Cubase Video Setup

In creative computing we have finally got our heads out of the ProTools gutter and found that other software exists. Namely, this was Steinberg’s highly-documented sequencer Cubase. Interestingly, we focused on using Cubase to manage video. Since the ACMC I have been quite curious toward new media, particularly video, but unfortunately these are things that cannot be used towards assessments. However, I do not think I should let this hold me back, and I am hopefully going to use my knowledge of Macromedia’s Flash to make a video for my next Musique Concrete project piece. I have also decided that it’s not going to be as strictly Musique Concrete sounding either. We are not cutting up tape anymore so why pretend?

Anywho, here is a couple of snapshots of my experience with importing video into Cubase and getting a few markers laid out. I found Cubase very easy to use, much easier than learning ProTools. Whether this is because it is similar to ProTools, or due to a better interface: who knows?


Using Cubase: Less painful than you may think.


Time Markers: Mark out your project files.


I got the ReWire bus running pretty easily, Christian kindly showed me how to lock host Reason with ProTools last semester. For pictures, see one of my fellow first-year colleague's blogs.

The readings we were provided in Audio Arts this week were pretty interesting. It was quite intriguing to hear that Christian has worked as a graphic designer, as this not only something that interests me, but what my brother does for a living. The reason I posted this picture here is that as I was reading it- the way it describes the way to sort through a complex reminded me a lot of fourth-level (event driven) programming languages like those used by Visual Basic. IF THEN ELSE statements and so on. Interesting too that it refers to breaking things down to a set of smaller functions and that this is exactly what code does. Or maybe it's boring and I'm just a loser.



















I’m having a fair bit of trouble tearing myself away from Blizzard’s World of Warcraft at the moment. I feel like a 6 year old and it’s defiantly detracting my studies. But then again, I feel like a 6 year old!


It’s 8pm and DJ Shadow just starting playing at Thebby… and I’m here updating my blog :_(

Bibliography

Haines, Christian. “Cubase Video Setup.” Class of the University of Adelaide, in the Schulz Building, EMU, level 4 (Audio Lab) on 27 / July / 2006. Class of Adelaide, in the Schulz Building, EMU, level 4 (Audio Lab) on 27 / July / 2006.

Martin Armiger stopped by the EMU last Thursday to give us all insight in his wonderful life as a film composer. It was great to see him talking about what inspires him with what he does, even if I didn’t personally get excited by the film “The Sea Hawk” and whatever the other one was. His ability to speak to the audience was quite notable; the audience was indeed larger than normal for a Thursday afternoon at the EMU, with new faces showing up for Armiger presentation. I would of perhaps preferred if he had talked a little more about work that he has done, I only realised this when someone asked me what films Arminger has worked on- I could only respond with ‘uh, dunno!’ Nevertheless seeing Arminger get all animated during ‘the Sea Hawk’ scene with strings playing arpeggios representing wind and similarly with the torture scene from ‘Reservoir Dogs’ was good value. Of all the lines of work that music technology students can consider, he certainly did not turn me away from film music, which was something presenters had been getting good at last semester. I though during his speech he might have touched on multichannel sound, as this available to the film (& DVD) music world. In fact, when he commenced his speech with the ten dollar question- “What’s wrong with film music?”, I thought he might be going to say something like ‘most film music is produced for stereo while film composers can use 5.1’… or something. Oh well. Seems nobody really cares about multichannel except computer nerd music composers and sound installation artists. Maybe. I really do not know much about the stuff, but it just seems like noone gets as excited by more speakers like me.

Mr. Whittington gave us EMUers a few pointers in scoring, analysing and generally commentating our music, during the hour David Harris normally fills with Pink Floyd. I am glad someone talked a bit about these things, because they are a part of all music technology major assignments and something I felt pretty unsure and ending up not caring about last semester. His allegory of the cut paper to a score for music was very understandable, and I am starting to see that he is good at what he does and why he is the head of my faculty.

Bibiography
Armington, Martin. "What's wrong with film music?" Presentation made at the Adelaide University, Schulz Building, EMU (level 5), Emu Space on 28 / July / 2006.

Whittington, Stephen. "Commentating Music." Presentation made at the Adelaide University, Schulz Building, EMU (level 5), Emu Space on 28 / July / 2006.

Audio Arts: Sound Design
San analysis of sd1.mov: