conforming versa reconforming, conform vs reconform

hi everyone,

because often many users are confused: the different between conforming and reconforming.

the last is now a feature of N7. You change your edited project to update it to a newer cut version. that means, the changes and edits by reconforming are only with your project and the included clips and audio.

conforming means you add or replace matched audio files. the project changes aren’t edits and cuts, rather new referenced audio files to the existing clips. examples are replacing new mixed files in a project, pump up a dialog edit to the original field recordings / location sound (seperate boom and lavalier tracks), expand a edited music rough mix with the multi track recording etc… the meta data’s or the name structure in the audiofiles can be the matched icon.

this feature is a main feature in EDLtranslate. put into it EDLs by the film cutter, get the conformed track archive for Nuendo. it is very proofed by a lot of film dialog editors, recording engineers in classical music production and post production houses.

http://www.ap-sound.de/edltranslate.html

best regards
dietrich

Well, if you drop your location recordings in “at origin”, then it is even more easier to conform within Nuendo.
And you have the extra takes available.
And whenever there are added scenes in one of the recuts, everything drops into place.

Fredo

what did you mean with “at the origin”. what you want, is the whole film to conform and not only single clips…

can you explain your workflow?

When you drop your location recordings into a Nuendo project, and select “at origin”, then the files snap to their BWAV Timestamp. So the day one recordings will start at one hour, the day two recordings will start at two hours, etc … (Or however they have organised it) All recordings from the different machines will line up under each other providing all the different channels, including the set mix.

With all the location recordings in one “Conform” project, you only have to load the edit EDL, and all will be conformed to the picture cut. And you will be able to search for alternative versions in the alternative takes, outtakes, etc …

Fredo

sorry, I don’t understand. the tc if location sound can be 24h hours a day, so there is after twenty production days 20x f.e. an 11a.m. tc. In Nuendo this 20 different takes with the same tc (but different user bits or BWF Tape sign) spot to the same tc … or do I missunderstand you?

regards
dietrich

Reason why the Nuendo Tiemcode can handle “days”.

Fredo

that means, this is not the ultimate solution, an one click solution, to conform the location sound for a whole film.
It seems this is the job for EDLtranslate.

If that doesn’t work for you, then there are also plenty of other solutions.
If you want to be fair, then you have to list the other solutions too …

Fredo

Can you explain that further? Because I see his point:

If during production they shoot several days but have timcode reflect actual time of day, you could end up with several different takes/shots over several different days all reading 11:00:00:00. If you drop them in “at origin” wouldn’t they all line up at the same place?

In other words; how would Nuendo know what day it was recorded? Is it somewhere in BWF metadata (not TC)?

Yes, that is part of the Metadata. If not (Sometimes it is handled in different ways) then you can just drop the files in at timecode and then offset them for a day.

Matter of fact is that it is a procedure/protocol that is agreed upon before the shooting starts.
I have had many different kind of modus operandi.
Often they start each new day at a new hour. Day One = 1 hour / Day two = two hours / etc …
I haven’t come across a project that worked with “days” yet.

Fredo

Thanks, that’s good to know.

If that doesn’t work for you, then there are also plenty of other solutions.
If you want to be fair, then you have to list the other solutions too …

Would be nice to make the list as long as the topic is up. I see 3 solutions until now.

  1. Fredos work flow: Sounds very clever to me, but is it rather time consuming? I would not want to try without having a trainee around.
  2. Dierichs “EDL translate” if you have 130 Euros ready (seems to be a fair price)
  3. Using ProTools if you have a PT10 or higher licens lying around…

What are other options?

Oswald

Not if you -as a dialog editor- need quick & easy access to alternative takes.
And really, the dropping in at origin takes no time at all.
It’s just a matter of loading all location recording files into Nuendo and drop them into a project.

Top of head.

Titan
Conformalizer
Ediload




But no doubt that the suggested application is also a welcome addition. Most certainly for that price.

Fredo

Thank for the list…Who knows once in a while we need the options…

For alternativ takes I use Media Bay. That works fine as long as there is sensible metadata (slates etc.) in the recordings. But if not…yes then I take it your workflow is a very good option.


Thanks

Oswald

So when a timeline gets really large (for a TV series of say 20 episodes) with many days of production, how does Nuendo handle the gazillion audio files?

Ollie

Also the limit of 30 days seems to be a problem…

Okay, I have used the feature in PT and it is just breathtaking.
I want that in Nuendo.

Okay, I have used the feature in PT and it is just breathtaking.
I want that in Nuendo.

Yes, its one of the not that many reasons why Im happy to have a PT around…

Oswald

What specific feature are you referring to?

As Dietrich described it:

pump up a dialog edit to the original field recordings / location sound (seperate boom and lavalier tracks), expand a edited music rough mix with the multi track recording etc… the meta data’s or the name structure in the audiofiles can be the matched icon.

PT and other software is able to do that at the moment. Not Nuendo.

Oswald