project cursor position follows the edge of 
    the range, allowing you to pinpoint the desired fade-in and fade-out po-
    sition in the video.
    4.Pull down the Audio menu and select “Adjust Fades to 
    Range”.
    The fade-in and fade-out handles of the audio events are automatically 
    adjusted.
    ÖWhen using the Fades handles of an audio event in 
    Edit Mode, the cursor will follow their position as well, al-
    lowing you to adjust fades to picture in this manner.
    !Make sure you don’t exceed the 75% to 125% limit!
    !This assumes that the audio event is already posi-
    tioned and sized correctly according to the video. 
    						
    							476
    Video
    Working with film transfers
    Frame rates
    Since Nuendo has been created from the ground up as a 
    total media production system, it must be capable of work-
    ing with all different types of video and film frame rates.
    Standard frame rates
    There are several frame rate standards in use today. They 
    are as follows:
     23.98 frames per second (23.98 fps) used for cinema film to 
    NTSC transfer.
     24 frames per second (24 fps) used for cinema film cameras.
     25 frames per second (25 fps) used for PAL/SECAM video 
    signals.
     29.97 frames per second (29.97 fps) used for NTSC video 
    signals.
     30 frames per second (30 fps) historically used for black and 
    white NTSC video signals. This frame rate is often used in:
    1) Music recording as a reference for synchronizing audio re-
    corders and MIDI sequencing devices. 
    2) Most field recorders also use 30 fps SMPTE during film 
    shoots at 24 fps so that after a 2-3 pull-down is performed for 
    NTSC video transfer, the frame rate becomes 29.97 fps.
    Film transfers
    When working with film projects, video post-production 
    editors typically transfer the film footage to video for use 
    with computer video editing systems. Once the film has 
    been edited, it can be transferred back to film for presen-
    tation in theaters or may remain in video format for televi-
    sion broadcast and release on videotape or DVD.
    Pull-up and Pull-down
    When film footage is transferred to video, the frame rate 
    must be converted from 24 fps to either 25 fps (PAL/SE-
    CAM) or 29.97 fps (NTSC). This process introduces a 
    slight speed change as a result of the mathematical rela-
    tionships between the different frame rates.
    The film to NTSC conversion is done as 2-3 pull-down 
    and the film is running at 23.98 fps to maintain the exact 
    2-to-3 relationship. (Result: The film is running ~0.1% 
    slower in NTSC TV.)The audio recorded along with the film must also have 
    these speed changes applied to it in order to remain in 
    sync with the picture once it has been transferred to 
    video. Sometimes the speed change is applied at the 
    same time as the film transfer and is recorded directly on 
    the videotape. This allows the video editor to hear the au-
    dio along with the transferred video while editing.
    These speed changes also result in pitch changes. Other 
    artifacts can also be added to the audio since direct digital 
    transfers from the field recorder to the videotape are not 
    possible since either sample rate conversion or an analog 
    transfer must be used as a result of the speed change.
    Most audio engineers therefore prefer to use the original 
    source material when working with film audio. Once the 
    original audio has been digitally transferred into Nuendo, 
    the speed change must be compensated for in order to 
    have the audio stay in sync with the video. Nuendo has the 
    flexibility to apply these speed changes to either the audio 
    or video independently to compensate for the speed 
    change. 
    When a specific speed change has been applied to either 
    audio or video, it is called a “pull-down” or “pull-up” de-
    pending on the direction of speed change. The specific 
    amount and direction of speed change depends on the 
    type of transfer the film underwent. Transfers to PAL/SE-
    CAM and NTSC each require a different speed change in 
    order to keep the audio in sync. These speed changes 
    arise during the Telecine process.
    The Telecine process
    A telecine machine is the device used to transfer film to 
    videotape. It transfers images from each frame of film to 
    frames of video in a very specific way. Having a clear un-
    derstanding of this process will help alleviate the confu-
    sion surrounding pull-up and pull-down sample rates and 
    keeping film audio in sync. 
    						
    							477
    Video
    Film frames vs. video fields
    One of the first things that needs to be understood is how 
    video signals are formatted in general. Each frame or sin-
    gle image of a video signal is composed of two video 
    “fields”, each containing half of the image. The first field 
    contains all the odd horizontal lines of resolution and the 
    second field contains the even horizontal lines of the im-
    age. This is called “interlacing” and is needed to minimize 
    the flicker effect that would result if the image was pre-
    sented all at once.
