Steinberg Nuendo 4 Getting Started Manual

							101
Audio editing to picture
When you see timecode displayed anywhere in Nuendo 
with a semi-colon, you are using drop-frame timecode. 
This is the only indication besides looking at the Project 
Setup dialog, that you are using drop-frame timecode.
Drop-frame SMPTE timecode display with frames separated by a semi-
colon.
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 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.
Understanding the divisions of time for video and how 
they are displayed in Nuendo will help you quickly utilize all 
of the editing features with precision and ease.
Inserting audio into the project
From the Pool, it is possible to insert audio events by 
dragging them into the Project window or by using the “In-
sert into Project…” options from the Media menu.
 “At Timecode Position” allows you to specify the exact time-
code number where an audio event will be placed.
 “At Cursor” will place the audio event at the current location of 
the cursor. This method can help you place events quickly by 
placing the cursor at the point in the video where you want to 
put an audio event. Using scrub, markers and other transport 
techniques to get the cursor into position can make it faster 
than manual timecode entry.
 “At Left Locator” will position the audio event at the left loca-
tor. Since you can adjust the position of the left locator quickly 
and on the fly while playing, this method allows you to place 
audio while the project and video are still playing. Follow ac-tion scenes and place the left locator at key points while view-
ing the video. While Nuendo keeps playing on, you can insert 
an audio event back where the left locator is without stopping 
the transport.
 “At Origin” will place an audio event at its original timestamp 
position. Since many audio files can be transferred between 
video editing systems and Nuendo, using timestamps created 
by other systems can increase the speed and efficiency of po-
sitioning those audio files at the correct timecode positions in 
Nuendo.
All of these options can be used with video to place audio 
events precisely at the video frame you choose. But that is 
just the beginning.
Using the Markers window as a spotting list
A spotting list is created by viewing a film or video and de-
termining where certain sound effects and other audio el-
ements will go during post-production. The list consists of 
timecode values and descriptions of the sounds that will 
go there. For example:
In this list, there are three timecode locations and various 
sounds that are needed at those points in the video. Dur-
ing editing, sound effects could simply be placed using 
these timecode values and be relatively close to final posi-
tion without much effort. To make it even faster, use the 
Markers window as a spotting list.
As you view a video in Nuendo, have the Markers window 
open and as you “spot” places where sound effects need to 
go, add a Marker by clicking the Add button in the Markers 
window or simply hitting the Insert key. With the Markers 
window open, you will see the newly created marker in the 
list and the description field will be active, ready for you to 
type in a description of the sound. Once you complete the 
description and enter it, you can create another marker in-
stantly, making it possible to create an entire spotting list 
on-the-fly in Nuendo.
TC Description
01:07:36:15 footsteps on concrete
01:07:53:02 telephone rings
01:08:06:07 explosion outside
GS_Nuendo_GBD.book  Seite 101  Mittwoch, 12. September 2007  10:59 10 
						

							102
Audio editing to picture
After importing sound effects from a library or field record-
ings, they can be placed in the project using the Insert at 
Cursor option, moving the cursor to each marker by click-
ing in the very left column of the Markers window next to 
the desired number.
The Markers window used as a built-in spotting list.
While the positioning of the audio events in this case 
might not be exact, it will quickly get audio in close proxim-
ity to the needed position. Fine tuning can be done later 
with other editing tools and features.
Event handles
The event handles (fade in, fade out and volume) are ex-
tremely useful for working with picture since their func-
tions are tied to the event itself, when the event moves, so 
do the fades and volume level.
Since the event fades and volume are handled in real time, 
you can hear the results of your edits instantly. So long as 
you have let go of the event handle before the cursor 
reaches the event during playback, you will hear the result 
of your edit. Being able to edit while playback continues 
gives you more time and freedom to work while others are 
still listening to the playback.
Event envelopes
For even more control, the event envelope provides an-
other type of volume control over the audio event. Instead 
of controlling only fade ins and outs or the overall volume 
of the event, envelopes can alter the volume of audio any-
where within the event. 
