What Is Re-conforming In Audio Post Production?
There is a lot of confusion about the difference between conforming and re-conforming in audio post-production. Community member Toby Campen got in touch and asked us to look at the thorny issue of conforming and re-conforming sessions in Pro Tools.
In this article, we set out to answer the question “What Is Re-Conforming?” We look at the 4 major tools for re-conforming and our Expert Panel, tell us which one they prefer.
What Is Re-Conforming?
In theory, there is a stage in every production where the video editor confirms that there will be no more changes to the picture EDL (Edit Decision List), so enabling the audio post-production process to proceed in the safe knowledge that nothing is going to be changed or moved.
However, it is increasingly common to find that this so-called ‘locked picture’ proves not to be so final after all, with picture editors changing their minds even once the audio post-production gets underway. When this happens, you can find yourself having to redo a lot of work, which is very frustrating.
What is needed is a tool that will compare two video EDLs and produce a set of changes that can be imposed on the Pro Tools session to trim, expand or move sections of the session to match the picture changes, so you don’t lose the work you have done.
Change Notes can be OK on simpler projects but are often made way too complicated by video effects noise that can completely swamp the relatively simple picture edit changes. Fortunately, there are applications that compare two video EDLs and work from that. The 4 main players in this sector are Matchbox and Conformalizer from The Cargo Cult, Virtual Katy and EdiLoad from Sounds In Sync. These enable us to update an audio post-production project without having to start again by moving content around the timeline to reflect the picture changes and bring in new material where necessary.
EdiLoad V4 From Sounds In Sync
EdiLoad is an application that allows sound editors and mixers to perform a variety of crucial and time-saving tasks. EdiLoad can do both conforming, which is (assembling) location WAV files in Pro Tools and re-conforming (or re-cutting) a Pro Tools session when picture changes occur. In this article, we are going to concentrate on the re-conforming features in EdiLoad.
At its heart EdiLoad contains powerful functions that can manipulate edit lists through its filter, batch modify and cleaning controls. With its unique ability to import and export Pro Tools sessions, new workflows can be created to automate repetitive tasks or enable new processes on custom productions.
With the release of version 3, Ediload became both a conforming tool and a re-conforming tool in the one package. EdiLoad v3 contained a 'Compare' window which allows users to find the difference between vision lists and create a list of picture changes.
In this video, Mike Thornton and Mark Franken from Sounds In Sync discuss the new features of EdiLoad v3 with its new Compare Lists window that finds the changes when pictures are updated.
Since then Mark has been busy updating his product range, making sure they are all 64-bit applications and bringing new features. In the next video, Mark Franken from Sounds In Sync demonstrates the new features brought to EdiLoad V4, both for conforming and re-conforming.
Re-Conform (Re-Cut) Pro Tools Sessions
The EdiLoad re-conform function re-positions the clips, automation and any other elements in a Pro Tools session as per the edit list loaded.
This function can be used to update a session to match a new picture version by loading a change list created by the compare window. Alternatively, it can be used to create a cut-down version of a project when, for example, a foreign version is created or trailer has been made. In this instance, when the long version pictures were used to create the cut-down version, the audio events of an AAF, FCP7 XML or EDL can be loaded into EdiLoad to re-cut the Pro Tools session.
Over the years Sounds In Sync’s clients ask for help with jobs where they've wanted to use EdiLoad to re-cut a finished mix to create a new delivery version of a TV show or film. This is another application for re-conforming and can be called ‘reversioning’.
reversioning can be performed in a number of ways, depending on how the picture editor creates the new delivery version. To help, Mark Franken from Sounds In Snc has created a demo video, which shows how the completed mixes of 12 TV episodes can be recut to create the soundtrack of a feature film length version.
This video not only shows how you re-cut your Pro Tools session with EdiLoad, but what you need to supply your picture editor in order to perform this task in the most efficient manner. This reversioning process is in some ways a combination of two processes that EdiLoad can perform:
Conforming (assembling) location WAV files to match the audio edits in an AAF. This uses a single audio EDL.
Re-conforming a Pro Tools sessions to match an updated picture. This uses two video EDLs that EdiLoad compares.
The reversioning process that is shown in the video uses a single audio EDL, but here individual tracks of the EDL are selected and used to re-conform a Pro Tools session. This is achieved with EdiLoad's unique ability to show events for a particular EDL track and allows sound editors to replicate the audio edits made by a picture editor when they have used individual stems to create the sound edit of the new delivery version. This video was made with EdiLoad V3, which exported conform reference tracks as a .ptx file. With EdiLoad v4, these can now exported as an AAF file.
Import Edit Data from Pro Tools Sessions
EdiLoad can import clip edit data from one or more audio tracks of a Pro Tools session. Initially this was written for clients that wanted to edit their own version of an old guide track and apply these edits to mix automation via an EDL. This feature can also be used to customise re-conforms by manually changing a guide track re-conform, or it can be used to import the edit data of a session when music tracks from an AV shoot are edited in Pro Tools and the picture edit needs to follow.
