Steinberg Nuendo 3 New Features In 3.1 And 3.2 Manual
Have a look at the manual Steinberg Nuendo 3 New Features In 3.1 And 3.2 Manual online for free. It’s possible to download the document as PDF or print. UserManuals.tech offer 523 Steinberg manuals and user’s guides for free. Share the user manual or guide on Facebook, Twitter or Google+.
NUENDO Working with the new features 101 • For this to work, the Master project has to have been saved once. If the project was not saved before being unexpectedly disconnected, the set- tings are lost and the participants cannot be automatically reconnected. • Please note that if you are unsure about the state of connection, it might be a good idea to unshare the project and to submit it as new Network project, in order to avoid conflicts (see also the description of the “Verify communication” function in the “Networking” pdf document). About the Marker track The Marker track is now included in the shared project, i.e. when shar- ing a project, other users can see the marker track and the marker in- formation created for this project when selecting the Markers option in the Project menu. For the marker track you can also display the net- work control buttons in the track list. The Transfer Status window The Transfer Status window, which can be used to monitor the trans- fer of data to or from the network, now features Cancel buttons for each of the transfer operations. Use these buttons to stop any transfer operations.
NUENDO 102 Working with the new features General improvements Recovery of audio recordings after system failure Stability and reliability of Nuendo have further improved with the re- lease of version 3.1. Normally, when a computer crashes, all changes made to your current project since you last saved it will be lost. Usually, there is no quick and easy way to recover your work. With Nuendo 3.1, when your system crashes while you are recording (because of a power cut or other mishap), you will find that your re- cording is still available, from the moment when you started recording to the time when your computer crashed. When you experience a computer crash during a recording, simply re- launch the system and check the project record folder (by default this is the Audio subfolder inside the project folder). It should contain the audio file you were recording at the time of the crash. Please note: This new feature does not constitute an “overall” guarantee by Steinberg. While the program itself was improved in such a way that audio recordings can be recovered after a system failure, it is always possible that a computer crash, power cut, etc. might have damaged any other component of the computer, making it impossible to save or recover any of the data. Warning: Please do not try to actively bring about such a situation to test this new feature. Although the internal program processes have been improved to cope with such situations, Steinberg cannot guarantee that other parts of the computer may not be damaged as a consequence.
NUENDO Working with the new features 103 About frame rates In addition to the current frame rates, you can now select the frame rates 23.976, 24.976, 59.94 and 60 fps on the Frame Rate pop-up menu in the Project Setup dialog. These are used in the HDTV context. Working with joysticks When you have a joystick connected to your system, but do not want to use it with Nuendo, you can now deactivate it: 1.Open the Device Setup dialog from the Devices menu. 2.Select the device in the list to the left in the dialog. The corresponding settings are shown to the right. 3.You can now activate/deactivate the joystick by activating or deacti- vating the respective dialog option.
NUENDO 106 Working with film transfers Background Framerates Since Nuendo has been created from the ground up as a total media production system, it must be capable of working with all different types of video and film framerates. Standard framerates There are several framerate 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 framerate is often used in: 1) Music recording as a reference for synchronizing audio recorders 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 framerate 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 presentation 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 framerate must be con- verted from 24 fps to either 25 fps (PAL/SECAM) or 29.97 fps (NTSC). This process introduces a slight speed change as a result of the math- ematical relationships between the different framerates. 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.)
NUENDO Working with film transfers 107 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 ap- plied at the same time as the film transfer and is recorded directly on the videotape. This allows the video editor to hear the audio 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 mate- rial when working with film audio. Once the original audio has been digitally transferred into Nuendo, the speed change must be compen- sated 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” depending 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/ SECAM and NTSC each require a different speed change in order to keep the audio in sync. These speed changes arise during the Telecine process.
NUENDO 108 Working with film transfers 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 understanding of this process will help al- leviate the confusion surrounding pull-up and pull-down sample rates and keeping film audio in sync. Film frames vs. video fields One of the first things that needs to be understood is how video sig- nals are formatted in general. Each frame or single 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 image. This is called “interlacing” and is needed to minimize the flicker effect that would result if the image was presented all at once. Since the film frame is a single, complete image (like a 35mm photo- graph), there are no fields involved. The telecine machine must trans- fer 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 be- come quite complex. Transferring film to PAL/SECAM video Film transfers to PAL/SECAM video are relatively straightforward. 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 precise), 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 transferred 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. The only downside to PAL transfers is that a 4% increase in the speed will result in a 4% increase in the pitch as well! This could affect the per- ception 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, then pitch correcting this anomaly might be desired.
NUENDO Working with film transfers 109 If the project is going to be returning to film for the final presentation, the audio can be slowed back down to normal speed when transfer- ring back to film in order to preserve the fidelity and performance val- ues of the original material. Transferring film to PAL/SECAM video requires a 4% pull-up in speed for both the picture and sound elements. 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 de- vised 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.
NUENDO 110 Working with film transfers 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.