To access the event envelope, select the pencil tool and 
simply click within any audio event. A blue volume enve-
lope line appears with a new curve point. Unity gain (no 
change) is where the envelope line is at the very top of the 
event. Any curve points below indicate gain reduction at 
that point. The waveform display reflects the change in 
volume for visual feedback as you edit. You can add as 
many curve points as you like by clicking again with the 
pencil tool, giving you the ability to contour the volume of 
the event very precisely. To remove a curve point, drag it 
with the pencil tool outside the event.
An event envelope with several curve points. Notice that the volume 
curve with fades and the overall volume is still displayed. The combina-
tion of the envelope and volume curve will determine the final audio 
level for each event.
!One advantage to both the event handles (volume 
curve) and the event envelope is that their effects oc-
cur prior to the audio signal entering the mix engine 
of Nuendo. For example, if you have a compressor 
plug-in on a track in Nuendo and you increase the 
volume of an event on that track by using the volume 
handle, the compressor plug-in will see a greater in-
put signal, altering its gain reduction accordingly. 
This can be very advantageous when evening out 
levels in dialog tracks for example.
GS_Nuendo_GBD.book  Seite 102  Mittwoch, 12. September 2007  10:59 10 
						

							103
Audio editing to picture
Range selection
Using the Range selection tool to edit audio to picture 
opens up many other possibilities and functionality. When 
you make selections with the Range selection tool, the 
info line displays the start, end and length of the selection. 
The length indication is a handy timecode calculator when 
the project timeline is viewed in timecode. The start and 
end track numbers are also shown, outlining the top and 
bottom of the selection. All the values in the info line are 
editable.
 Altering the start moves the selection without changing its 
length.
 Altering the end changes the length of the selection.
 Altering the length changes the end time to match the desired 
length.
 Altering the first track number will change the number of the 
topmost track in the selection.
 Altering the last track will change the number of bottom track 
in the selection. All tracks in between these two will be in-
cluded in the selection.
The info line while using the Range selection tool. Notice the top and 
bottom track numbers at the right of the display.
It is also possible to select non-contiguous tracks in a 
range selection by [Alt]/[Option]-clicking within the bor-
ders of the selection on the track you wish to add to the 
range. Only that track area will be added. This can be re-
peated to add other tracks to the range.
Non-contiguous range selection. The track placement of this data is 
retained in the clipboard.
There are also functions that let you alter the range selec-
tion using the cursor, event boundaries, left and right loca-
tors and the start and end of the project. These functions 
are found in the Edit menu–Select submenu.
When these operations are assigned to key commands, 
the increase in speed and efficiency for creating range se-
lections can be improved:
 In Loop: This selects all areas between the left and right loca-
tors on all tracks.
 From Start to Cursor: Creates a range selection from the start 
of the project to the current cursor position on tracks in the 
range.
 From Cursor to End: Creates a range selection from the cur-
rent cursor position to the end of the project.
 Left Selection Side to Cursor (by default [E]): This command 
moves the left side of the range selection to the current cursor 
position. This can be performed during playback to “capture” 
a selection on-the-fly.
 Right Selection Side to Cursor (by default [D]): The compan-
ion command to the above works in the same fashion only with 
the right side of the range selection.
 Range to Next Event: This command moves the range selec-
tion to the next event boundary on any selected track. If no 
tracks are selected, the range will move to the next event 
boundary on any track. The range selection will have no dura-
tion and will span the same tracks as the previous selection.
 Range to Previous Event: Same as above except the range is 
moved to the closest previous event boundary.
 Enlarge Range to Next Event: This command moves the end 
of the range selection to the next event boundary on selected 
tracks.
 Enlarge Range to Previous Event: This moves the start of the 
range to the previous event boundary on selected tracks.
By using these commands in various combinations, it is 
possible to create range selections quickly based on 
event boundaries, cursor and locator positions, and on-
the-fly “capturing” during playback. As you will see in the 
section “Operations” on page 106, these workflow im-
provements can become indispensable for many post-
production tasks.
GS_Nuendo_GBD.book  Seite 103  Mittwoch, 12. September 2007  10:59 10 
						

							104
Audio editing to picture
Range editing
Once you have a range selection defined, there are many 
editing operations that can be performed to the selection. 
