Steinberg Nuendo 5 Manual
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531 Video 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 back 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 speed changes in Nuendo In Nuendo, there are two basic ways to compensate for speed changes due to film transfers. The first is by adjust - ing the playback 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. Be - cause the telecine process for each video format results in different speed changes, there are two types of playback adjustments possible. For NTSC, the speed change is down -0.1 %. For PAL/SECAM, the change is up +4.1667 %. 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. Because the video is running -0.1 % slower than the orig- inal film, the audio must also be slowed down by the same amount as the film in order to remain in sync. In most cases, to slow down audio playback in Nuendo, an external sample clock source will be needed to “pull” the clock speed down by 0.1 %. For this to work, your audio card must be set to external sync and connected to the clock device via word clock, VST System Link, or some other clocking method. Fur - thermore, you have to “tell” Nuendo that it is being syn- chronized with an external clock source. This is done in the Device Setup dialog, see “Selecting a driver and mak- ing audio settings in Nuendo” on page 19. Because 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 ensures that the production audio and film transfer remain in sync. Either you receive an OMF, AES 31, or OpenTL file that contains audio from the original source tapes conformed to the edited video or you have to record the source tapes into Nuendo yourself. In both cases, you have audio in Nu - endo that is edited to the picture but will not stay in sync with the video unless you pull down the sample rate. !Many video editors working with NTSC video refer to 30 fps as “film speed” as opposed to 24 fps. The rea- son 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 regarding this can often get very confusing. Make sure that 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. !When Nuendo is running at a non-standard sample rate (47.952 kHz = 48 kHz pull-down), digital trans- fers into Nuendo from external equipment must be made with the external equipment locked to the same sample clock as your audio card. Most devices are ca - pable of a 0.1 % change in sample rate and will func- tion 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 because that sample clock will be running at the standard 48 kHz.
532 Video 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. Because the film is sped up by 4.1667 % during transfer, audio in Nuendo must be running 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 rate can be returned to normal (48 kHz) for the final mixdown at film speed. Once again, this allows for a digital transfer of the fi - nal master at the correct speed for theatrical presentation. 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 can 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 can be used to correct this and get the audio running at film speed again. The downside to this is that the fi -nal transfer to film would either have to 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 de- scribed above but for NTSC video. It can be used to correct the speed of a project finished at video speed (without pull-down) prior to transferring it to film. Because film is moving 0.1 % faster than NTSC video, the audio mix can be sped up to film speed using +0.1 % pull-up for the transfer. •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 Setup dialog (see below). Adjustments in Nuendo when applying audio speed changes When the audio clock of your audio card is being slowed down or sped up from an external clock source, Nuendo cannot know that it is running slower or faster than normal. The time displays (minutes:seconds, timecode) will be - come inaccurate because they are based on a sample count, not the independent clock source. Nuendo provides an adjustment of the timeline to compen- sate for these changes. This setting is found in the Project Setup dialog as well as in the Project Synchronization Setup dialog in the “Project Setup - Time” section. !Steinberg’s Nuendo SyncStation is capable of varispeed and has presets for the 4.1667 % neces- sary with PAL film transfers and the -0.1 % for NTSC. !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.
533 Video ÖIt makes no difference whether you make your Audio Pull-up/Pull-down settings in the Project Setup dialog or the Project Synchronization Setup dialog. If you use the Project Synchronization Setup dialog, your adjustment is reflected in the Project Setup dialog, and vice versa. Whenever you apply an audio pull to Nuendo from an ex- ternal clock, also set “Audio Pull-up/Pull-down” to the corresponding setting. 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 on the timeline will appear longer because the sample rate has been slowed down. The event display will show the accurate length of events rela - tive to timecode, minutes, and seconds. ÖIn the Project window, the status line below the tool- bar also indicates whether Audio pull-up or pull-down is applied to this project. When you change the setting for Audio Pull-up/Pull-down and there are audio events in the timeline already, Nuendo prompts you to choose whether or not to keep the original sample start times. •Select No to let the events follow the timecode and min- utes:seconds clock change and remain at their SMPTE start times. •Select Yes to force 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 play back 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 Project Synchronization Setup dialog (“Project Setup - Time” sec - tion). You have two options: 0.1 % pull-up and 0.1 % pull- down. Video +0.1 % pull-up for NTSC Because NTSC video is running -0.1 % slower than the original film, pulling the video speed back up by +0.1 %, returns it to original film speed. With the video now run - ning at the correct film speed, audio originally recorded at 48 kHz on the film shoot will remain in sync with the video. Additionally, the final mix can be digitally transferred back to film at 48 kHz without the need for an analog copy or sample rate conversion. Video -0.1 % pull-down (non-standard) Pulling the video speed down for an NTSC video is a non- standard procedure and would not happen under normal circumstances. It is possible to pull down a video file that is running at 24 fps -0.1 % so it matches with material run- ning at NTSC video speed. The resulting frame rate is 23.976 fps. ÖSpeeding up or slowing down the video speed is only possible if the video is running through a “computer video card”. If a professional genlocked video card is used, the video playback speed is derived from the genlock input.
