Hello folks - I’m used to writing in Pro Tools, which has a great elegance and simplicity to its handling of picture. Put video on the timeline at the correct code, decide where you want to start a cue, identify that moment as bar 1 beat 1, and do tempo changes as you like. You can also on a whim start your cue earlier than bar 1 beat 1 without having to do anything at all. Cubase, though, seems far less flexible. Before I go out and get Video Slave 4 to run video on another computer, I’d like to hear people who use Cubase to write multiple cues tell what their flow is.
Hi Richard - It’s super easy, here are some tips:
SETTING THE PROJECT
In the Project Settings window (Shift + S), you can set up the time code, frame rate and other parameters
You can also assign key commands to go frame by frame. The commands are called “Nudge +1 frame” and “Nudge -1 frame” commands.
SPOTTING TO PICTURE
Using the Warp Tool (available in Cubase Pro only), you can easily create a tempo map to match the hit points on screen. Make sure you set up the snapping settings correctly if you’re snapping to cursor or to events (such as markers)
- I prefer having one project per cue and you can trim the video so it starts wherever you want it to start.
- Once a cue is done, I immediately export my stems into broadcast wav.
- Since my sessions are configured with the right timecode, all my exported files are time stamped.
I can simply spot them into my ProTools delivery session and they go to the right place immediately.
You might want to check out this video:
Your response is very much appreciated!
I must say, compared to Pro Tools, this seems to be as tedious as I’d feared. You know what I wish Cubase did? Allowed me to put the video in, put it on the timeline, and then select a frame and tell it that’s bar 1, and that’s it. Because Cubase won’t let you place things before bar 1, this ends up being really convoluted. It seems like if I were sitting with a client doing a playback from the sequencer, and the cue started 20 minutes into the movie, and the client said, I want to watch the two minutes before this to see if we have it in the right place, that would be a nightmare. However, if I used Video Slave 4 remotely, I’d just set the start of the sequence to where I wanted it to start. VS4 would just chase it. Even frame bumps. And it could play back production audio also. I completely get the edited-video-per-cue thing, I just wish that were not necessary. There are compelling reasons to work in Cubase as opposed to Pro Tools - ironically, the main one is that an app owned by a video company uses an incredibly unstable video engine - but here’s a great thing about PT: you can, if you choose to, start with a single template session, do your firstbcue and make stems, and save as 1m1, then with all MIDI tracks referencing sample clock instead of MIDI, you can start a new cue after that by identifying a tc number as bar one beat one, and all the previous sequence data and stems stay in place but you can do another cue and save that as 1m2, and another and so on. And when you are done with the film, all of your stems are in place in one session. New session, import session data from those tracks copying audio, and deliver. So that’s why I asked about workflow, because I’m not looking forward to all of the video edits and so on. But if that’s how it is, I’ll close my eyes and think of England…
It’s really a matter of habit more than anything I used and loved Logic for 10+ years and the workflow was similar to Cubase except for stemming. Stemming in Logic was a complete nightmare compared to the “Add a new group to selected track” feature that you find in Cubase and that’s a life and time saver
You can actually, I took the following from Steinberg’s Forum:
1 - Open Project Setup. Set bar offset to 20. Answer ‘Yes’ to ‘keep the project content at its bar positions?’
2 - Place the cursor at Bar 1
3 - Select ‘set timecode at cursor’. Enter 01.01.35.00.
Super easy solution: You create a marker track and jump from marker to marker using the marker list (cmd + M) which is the equivalent of the memory location in ProTools.
You can score the entire film in one session or stem it into audio files in a delivery session.
I personally prefer working cue by cue and stemming into a delivery session to save resources instead of having VSTs and plugins loaded. This method allows me to build my ProTools delivery session required by the production in parallel to composing.
I win from a productivity point of view by killing two birds in one stone and if they ask me to rewrite a cue, I simply delete the corresponding audio files from the PT delivery session and replace them with the new stems by spotting them using timecode.
It could be done with Cubase, they have the info in their documentation.
On a side note, I do envy people who work in Digital Performer for the Chunks feature, i really wish we had it in other daws
You are the greatest. Thank you for this!
You know what I miss about Digital Performer? That amazing bit of code that allows you to set markers, weigh them for importance and have it give you a list of likely tempi with varying tolerances and how close each hit would be. That’s why it’s still on my computer - nothing else even comes close.
You’re welcome! And wow i had no idea such a feature existed, now i need it… AND i’m super jealous of Performer users now!