Some of these range edits have been designed expressly 
for post-production in order to streamline workflow and in-
crease efficiency and creativity. Others include the stan-
dard editing functions cut, copy paste; along with mouse 
operations to move selected audio.
 “Global Copy” does not use the range selection but rather the 
left and right locators to define what is to be copied. Global 
Copy will place every event on all tracks between the left and 
right locators into the clipboard. This includes all marker, auto-
mation, Score, MIDI, and video data.
 “Cut Time” removes all events and blank space in the range 
selection, places it in the clipboard and moves all events after 
the selection to the left in order to close the gap.
 “Paste Time” will place the contents of the clipboard at the in-
sertion point. All events will be moved to the right to make 
room for the clipboard material. All tracks of the clipboard will 
be pasted to the right and beneath the top left range selection. 
Non-contiguous selections will be placed on their correct 
tracks relative to the range insertion point regardless of the 
range selection. All you must do is select a zero duration 
range in the top track of your paste location and Nuendo will 
place all the clipboard contents at that point across all the 
same number of tracks that the clipboard contains.
 “Paste Time at Origin” will place the contents of the clipboard 
back at its original position and on its original tracks regard-
less of the current range selection. All other events on those 
tracks will be moved to the right to make room.
 “Split” divides any event that crosses a range selection 
boundary into separate events.
 “Crop” will adjust the start and end of any event that falls 
within the range to the range boundaries. In other words, any 
portion of an event that falls outside of the range selection will 
be removed.
 “Cut Head” will remove any portion of events that fall to the 
left of the range selection.
 “Cut Tail” will remove any portion of events that fall to the right 
of the range selection.
 “Insert Silence” will put blank space on all tracks within the 
range selection. This functions in a similar way to Paste Time 
by moving events to the right to make room for the inserted 
space. The amount of blank space is determined by the length 
of the range selection. On the Audio menu there is also the “Adjust Fades to Range” 
command. If the range includes the beginning of an event, a 
fade in will be created from the event start to the right range 
boundary. If the range contains the end of an event, a fade out 
will be created from the left range boundary to the end of the 
event. If the range is within the boundaries of an event, both a 
fade in and fade out will be created from the event boundary 
to the range boundary.
Adjust to Fades where event start is within range selection.
Adjust to Fades where event end is within range selection.
Adjust to Fades where range falls within an event.
!Range Editing can affect any type of event in the 
Project window including video, MIDI, markers and 
automation data. When performing edits that affect 
the entire timeline (editing picture changes for in-
stance) range edits can be very effective.
GS_Nuendo_GBD.book  Seite 104  Mittwoch, 12. September 2007  10:59 10 
						

							105
Audio editing to picture
Edit Mode
When editing to video, it is always important to know how 
each edit relates to the exact frame of video where it oc-
curs. Under normal conditions, performing event-based or 
range-based editing tasks take place without being able 
to immediately see the video while editing. Nuendo’s spe-
cial “Edit Mode” solves this dilemma by making the video 
track follow the motions of editing operations in real time.
Enable Edit Mode by selecting “Edit Mode” on the Trans-
port menu. The Project cursor will disappear in the Project 
window except in the ruler at the top. Hiding the cursor 
makes it possible to see the events you are editing more 
clearly. Edit Mode functions differently when you are using 
the Arrow tool than with the Range Selection tool.
Edit Mode: Arrow (“Object Selection”) tool
When editing events with the Arrow tool, Edit Mode causes 
the video to follow your motions as you drag events and 
event handles. For instance, when you click and drag one or 
more events, the video will follow the left edge of the first 
event while you drag, giving you visual feedback on the po-
sition in the video. This is very helpful while placing sound 
effects to picture since you can see things in the video as 
you move sounds around in the Project window. Lining up 
sound effects to their visual counterparts becomes quite 
easy and quick.
Edit mode follows the snap point of each audio event. If 
the snap point has not been modified, it remains at the 
start of the event. It can often be necessary to align a por-
tion of audio in the middle of the event. Adjusting the snap 
point to a position in the audio event that is timing sensi-
tive will allow you to use Edit Mode to visually line up that 
position to the video. 