534 Video What is 23.976 fps used for? The world of digital video formats is ever changing and the results are new developments for every media professional involved in movies, television, corporate video, and more. With the advent of HD cameras that are capable of record - ing at several different frame rates internally, the options available to cinematographers have become staggering. Because the look of film running at 24 fps is unique, many HD productions are filmed at 24 fps to mimic the look of film on video. Because the speed change from 24 fps to 29.97 fps NTSC is such an odd one (requiring the 0.1 % pull-down), designers of these cameras have developed a method of recording that allows the camera to record like film but also output a NTSC video signal at the same time without any speed change. They record at 23.976 fps which translates to 24 fps pulled down -0.1 %. Working with video tape recorders Whenever you are interfacing Nuendo with external hard- ware, some additional computer hardware may be neces- sary. In the case of using video tape recorders (VTRs) with Nuendo, a device capable of dealing with SMPTE time - code, word clock, video reference clock, MIDI machine control, and Sony 9-Pin machine control protocols will be needed. The most important aspect of working with VTRs is the ability to maintain the best possible synchronization be - tween Nuendo and the tape machine. Using a device such as Steinberg’s SyncStation will provide the best results. Regardless of your hardware setup, Nuendo will have to be configured to synchronize with the VTR. For further informa - tion on how to synchronize Nuendo with external equip- ment, see the chapter “Synchronization” on page 496. Tips There are so many variables within the boundaries of a multi-media project that only years of experience can cope with all of them. However, here are a few tips and good ideas you can use to help eliminate some common issues. Preproduction planning The most important tip for making postproduction go smoothly for a TV commercial, feature film or even Internet media creation is good use of preproduction planning. Try and meet with all the people involved in a project prior to starting in order to decide how the work will flow once you get into postproduction. Determining frame rates for film and video, film transfer issues, what format the location audio will be recorded in, delivery formats and other de - tails including a working copy of the script will be invalu- able to any postproduction audio professional. TC Burn-In The timecode burn-in window (BITC) is a section of the video image that contains timecode numbers for each frame of video from the original video editor. Using this, it is possible to align a video perfectly in Nuendo so that all the timecode numbers line up exactly. Timecode burn-in window in a video image
536 Audio editing to picture Introduction Nuendo has been designed from the ground up as a pro- duction tool with features that are catered to working with video and film. The depth and versatility of Nuendo’s de - sign allow you to work very precisely and yet retain the freedom and ease that allows greater creativity in creating music and sound design for film and video. In this chapter, real world situations that you would en- counter while working with video will be explained. These include the preparation of a video project, the addition of sound design elements, the conforming of audio material to picture changes, and the creation of tempo maps that are synchronized with video for use in scoring music to picture. Finally, the editing tools in Nuendo will be dis - cussed as they relate to video postproduction techniques. Video timeline and the grid When working with video, every audio event and part is synchronized to the picture. Unlike music editing with an even grid of bars and beats to work with, video uses a much smaller increment of time as a basic grid: video frames. Since there are a finite number of video frames in each video, the frame becomes the basic measuring block for editing. Video frames are numbered using SMPTE timecode. De- pending on the frame rate of the video, there will be a cer- tain amount of frames per second and then 60 seconds per minute, and 60 minutes per hour. SMPTE is displayed using colons to separate each division of time. SMPTE timecode in the Time Display: showing 1 hour, 3 minutes, 47 seconds, 12 frames, and 25 subframes. Film frames can be displayed as SMPTE numbers or in feet and frames (a traditional method used by film editors). Nuendo also offers a user-definable frame rate for special - ized frame rates including Varicam HD video. For more in- formation on all the frame rates and time displays available, see “Frame rate (speed)” on page 498. Subframes and days Nuendo can also display the time between frames by us- ing the subframe division which divides each frame into 80 subframes. Subframes appear separated from frames by a period. In order to see subframes displayed you must activate “Show Timecode Subframes” in the Preferences dialog (Transport page). If