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- #CUBASE 4 VIDEO TUTORIAL HOW TO#
- #CUBASE 4 VIDEO TUTORIAL MAC OS X#
- #CUBASE 4 VIDEO TUTORIAL UPDATE#
- #CUBASE 4 VIDEO TUTORIAL CODE#
- #CUBASE 4 VIDEO TUTORIAL PROFESSIONAL#
So if you're working with one or two video files that won't be updated on a regular basis, the best approach is probably to run video within Cubase. The disadvantage is that it usually takes a second for the video machine to lock in with Cubase, and getting the video to display the exact frame at the current position of the Project Cursor isn't always as easy as you might think. The big advantage of an external video machine is therefore that you can reload the video once and every Cubase Project will lock to whatever the external video machine is playing.
#CUBASE 4 VIDEO TUTORIAL UPDATE#
Every time you get a new cut of video, you'll have to update the video in 20 different Cubase Projects: if you're working on a feature film that might have 50 to 100 cues across multiple reels of video, this situation becomes really frustrating, really quickly.įor this reason, a large majority of working media composers tend to run video outside of their sequencers, and even if your main sequencer is Cubase it's pretty common to see a separate system, locked via MTC, being used to run video. Let's say you're working on a 30-minute TV show that comprises 20 different music cues, and each of these music cues is a separate Cubase Project, each containing video.
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A far more common situation is that you receive multiple cuts, on a weekly (or sometimes daily) basis, that have to be re-integrated into your Project. As anyone involved in film or TV will know, it's rare to only ever receive one cut of video. There are many advantages to running video inside Cubase: not requiring any extra equipment is an obvious one, but another is that the synchronisation between Cubase 's transport and the video is instant, so the picture starts playing immediately with the Project, and the appropriate frame at the current position of the Project Cursor is always shown.ĭespite these advantages, though, running picture in Cubase isn't always the best solution.
#CUBASE 4 VIDEO TUTORIAL CODE#
The second is to synchronise an external video device via MIDI Time Code (MTC) so that when Cubase 's transport is running, the external device chases and runs in sync. The first is to use Cubase 's built-in video player and make your video file (or files) part of your Cubase Project. There are two ways you can run video alongside a Cubase Project.
#CUBASE 4 VIDEO TUTORIAL HOW TO#
In this month's Cubase workshop, we're going to look at the first of these areas - but stay tuned, as we'll be turning our attention to learning how to build tempo maps specifically for writing to picture in a future issue. There are two things you need to master when working with video in Cubase: first, the mechanics of actually getting video to play in time with your Cubase Project and working with timecode, and second, building tempo maps that allow you to accurately place musical moments at specific time locations in the video. Since its SX reincarnation three years ago, Cubase has once again become one of the most flexible tools for writing music to picture. The parameters available in the Event Infoline are for the selected Video Event, and you'll notice that they're pretty much identical to the parameters you would expect to see for an Audio Event.
#CUBASE 4 VIDEO TUTORIAL MAC OS X#
MAC: Requires Mac OS X v10.2 or higher, Power Mac G4 867 MHz, 256 MB RAM, Sound Card.Here you can see a Video and an Audio Event on the Project window, with Cubase's built-in Video Device Player window open. PC: Windows XP Home or Professional, Intel Pentium or AMD Athlon 800 MHz or faster, 256 MB RAM. Minimum screen resolution for DVD-ROM 1024 x 768. DVD-Rom drive required for Mac/PC DVD-ROM. This product includes QuickTime 7.x Mac/PC which is required for video playback.