For example, the sound of a car skidding to a stop might 
be easily timed to picture by lining up the end of the skid 
sound with the stopping of the car in the video. The car 
might come into the frame after the skidding had begun 
thereby making it very difficult to align the sound quickly 
without a starting point reference. The snap point over-
comes this problem by allowing you to reference another 
point in the audio event. By moving the snap point to the 
end of the skidding sound, edit mode can be used to line 
that point up with the stopped car onscreen.When adjusting fade handles, the video will follow the po-
sition of the fade handle as you move it, allowing you to 
time fades exactly to the video.
Edit Mode: Range Selection tool
When making range selections, Edit Mode causes the 
video to follow the range as you make the selection. Even 
adjusting the range start or end will follow the video in the 
same fashion.
Edit Mode: Nudge commands
Nudging of events or range selections will also cause the 
video to move to the nudge position. All nudge commands 
(start, position and end) will have this behavior in Edit Mode.
Text editing
For extremely precise editing, text entry may be used to 
perform most editing tasks in Nuendo. The info line in the 
Project window gives you instant access to any selected 
event’s data including start and end points, duration, off-
set, snap point, fade in, and fade out durations. Addition-
ally, the Project Browser allows text editing of each event 
in the Project in a list view including automation data, 
video events and Markers.
Text editing can be useful when conforming audio to edit 
decision lists (EDLs) created by video editors. A list of audio 
files will be shown with source and destination timecode 
values that can be used to place audio events in Nuendo.
An EDL with source and destination timecode values.
GS_Nuendo_GBD.book  Seite 105  Mittwoch, 12. September 2007  10:59 10 
						

							106
Audio editing to picture
Operations
In this section, several post-production tasks will be dem-
onstrated using the various editing techniques available in 
Nuendo.
Preparing a video project in Nuendo
Since video files are used commonly, this example will 
start by importing a video into Nuendo:
1.On the File menu, select “New Project”.
If you use a template for video projects, select it from the possible 
choices. Otherwise start with a blank project.
2.On the Project menu, select “Project Setup…”.
A dialog opens.
3.In the dialog, specify the sample rate for the video.
Video tape machines use 48kHz as a standard sample rate. You may use 
higher resolutions depending on the project requirements but keep in 
mind that the final result will most likely be a 48kHz master recording.
4.Set the timecode frame rate.
This can vary widely depending on the type of video project involved. With 
NTSC, PAL, HD video, and film being some of the possible choices, hav-
ing a clear understanding of the frame rate used is critical. Speaking with 
the video editor or other production staff about this in pre-production can 
save a lot of headaches later in the process. You can also extract the 
frame rate information from any imported video file in the Project Setup 
dialog.
5.Import a video file.
You can do this from the Pool or the File menu–Import submenu. You will 
also have the option of extracting any audio streams from the video file 
during this step. Even if you do not plan on using the embedded audio in 
the project, it is advisable to extract it and use it for reference purposes. 
You can also extract this audio later from the Media menu.
6.Place the video file in the Project window.
You can drag the video file from the Pool into the Project window and a 
video track will automatically be created if one does not exist. You may 
also use the Insert into Project options to place the video at the cursor 
position, a specific timecode value or at the timestamp embedded in the 
file. 
ÖCommon practice is to place the first frame of program 
video starting at one hour (01:00:00:00). This helps out by 
leaving room prior to the video for test tones and for pre roll 
of tape machines including the count down and two-beep 
tone (a short beep sound used to indicate 2 seconds be-
fore the start of the program). Most video files do not have a 
correct timestamp embedded in them. Unless the first frame of program video is easily identified visually, a time-
code burn-in window should be used to correctly place the 
first frame of video. The idea is that the audio timecode val-
ues exactly match those used by the video editing suite.
You are now ready to start editing audio to picture.
Conforming production audio
The first step in any audio post-production project is prop-
erly synchronizing production audio with the video. Produc-
tion audio refers to any sound that was originally recorded 
during the filming or video taping process. The audio is then 
edited along with the video to create a final edited piece. 
The video editor may choose to add sounds and music 
along the way to get an idea of the finished product while 
editing. All of these elements should be brought over to the 
audio editing workstation for reference and possible usage 
in the final product.