this is activated, subframes will be displayed wherever timecode is shown including the Transport panel, Project window, dialogs, Project Browser, Pool, and the SMPTE Generator plug-in. In case a project crosses the 24 hour mark, Nuendo will automatically display a day number to the left of the SMPTE display separated by a space, no colon. It can be necessary to use days in timecode even when the project is shorter than 24 hours. For example, during live events that take place in the evening, if the central timecode gen - erator for the event is running “time-of-day” SMPTE that correlates to the actual time on the clock, the time display may cross the 24 h mark at midnight. In that case, all time- code values after midnight will have a “1” displayed in the days position. Time-of-day SMPTE that has crossed midnight or the 24 hour mark shows the day number “1” to the left of the SMPTE value. Note that subframes are not displayed in this image. Drop-frame SMPTE Drop-frame timecode is used for the 29.97 fps frame rate used by the NTSC video standard and the 30 fps frame rate. Since this frame rate does not correlate exactly to the actual time passing on the clock, a system has been de - vised that omits certain frame numbers in order to match the displayed time with the time of day. Nuendo distin - guishes this frame count by separating the frame number with a semicolon instead of a colon. When you see time - !In the Project Setup dialog, make sure that the frame rate of the project matches that of the video. It is possible for Nuendo to detect the video frame rate for you, see the chapter “Video” on page 520.
537 Audio editing to picture code displayed anywhere in Nuendo with a semicolon, you are using drop-frame timecode. This is the only indi - cation besides looking at the Project Setup dialog, that you are using drop-frame timecode. Drop-frame SMPTE timecode display with frames separated by a semicolon. When the Project window’s time display is set to time- code, the grid options change. The choices are: • Subframe (1/100th of a frame) • 1/4 frame (25 subframes) • 1/2 frame (50 subframes) •1 frame •2 frames • 1 second These grid options allow editing, nudging and moving of events, fades and automation data in increments that re - late to the video frames you can see. Conforming production audio Conforming audio to picture describes the process of ed- iting and placing audio files in sync with the video. Once you have imported your video file or synchronized Nuendo with a VTR or other external video playback system, the next step is to get production audio imported and running in sync with the video. Production audio refers to any sound that was originally recorded during the filming or video taping process. This includes sounds and music added by the video editor in order to get an idea of the fin - ished product. Audio coming from a video editing session can come in a variety of formats. How to match the audio timecode val - ues of these different formats to those used by the video editing suite will be described in the following sections. Reference audio Reference audio can be any audio that has been assem- bled and mixed in the video editing suite, usually as a guide for audio editors. It may be embedded in a video file, be a separate audio file or be recorded on tracks of a video tape recorder (VTR). If the audio file is available in the Pool or the MediaBay, proceed as follows to conform it to the video file: •Open the Media menu and select the “At Timecode Po- sition…” option from the “Insert into Project” submenu. A window opens, where you need to enter the timecode value corre- sponding to the beginning of the video file. The reference audio file then lines up with the video file. •Provided that the video file was inserted at the original timecode position and that the audio file contains origin timecode information, you can also use the “At Origin” command from the “Insert Into Project” submenu. If you have already imported your audio file onto a track, proceed as follows to conform it to the video file: •Activate the Snap On/Off button, open the Snap Type pop-up menu, and select “Events”. When you now drag the audio event to the start of the video event, the two events are aligned automatically. Once the reference audio file has been inserted into posi- tion, check the sync of audio to video throughout the length of the project. If there are any issues, it is best to fix them before you go on editing. Problems with timecode frame rates, sample rates and synchronization to external tape machines can wreak havoc on a production if they are discovered late in the process. Multi-channel media Multi-channel media can contain multiple tracks of audio edited by the video editing suite. Multi-channel media in - terchange formats help you get the audio from one work- station to another. This is useful, when the audio edited by the video editor is complex and has elements that you want to use in the final project. Nuendo is capable of han - dling OMF, AAF, OpenTL, and AES31 files for this type of exchange.