EdiLoad V4 System Requirements
Ediload 4 works on both macOS and Windows.
EdiLoad version 4 is a 64-bit Intel application that is compatible with macOS Yosemite (10.10) and above including macOS Big Sur (11.0) and Apple Silicon.
EdiLoad version 4 is a 64-bit application that is compatible with Windows 8 and above, 64-bit versions only.
Compatible with Pro Tools an AVID Audio product. Tested with Pro Tools 2020.11.
Session Re-conform tested with version 11.3 and above
Conforming requires the Pro Tools Ultimate/HD Field Recorder functions
Conformalizer from The Cargo Cult (formerly known as Maggot Software)
Conformalizer is an audio post-production tool, which allows sound editors to automatically re-conform and rebalance audio data to match a changed picture cut by comparing picture EDLs, XML, cutlists or change notes.
It works by comparing picture EDLs, XML, cutlists or change notes and creating a new "change EDL" which reflects the difference between two versions of the picture.
Conformalizer can then automatically re-conform your Pro Tools sessions, databases and mix automation to match the new version of the cut.
What's New In Conformalizer 4?
Conformalizer V4 has been completely rebuilt, from the GUI to the auto-conform code, and incorporates, in his words, a metric tonne of new features and long-awaited bug fixes.
In this video Justin Webster from The Cargo Cult walks you through the most powerful Conformalizer workflows, revealing some of the new tricks in v4.
0:00 Intro
0:40 Basic list comparison
1:55 Tweaking the change list
5:55 Conforming sessions
8:21 Tracking VFX updates
9:51 Finding missing scenes
10:54 Conforming databases
12:28 Rebalancing
The Cargo Cult went to ad many new features to Conformalizer 4.1 including the new video compare feature that works out picture changes using the video alone, no EDLs or change note needed.
“It literally watches two versions of a reel, then conjures up a list of cut change, slips and moves based on video content alone - without the aid of EDLs or change-notes”
— The Cargo Cult
Watch The Cargo Cult video demo of Comformalizer 4.1 to see this new feature in action.
New Duration Field showing the length of each event
Added event called Gap Events
New colour coding removing blue on Events After Gaps, changing VFX colour to green
Added Video Compare routines
Added Shortcut Info panel
Added shortcuts for Trim Head/Tail To Fill
Fixed modifiers when navigating movies.
Added click zone in block view to scrub both movies together
Fixed button display issue in El Capitan
Added movie start times to .conform file export/import
Added drag/drop movies onto movie views
Fixed issue with CSV files
Fixed Diff View so it no longer eats key commands
Fixed issue in change note import
Using Conformalizer Over A VPN To re-conform "Plebs"
You can also read about how Alan Sallabank used Conformalizer over a VPN to reconform "Plebs" in his article on Pro Tools Expert.
VirtualKaty
VirtualKaty says that one of the major strengths is keeping track of all your EDLs for each of your projects. It has features built on to help handle the vex noise and handle major changes enabling you move complete sections from one place to another.
“Used on everything from feature films to the 30-second spot, audio engineers, studios, students use VirtualKaty to massively accelerate the audio post production process by automating painstaking and cumbersome tasks.”
Production Expert contributor, Damian Kearns is a long time user of Virtual Katy.
One of the founding fathers of VirtualKaty came round to CBC years ago for a demo and he immediately saw its potential for broadcast conform work.
“Having been shown the software by the great sound designer who started the company, John McKay. They developed their list based editing program during the post-production of the Lord of the Rings Trilogy, to cope with ever-changing picture cuts. And I think we can thank the team not just for great films, but also for versatile list editing tools. All three of the companies mentioned in this article were all started by members of the LOTR sound team. Now that’s an interesting slice of trivia!
I became the first person at CBC to use VK to assemble studio records (done on Pro Tools) to the final picture edit of a very tight-to-air comedy series. I had 11 hours to produce a 5.1 and stereo compliant fold down mix, weekly. VK made the improbable, possible.
When I showed production how VK could cut hours of conforming out of the workflow I was hired on the spot.”
Damian has used it on some sports docs recently since there’s a tendency to do multiple different version lengths and VK saves a lot of time. In December 2018 he used it on an annual Canadian variety special called Air Farce. This was a project that started out as a studio record in a television production studio. It then comes to him as a Pro Tools session and then generates EDL’s inside Media Composer to use to conform the show with VK6.
“I’m using the broadcaster’s infrastructure for these steps, since I don’t own Media Composer. My Media Composer use goes back to 2006 so I’m really comfortable exporting my own Quicktime screeners, EDL’s and AAF’s. I do all of that on that project just to free up the video editor’s time. Since the picture is constantly changing over the first four or five days, I’m inside VK6 five times a day at some points, conforming and reconforming. I really only get about six days to pull a one hour special together so VK has been helping me do this for something approaching fifteen years, or the show just wouldn’t get done properly. I have a lot of love for this software, as it’s helped me reach my goals quickly, accurately and elegantly many times.”