    Since the film frame is a single, complete image (like a 
    35mm photograph), there are no fields involved. The tele-
    cine machine must transfer part of the film image to one 
    field and then the rest to another field of video. This may 
    sound simple at first but as you will see, it can become 
    quite complex.
    Transferring film to PAL/SECAM video
    Film transfers to PAL/SECAM video are relatively straight-
    forward. Film runs at 24 fps and PAL video runs at 25 fps. 
    If you speed up film by roughly 4% (or 4.16
    %, to be pre-
    cise), it will be running at 25 fps. So, film transfers to PAL 
    video result in a 4% “pull-up” in speed. The audio must 
    also be pulled up by 4% in order to remain in sync with the 
    video.
    When properly done, the first frame of film will be trans-
    ferred to both fields of the first frame of video and so on. 
    All that is needed is the 4% increase in speed for this to 
    be a one-to-one transfer. 
    If the project is going to be returning to film for the final 
    presentation, the audio can be slowed back down to nor-
    mal speed when transferring back to film in order to pre-
    serve the fidelity and performance values of the original 
    material.
    Transferring film to NTSC video
    Transferring film at 24 fps to NTSC video at 29.97 fps 
    presents a few more difficulties than the PAL transfer. 
    Simply speeding up film to 29.97 fps would cause both 
    the visual and audio elements to become too fast and 
    high-pitched to be usable. There is no neat mathematical 
    relationship between 24 fps and 29.97 fps. Another 
    method was devised called the 2-3 Pull-down.
    What is 2-3 Pull-down?
    The 2-3 pull-down is a combination of speed change and 
    frame-to-field-counting that results in a smooth transfer to 
    NTSC video without any unwanted or noticeable pitch 
    changes in the audio. Here are the steps involved during 
    the process:
    1.The film speed is slowed or “pulled” down to 23.976 
    fps (-0.1%).
    At this speed there is a mathematical relationship between 23.976 and 
    29.97.
    2.The first frame of film is transferred to the first two 
    fields of video.
    3.The second frame of film is transferred to three fields 
    of video, the two fields of the second video frame and just 
    the first field of the third video frame.
    This is where the “2-3” part of the name comes from. Each alternating 
    frame of film is transferred to two fields of video then three fields of video 
    and so on. 
    !The only downside to PAL transfers is that a 4% in-
    crease in the speed will result in a 4% increase in the 
    pitch as well! This could affect the perception of a 
    character’s delivery of a line or the timbre of sound 
    effects or musical tonalities. If the final project is to 
    remain in the video format, pitch-correcting this 
    anomaly might be desired.
    !Transferring film to PAL/SECAM video requires a 
    4% pull-up in speed for both the picture and sound 
    elements. 
    						
    							478
    Video
    4.The third film frame is transferred to the second field of 
    video frame three and the first field of video frame four.
    This is a block diagram of the 2-3 pull-down process. Notice that 4 
    frames of film are transferred to 5 frames of video using the 2-3 field 
    technique.
    5.The remaining film frames are transferred in this man-
    ner, alternating between 2 and 3 fields of video, until the 
    end of the transfer.
    After four frames of film have been transferred this way, an even five 
    video frames will be created. Over the course of one second, 24 frames 
    of film and 30 frames of video will have gone by. Since they are running 
    at -0.1%, the actual frame rate is 29.97 video frames per second, the 
    NTSC standard.
    It is important to have a clear understanding of 2-3 pull-
    down in order to make accurate decisions regarding audio 
    pull-down and video pull-up when working with NTSC film 
    transfers in Nuendo. Film speed is faster than NTSC video 
    speed. When the audio is pulled down, it allows production audio 
    (DAT tapes or files from a field recorder) from a film shoot 
    to play in sync with NTSC video. Even though 29.97 fps is 
    a faster frame rate than 24 fps (film speed), the video is 
    running -0.1% slower than the original film due to the 2-3 
    transfer process and hence the need to slow the audio 
    down a bit.