538 Audio editing to picture The most commonly used format, the OMF file, comes in two basic formats: files with embedded audio and files that refer to external audio media. Both formats store infor - mation about where to place each piece of audio in the timeline. Each format has its strengths and weaknesses and the choice of which one to use will depend on the cir - cumstances, see “File handling” on page 552. After importing the OMF, align your video file to play in sync with the OMF audio. Here is where any reference au - dio embedded in the video file will come in handy. By lis- tening to both the OMF audio and reference audio tracks, you will easily be able to tell if everything is in sync. Since the OMF audio was created during the video edit, its timecode values should be correct. Adjusting the posi - tion of the video and reference audio to match the OMF audio would be the common method of aligning the two together. To ensure that the video event and reference au - dio events remain in sync with one another during editing, group them or move them into a folder track and move the folder track events. ÖWhen aligning reference audio from a video file to im- ported OMF audio, try panning the reference audio to one side and the OMF audio to the other. This makes it easier to discern whether one source is ahead of the other as they get closer to perfect sync. A comb filtering effect can be heard when two identical sources become very close in sync with one another. Once the OMF audio is imported and all video and audio events are synchronized together, you are ready to begin adding new elements and creating the complete sound - track. EDLs EDLs (Edit Decision Lists) are lists of edits created by the video editing suite. These text files contain timecode and source tape information that can be used to align audio events to a reference video file in Nuendo. Each step de - scribes a complete editing task including: • The type of edit (audio, video or both). • The source material (tape number, audio file name or video file name). • The start and ending source timecode values. • The start and ending destination timecode values. The source material must have correct timestamps in or- der for the EDL timecode values to be valid. This can be achieved using timecode DAT machines, video tape ma - chines, or field recorders, provided that the device is able to create audio files with embedded timestamps. The files can then be directly imported in Nuendo and placed in the project “at origin”. When using a video tape machine, Nu - endo has to be synchronized to the machine in order to record audio into the project at the correct timecode posi - tions, thereby giving the audio files the correct times- tamps. The information contained in the EDL can be used in Nu- endo to place audio events in the Project window at the specific timecode positions that correspond to the edits made in the video editing suite. Depending on the length of the program material and the number of edits, this pro - cess can be time-consuming but also allows for the most precise control over the source material and synchroniza - tion. Since original source tapes and recordings are used, the maximum quality of those recordings can be maintained. To conform an EDL edit, proceed as follows: 1.Create a folder track for the source material. Having all your source material in one consolidated area will lessen con- fusion later in the process. 2.Create an audio track for each source tape. For DAT and video tape machines, having a separate track for each tape will prevent overlap of audio with the same timecode values and also keep things organized. 3.Name each track the same name as the source tape it comes from. Each audio file you record on that track gets the name of the source tape it came from. 4.Make sure that Nuendo is synchronized to the tape machine. This ensures that the audio file is placed at the correct timecode position in the Project window. 5.Record all the significant portions of each source tape into Nuendo. If only a portion of a source tape is used in the EDL, record that section into Nuendo.