Audio coming from a video editing session can come in a 
variety of formats including:
 Reference audio that has been assembled and mixed in the 
video editing suite. This audio could possible be used in the fi-
nal mix but usually is meant as a guide for audio editors. It may 
be embedded in a video file, as a separate audio file or re-
corded on tracks of a video tape recorder (VTR).
 Multi-channel media in the form of OMF, AAF or other embed-
ded media files usually contain multiple tracks of audio edited 
by the video editing suite.
 EDLs are lists of audio files that need to be imported into Nu-
endo from source tapes (video tape, DATs or audio files cre-
ated during the filming process). The process of editing and 
placing those audio files in sync with the video is known as 
“conforming” audio to picture.
Once you have imported your video file or synchronized 
Nuendo with a VTR or other external video playback sys-
tem, the next step is to get any reference audio imported 
and running in sync with the video.
Reference audio
With video files that have embedded audio streams, the 
process of importing the video will allow you to also import 
the audio stream as well. 
 Use the “Insert into Project at Origin” command from the Me-
dia menu to place the audio file in the project. 
GS_Nuendo_GBD.book  Seite 106  Mittwoch, 12. September 2007  10:59 10 
						

							107
Audio editing to picture
 If you have placed the video file at any other point than its ori-
gin time (usually 00:00:00:00), the reference audio must be 
placed at the same position in order to line up. In that case, 
use “Insert into Project at Timecode Position…” and type in 
the same timecode number as the video file. 
 You may also use the “Snap to Events” option and drag the 
audio file to within range of the start of the video file and it will 
snap into position exactly at the beginning of the video file.
Once the reference audio file has been inserted into posi-
tion, check the sync of audio to video throughout the length 
of the project to ensure proper synchronization. If there are 
any issues, it is best to fix them now before any extensive 
editing has occurred. 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
When the audio edited by the video editor is complex and 
has elements that will be used in the final project, multi-
channel media interchange formats help get the audio 
from one workstation to another. Nuendo is capable of 
handling all of the currently used formats for this type of 
exchange. They include:

 AAF


This chapter will cover one of the most commonly used 
formats, the OMF file. OMF files come in two basic for-
mats:
 Files with embedded audio contain everything in one file con-
tainer that is easily copied from one location to another. Nuendo 
can read the information that tells it where to put each piece of 
audio and then refers to various parts of the OMF file for audio 
segments as if the OMF file is one very large audio file itself.
 Files that refer to external audio media contain only the informa-
tion about where to place each piece of audio in the timeline. 
The audio files themselves have to be copied over separately in 
order for the OMF transfer to work.
Each format has its strengths and weaknesses and the 
choice of which one to use will depend on the circum-
stances at hand. For more information on OMF files, refer 
to the chapter “File Handling” in the Operation Manual. To import an OMF file into Nuendo, proceed as follows:
1.On the File menu–Import submenu, select “OMF 
File…” and in the dialog that appears, select the OMF file. 
If the OMF file has embedded audio, it is advisable that it is stored on a 
local drive, preferably in the current project folder and should be treated 
as an audio file itself. It would need to be backed up in the same way that 
all media relevant to any project is backed up.
2.Select an exiting Project Folder or create a new folder 
for the created project.
Nuendo will create an untitled project that contains all the audio events in 
the OMF file.
3.If the media needs to be located, Nuendo will prompt 
you to locate it.
With OMF files that refer to external media, Nuendo will need to know 
where to look for referenced audio files.
4.Nuendo will import the OMF file and create new tracks 
as needed.
If the OMF file contains video events, you can have markers created for 
them that will allow you to easily place video files there later.
Once the OMF file has been imported, align your video file 
to play in sync with the OMF audio. Here is where any ref-
erence audio embedded in the video file will come in handy. 
By listening 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. Make sure you move both the video and refer-
ence audio together when making these adjustments. 
Grouping them together (the video event and reference 
audio event) in the Project window is a good method of 
ensuring they remain in sync with one another during edit-
ing. Alternatively, you could place all of the reference ma-
terial (video and audio) into a Folder track. Moving the 
folder track events will move everything within the folder 
together.