    Compensating for film transfers to 
    video
    When working with film transfers to video, it is necessary 
    to compensate for the change in speed that results from 
    the telecine process. With Nuendo, there are two basic 
    ways this can be done. The first is by adjusting the play-
    back speed of the audio to match the speed of the video. 
    The second is to adjust the speed of the video file to 
    match the original speed of the film and production audio 
    in Nuendo.
    Adjusting audio playback speed
    When adjusting audio playback speed to match the video, 
    there are two scenarios based on the two video formats 
    that film is transferred to, NTSC and PAL/SECAM. Since 
    the telecine process for each video format results in differ-
    ent speed changes, there are two types of playback ad-
    justments possible. For NTSC, the speed change is down 
    -0.1%. For PAL/SECAM, the change is up +4.1667%.
    !Many video editors working with NTSC video refer to 
    30 fps as “film speed” as opposed to 24 fps. The 
    reason for this is if you speed NTSC video (29.97 
    fps) up by 0.1%, you are running at the same speed 
    as the original film at 24 fps. Conversations regard-
    ing this can often get very confusing. Make sure you 
    have a clear understanding of the material you are 
    working with when dealing with film transfers and 
    frame rates. It will avoid many mistakes and save time 
    in the long run. 
    						
    							479
    Video
    Audio pull-down -0.1% (NTSC)
    When working on a film project that has been transferred 
    to NTSC video, most audio engineers prefer to use the 
    original source tapes from the film shoot in order to retain 
    the highest quality and fidelity. Audio that has been trans-
    ferred to the videotape during the film transfer has suf-
    fered a generation loss and speed change.
    Since the video is running -0.1% slower than the original 
    film, the audio must also be slowed down by the same 
    amount as the film in order to remain in sync. 
    To slow down audio playback in Nuendo, an external sam-
    ple clock source will be needed to “pull” the clock speed 
    down by 0.1%.
    Your audio card must be set to external sync and con-
    nected to the clock device via Word Clock, VST System 
    Link or some other clocking method for this to work.
    Since the video and audio playback speeds are indepen-
    dent in Nuendo, the video will remain at the same speed 
    while the audio is slowed down (pulled down). This will 
    ensure that the production audio and film transfer will re-
    main in sync.
    You may receive an OMF, AES 31 or OpenTL file that 
    contains audio from the original source tapes conformed 
    to the edited video or you may have to record the source 
    tapes into Nuendo yourself. Either way, you have audio in 
    Nuendo that is edited to the picture but will not stay in 
    sync with the video unless you pull down the sample rate. 
    The idea is that when you have completed the audio mix 
    for your film project, the video will be sped back up to film 
    speed for the final transfer back to film and your audio mix 
    can then be played at the standard 48 kHz sample rate 
    (no pull-down) and will remain in sync with the picture.Using this method preserves the quality of the original au-
    dio recording made during filming and allows for a digital 
    mixdown transfer at film speed without any generation 
    loss or sample rate conversion.
    Audio Pull-up +4.1667% (PAL/SECAM)
    Audio pull-up (+4.1667%) is the same concept applied to 
    PAL/SECAM video transfers. Since the film is sped up by 
    4.1667% during transfer, audio in Nuendo must be run-
    ning at +4.1667% speed in order to remain in sync with 
    the video during editing and mixing. 
    In this case, the external clock must be set to +4% 
    varispeed. 
    Once the project is complete, Nuendo’s sample clock can 
    be returned to normal (48 kHz) for the final mixdown at film 
    speed. Once again, this allows for a digital transfer of the 
    final master at the correct speed for theatrical presenta-
    tion.
    Non-standard audio pulls
    It is also possible to use pulled sample rates that do not fit 
    one of the above scenarios. These sample rates would 
    only need to be used in exceptional circumstances when 
    an error has occurred elsewhere in the process of making 
    a film. These settings could be used to correct for sync er-
    rors made at another studio or problems with video editing 
    systems. Just about anything is possible. 
    -4% Pull-down
    If a film project was transferred to PAL/SECAM video and the audio ed-
    iting and mixing was performed at video speed (48 kHz) without using 
    audio pull-up, the final mix would be running at video speed not film 
    speed. In this case a -4% pull-down could be used to correct this and 
    get the audio running at film speed again. The downside to this is that the 
    final transfer to film would have to either be analog or through a sample 
    rate converter in order to be recorded with the film.