539 Audio editing to picture 6.Import any audio files from a field recorder, open the Media menu and from the “Insert into Project” submenu select “At Origin”. Create as many tracks as necessary to prevent overlaps. Once the file has been placed “at Origin”, it can be used as a source for EDL conforming. An excerpt from a CMX EDL 7.Use the Range Selection tool to create a selection on the proper source track based on the two source time - code values. This can be done via manual entry in the info line. In this example, enter 00:21:29:19 for the range start and 00:21:35:21 for the range end. 8.Open the Edit menu and select Copy. The source material is copied into the clipboard. 9.Use the Range Selection pop-up menu to switch range selections. Using the two different range selections (A and B) will keep the source and destination times separate (see also “The Range Selection pop-up menu” on page 78). This is similar to a four-point editing model used by many video and audio editors, see “Four-point editing with the Range Selection tool” on page 540. 10.With the Range Selection tool, create a selection on a destination track using the two destination timecode values. This can be done via manual entry in the info line. It is only necessary to de-fine the destination in timecode since the paste function will automatically place an audio event of the correct size as determined by the source range. ÖThe amount of destination tracks should be deter- mined by the number used in the EDL. Some EDL formats only allow the use of 4 destination tracks. Your needs may vary according to the project itself. The main concern is getting the audio events in sync with the video. Once that is completed, placing audio events on various tracks is up to the user. 11.Open the Edit menu and select Paste. This places the source material at the destination location. Check for sync with the video and reference audio. 12.Repeat as needed until the entire EDL is conformed. Depending on the size of the EDL and number of edits, this process may take some time to be completed. Once you have successfully imported video and reference audio and conformed any production audio to the video, you are ready to begin adding new sound elements and creating the final soundtrack. Adding sound design elements Sound design elements can come from a variety of sources including sound effect libraries on CD or hard drives, field recordings and even the production audio source tapes. In order to add these sounds to your project, they must be im - ported into the Pool or recorded into Nuendo from a tape machine. ÖCreate various folders within the Pool to help organize all the sound files used in your Project. With feature length films, the amount of audio can be staggering. Finding spe - cific audio files can become daunting quickly unless you properly organize your project. Nuendo’s MediaBay is de - signed to help you organize all your sound files so that they are instantly accessible to you and can be quickly searched. Placing events to picture Select one of the following methods to place your audio events to picture: •Select the audio file in the Pool, open the context menu and select the “At Timecode Position” command from the “Insert into Project” sub-menu. The audio event is inserted at the specified timecode position on the top- most selected track in the Project window. The right timecode number could come from an EDL or a cue list created earlier or from a locator po -sition or marker. •View the video using the shuttle and scrub tools, set the left locator at the position where you want to place the au - dio event and set the cursor to the left locator. Select the audio file in the Pool, open the Media menu and from the “Insert into Project” submenu select the “At Cursor” op - tion. •Activate the Edit Mode on the Transport menu, drag the audio events out of the Pool and place them on a track. Edit Mode will cause the video to follow the event as you move it in the Project window. Drag the event to the right video frame. You can use the Snap function to keep the audio event lined up with each timecode frame as you drag it into position.
540 Audio editing to picture •Use four-point editing with the Range Selection tool. This is described below. Four-point editing with the Range Selection tool It is often necessary to go through a large sound file to find a specific sound effect. This is especially true for field recordings with multiple takes of each sound and dead air time in between. In this situation, it might be best to set up an area in the project consisting of several “work” tracks that can be used to sort out various sound files and pre - pare them for use in the final soundtrack. Using the Range Selection tool, a four-point editing model can be used to cut out ranges of the work tracks and paste them onto the proper tracks lined up with specific video frames. Proceed as follows: 1.Create a folder track and name it “Work Tracks”. This folder track will host several audio tracks that can be used as a scratch pad for editing sound effects and preparing them for use in the project. 2.Create several tracks to work on. You might need mono, stereo, and 5.1 audio tracks depending on the source material you are working with. A folder track with four stereo work tracks can be used to edit various sound files before they are placed to picture. 3.Drag the various audio files onto these work tracks. Many sound effects libraries contain several versions of a particular sound effect. These can be auditioned and chosen directly on the work tracks. We recommend to place them at a time in the project that is after the end of the program material. This prevents your work tracks from get - ting inadvertently included in the final mix. 4.With the Range Selection tool, select the audio you want to use with the picture and press [Ctrl]/[Command]- [C] to copy it to the clipboard. You can place several sound effects lined up together and select them all with the Range Selection tool for editing. Selecting the desired sound effect with the range selection tool using selection A. 5.Use the Range Selection pop-up menu to switch range selections. Switching the range to selection B. 6.Define the destination range for selection B. Using the key commands [E] (Left Selection Side to Cursor) and [D] (Right Selection Side to Cursor), you can define the range selection on the fly while watching the video. 7.Press [Ctrl]/[Command]-[V] to paste the clipboard data to the new location. Note that you can set up a macro that combines the copy and paste pro- cesses. This can considerably speed up your work. One very handy feature in using selections A and B is the ability to retain the view of each selection. If your work area is far away from the edit insertion point in the video (A is far away from B), zooming in closely to either location will leave the other outside the Project window viewing area. Chang - ing selections between A and B will also cause the viewing area of the Project window to switch between the two loca - tions instantly. This is really the key to this technique, allow- ing you to move quickly between source and destination audio while retaining two selections for editing.