ÖPanning audio sources can help you synchronize 
events together. For example, when aligning reference au-
dio from a video file to imported OMF audio, try panning 
the reference audio to one side and the OMF audio to the 
other. This will make it easier to discern whether one 
source is ahead of the other as they get closer to perfect 
GS_Nuendo_GBD.book  Seite 107  Mittwoch, 12. September 2007  10:59 10 
						

							108
Audio editing to picture
sync. A comb filtering effect can be heard when two iden-
tical sources become very close in sync with one another. 
At that point, you are getting within samples of being in 
perfect sync.
Once the OMF audio is imported and all video an audio 
events are synchronized together, you are ready to begin 
adding new elements and creating the complete sound-
track.
EDLs
An older method of conforming audio to video involves the 
use of EDLs (Edit Decision Lists) created by the video ed-
iting 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. 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 main-
tained. Audio elements from OMF media and reference 
audio might not be first generation.
An EDL is, as the name implies, a list of edits. Each step 
describes a complete editing task including:
 The type of edit, i.e. Audio, Video or both.
 The source material such as tape number, audio file name or 
video file name.
 The start and ending source timecode values. Since audio 
sources for video editors usually come in the form of video 
tapes, they will always have timecode associated with them. 
That is the only way to keep track of the editing steps involved.
 The start and ending destination timecode values. These time-
code values correspond to the location in the Project window 
where the audio will be placed.
This information can be used in Nuendo to place audio 
events in the Project window at the specific timecode po-
sitions that correspond to the edits made in the video ed-
iting suite.To begin, you must first load in all of the source material 
needed by the EDL. The source material must have cor-
rect timestamps in order for the EDL timecode values to 
be valid. There are various ways of doing this but the most 
common involve the following:
 A timecode DAT machine.
 Video tape machine. 
 A field recorder that creates audio files with timestamps em-
bedded in them such as the Zaxcom DEVA™ hard disk re-
corder.
All three of these sources have audio and timecode. With 
the tape machines, Nuendo will have to be synchronized to 
the machine in order to record audio into the project at the 
correct timecode positions, thereby giving the audio files 
the correct timestamps. With the hard disk field recorder, 
the files can be directly imported with their embedded 
timestamps and then placed in the project “at Origin”.
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 s separate track for each tape 
will prevent overlap of audio with the same timecode values and also 
keep things organized. Name each track the same name as the source 
tape it comes from. Each audio file you record on that track will now have 
the name of the source tape it came from.
3.Record all the significant portions of each source tape 
into Nuendo.
If only a portion of a source tape is used in the EDL, it is only necessary 
to record that section into Nuendo. This must be done while synchro-
nized to the tape machine so that the audio file will be placed at the cor-
rect timecode position in the Project window.
4.Import any audio files from a field recorder and place 
them “at Origin” on as many tracks as necessary to pre-
vent 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 of three audio edits.
GS_Nuendo_GBD.book  Seite 108  Mittwoch, 12. September 2007  10:59 10 
						

							109
Audio editing to picture
5.Using the above excerpt as an example, the first two 
timecode values in each line are the start and end times of 
the source material. Using the Range Selection tool, cre-
ate a selection on the proper source track using the two 
source timecode 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.
6.Select Copy from the Edit menu.
This copies the source material into the clipboard.
7.Switch Range selections by using the Range Selec-
tion tool context menu or by pressing [2].
This switches to range selection B. Using the two different range selec-
tions (A and B), will keep the source and destination times separate. This 
is similar to a four-point editing model used by many video and audio ed-
itors, see “Range Selection tool four-point editing” on page 110.
8.Select the destination range as defined by the EDL.
You can use manual entry to place the range selection at the destination 
timecode values. It is only necessary to define the left selection or start 
point since the paste function will automatically place an audio event of 
the correct size as determined by the source range. The destination track 
is of your choosing. The 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 complete, placing audio events on various tracks is 
up to the user.
9.Select Paste from the Edit menu.
This completes the edit by placing the source material at the destination 
location. Check for sync with the video and reference audio.
10.Repeat as needed until the entire EDL is conformed.