    +0.1% Pull-up
    This pull-up is not normally used except in situations similar to the one 
    described above but for NTSC video. It could be used to correct the 
    speed of a project finished at video speed (without pull-down) prior to 
    transferring it to film. Since film is moving 0.1% faster than NTSC video, 
    the audio mix could be sped up to film speed using +0.1% pull-up for the 
    transfer.
    !When you are running at a non-standard sample rate 
    (47.952 kHz = 48 kHz pull-down), digital transfers 
    into Nuendo from external equipment must be made 
    with the external equipment locked to the same sam-
    ple clock as your audio card. Most devices are capa-
    ble of a 0.1% change in sample rate and will function 
    normally. 
    !Any audio mixdowns that are exported from Nuendo 
    when the sample clock is pulled down, will play back 
    in other applications and devices faster since that 
    sample clock will be running at the standard 48 kHz.
    !Devices such as the Rosendahl Nanosync are capa-
    ble of varispeed and have presets for the 4.1667% 
    necessary with PAL film transfers and the -0.1% for 
    NTSC. 
    						
    							480
    Video
    Other pull-up/pull-down options
    There may be other scenarios where non-standard pull-ups and pull-
    downs can be used to correct mistakes. Nuendo provides further pull-
    up/pull-down options for such situations in the Project Setup dialog and 
    the respective section in the Project Synchronization dialog (see below).
    Timeline adjustments when using pull-ups or pull-downs
    When the audio clock of your audio card is being slowed 
    down or sped up from an external clock source, Nuendo 
    has no idea that it is running slower or faster than normal. 
    The time displays (minutes:seconds, timecode) will be-
    come inaccurate since they are based on a sample count, 
    not the independent clock source.
    Nuendo provides an adjustment of the timeline to com-
    pensate for these changes. This setting is found in the 
    Project Setup dialog:
    The Pull-up/Pull-down pop-up menu in the Project Setup dialog.
    Whenever you apply an audio pull to Nuendo from an ex-
    ternal clock, you should also set this menu to the appropri-
    ate choice. This allows Nuendo to recalculate the sample 
    count to reflect the adjusted sample rate. 
    For example, if the setting is switched from no pull-down to 
    -0.1% pull-down, events in the timeline will appear longer 
    since the sample rate has been slowed down. The event 
    display will show the accurate length of events relative to 
    timecode, minutes and seconds. The project setup info 
    line at the bottom of the Nuendo Track list will also indicate 
    whether pull-up or pull-down is applied to this project.
    Moving events
    When you change the setting in the Pull-up/Pull-down 
    pop-up menu and there are events already in the timeline, 
    Nuendo prompts you to choose whether or not to keep 
    the original sample start times or not.
     Selecting “No” allows events to follow the timecode and min-
    utes:seconds clock change and remain at their SMPTE start 
    times.
     Selecting “Yes” forces Nuendo to leave events at the same 
    sample start time regardless of the clock speed change.
    Video Pull-up and Pull-down
    Nuendo also provides a method to adjust for film transfers 
    by speeding up or slowing down playback of the video 
    files in your project. Depending on the situation, it can be 
    helpful to make the video file playback at film speed and 
    not adjust the audio playback at all.
    Adjusting the video playback speed back to film reverses 
    the process used when adjusting audio playback speed. 
    For NTSC video, the video playback speed must be ad-
    justed up +0.1% back to film speed. 
    Altering the video playback speed is done in the Device 
    Setup dialog (Video Player page). You have two options: 
    0.1% pull-up and 0.1% pull-down.
    !All the examples used here are with 48 kHz as the 
    standard sample rate for the film and video industry. 
    However, it is possible to accomplish the same tasks 
    using 44.1 kHz, 88.2 kHz, 96 kHz (this is double the 
    standard sample rate and commonly used for higher 
    fidelity), 176.4 kHz and 192 kHz, provided you have 
    an external clock device capable of pulling these 
    higher sample rates.
    !Nuendo does not offer a video pull-down for PAL/
    SECAM since the -4% speed change necessary ex-
    ceeds the video player’s capacity for varispeed. 
    						
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