Depending on the size of the EDL and number of edits, this process 
could take quite some time to complete. But understanding the EDL 
conforming process will help you deal with any problems that arise.
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 source 
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 the project, they must be 
imported into the Pool or recorded into Nuendo from a 
tape machine.
ÖCreate various folders within the Pool to help organize 
all of the sound files used in your Project. With feature 
length films, the amount of audio can be staggering. Finding 
specific audio files can become daunting quickly if some or-
ganization is not used. Nuendo’s MediaBay is designed to 
help you organize all of your sound files so that they are in-
stantly accessible to you and can be quickly searched.
Placing events to picture
Placing audio events to picture can occur in several ways.
 Manual entry by timecode number.
 Inserting at Cursor location.
 Dragging with the mouse.
 Source/Destination four-point editing with the Range Selec-
tion tool.
Using the manual entry method requires knowing the right 
timecode number where you wish to place the audio 
event. This could come from an EDL or Cue list created 
earlier or it could come from a locator position or marker. 
In any scenario, select the audio file in the Pool and use 
the “Insert at Timecode” command to enter the location. 
The audio event will be inserted in the topmost selected 
track in the Project window.
Using the cursor location to place audio events is a more 
visual approach. You can use the shuttle and scrub tools 
to view the video and locate the position you want to put 
the new audio event. Then, in the Pool use the “Insert at 
Cursor” command to place the event.
While watching the video in real time, you can quickly 
place the left locator on the fly at the spot where you want 
to place the audio event. Then locate the cursor to the left 
locator (press [1] on the numerical keypad) and use the In-
sert command to place the event.
GS_Nuendo_GBD.book  Seite 109  Mittwoch, 12. September 2007  10:59 10 
						

							110
Audio editing to picture
Using Edit Mode, you can drag 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 win-
dow. Drag the event until you find the right video frame 
and let go. You can use the Snap function here to keep 
the audio event lined up with each timecode frame as you 
drag it into position.
Range Selection tool four-point editing
It is often necessary to go through a large sound file to 
find a specific sound effect among others that will be 
used. This is especially true of field recordings with multi-
ple 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 prepare them for 
use in the final soundtrack.
Using the Range Selection tool, a four-point editing model 
can be used to cut ranges out of the work tracks and 
quickly paste them into the proper tracks in the project at 
specific video frames.
1.Create a Folder track labelled “Work Tracks” or some-
thing similar.
In this folder track will be 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 even 5.1 audio tracks depending on 
the source material you are working with. Create as many as you need.
A Folder track with four stereo work tracks inside can be used to edit 
various sound files before they are placed to picture.
3.Drag the various audio files into these work tracks.
Here it might be best to go to a time in the Project that is well after the 
end of the program material so that work tracks do not inadvertently get 
included in the final mix. Placing them where there is no video event will 
prevent distractions while editing the source material.
4.Using the Range Selection tool, select the audio you 
wish to use.
As with many sound effects libraries, there can be several versions of a 
particular sound effect. Auditioning them and choosing which one to use 
can be done on work tracks. Use the Range Selection tool to select just 
the audio you want to use with the picture. With multiple work tracks, 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.Copy the portion of audio (the default key command 
for copy is [Ctrl]/[Command]+[C]).
This will place the desired audio in the clipboard. In this technique, you 
can always return to this range selection and copy it again if needed later.
6.Switch range selections using the Range Selection 
tool context menu or using a key command, by default [2].
Selection B will be used for the destination location of the edit. Selection 
A is retained in memory and can be accessed again by switching the Se-
lection or pressing [2] again.
Switching the Range to Selection B.
7.Define the destination range Selection B.
Using the key commands [E] and [D], you can define the range selection 
on the fly while watching the video or by any of the other methods men-
tioned in this chapter.
8.Perform the edit by pasting (by default [Ctrl]/[Com-
mand]+[V]) the clipboard data into the new location.
A macro can be created to do both the copy and pasting once you have 
made the two selections. Assign the macro to a key command and you 
will have a very efficient editing model to work with.
GS_Nuendo_GBD.book  Seite 110  Mittwoch, 12. September 2007  10:59 10