He also did a series for National Geographic Channel and PBS, which really put VK through its paces, as there really were two separate versions of the same episode, at any given point. By the end, he had it down to getting the second version completed in 90 minutes in most cases.
Damian has found that VK6 is a pretty substantial improvement over VK5. For one thing, the various conform speed choices really help when he needs to reconform a very dense mix session. The inclusion of Quicktime files for edit comparisons takes out a lot of guesswork.
“The user interface is slick; I really love the ease of filtering source reels in VK6. The whole program is more intuitive. I can tell a lot of thought is being put into program development.”
VirtualKaty 6.5.0 brought in several performance improvements including compatibility with Pro Tools 2018 and Pro Tools 2018 Ultimate. VirtualKaty 6.5.0 is also backward compatible with Pro Tools 12 and Pro Tools 12 Ultimate. Here is a list of features and changes related to VirtualKaty 6.5.0.
VirtualKaty 6 is the latest version of VirtualKaty and uses 64-bit architecture to bring about compatibility with Pro Tools 2018 and Pro Tools 2018 Ultimate on macOS 10.12/10.11. VK6 also works with PT11.
Redesigned and revamped with a new user interface and VirtualKaty 6 allows you to use EDL32, EDL16 and CMX3600 EDLs in audio conform projects. In addition, VK6 allows you to use videos to track video edits and compare your old movie and the new movie before running the conform.
In this video, the VK team show you how to conform a Pro Tools session using VirtualKaty 6 using Virtual Katy 6.5.0. A VirtualKaty project is a workspace that allows you to generate a Change Plan by comparing the changes between the current edit decision list (EDL) with the previous EDL.
VirtualKaty allows you to generate a Change Plan by comparing the changes between the current edit decision list (EDL) with the previous EDL. VK uses the Change Plan to sync and conform changes non-destructively in a Pro Tools session.
There are more article based tutorials on the VirtualKaty site.
Here is one that shows you how to create and use a VirtualKaty 6 project in VirtualKaty 6.1.
Part 1: Preparing the Pro Tools session
Part 3: Save Pro Tools session
Mirrored Feature: Using one list in VK6 for a conform session
How to get started on a VirtualKaty project using VK5 Premium Collection
Mikael Jorhult demonstrates an AAF Workflow using VK5 Premium Collection
Matchbox From The Cargo Cult
We all know that ‘picture-lock’ is a thing of the past. The Cargo Cult have been busy developing a new way of handling those pesky changes that come through at the last minute, usually without all the information you need, which means you have to rebuild your project to make sure it matches every one of the changes. Matchbox has been designed to streamline this process.
What The Cargo Cult Say About Matchbox
“Matchbox compares 2 versions of a reel or episode and finds every cut change, VFX tweak or dialog slip. It reveals the differences, reporting on the damage, and then retimes your sound mix, compositing work, dialog scripts, closed captions, and anything else created to picture.
Matchbox inherits a lot from Conformalizer 4, our Emmy Award-winning reconform tool for sound editors, but is a complete rethink of what Change Management can be. It's a completely new product, designed from the ground up using cutting edge tech and hand-rolled algorithms.”
Looking at the material from The Cargo Cut, it is clear that Justin and his team have looked at all the challenges we face in post-production when changes come through, but without detailed change notes or before-and-after EDLs and so on. Matchbox has been designed to take anything you have from just two video files, through to AAFs and change notes, scouring everything you can give it to identify all the changes that have been made.
We have already seen a lot of interest in audio post-production circles and hope to get some reports on how it is working for people very soon.
Matchbox Feature Summary
Compare based on... almost anything - If you have any kind of handover from picture editorial, then you have enough. Matchbox can work with AAFs, EDLs, XML, change notes, as well as the actual reference video files and the guide audio. Just dump it all into Matchbox and ask it to matchup anything it can find. You can search the dialog guide audio, video tracks, audio tracks, the reference movie file, or any combination in between.
Audible and Visible Diffing - Matchbox will hunt to find matches for all the footage in the new reel, then looks for any little differences within all those areas of matched footage. You can then step through each purple Diff object, looking and listening to each difference, so that you can identify if it is relevant to you.
Human-friendly summaries - Matchbox has been designed to automate the reconform process, but for the people in the team, you first need to know what the damage is, in plain terms, and in a format, you can understand at a glance. Matchbox will summarise the changes, even bundling up the relevant information into an email you can share with the whole post team.
Powerful Marker system - Every time you compare two reels, Matchbox will create a set of automatically generated markers, which describe the cut changes in plain terms. If you find other changes such as new VFX elements, you can drop extra markers of your own, to remind yourself or let others in the crew know where to look. You can even send these markers to Pro Tools, Media Composer or include them in the Summary Email which matchbox generates for you.
Tailor reconforms to each dept - Dialog and Music editors no longer need to follow picture changes, and then disregarding dozens of unnecessary changes afterwards. Matchbox lets you base its comparisons on Audio or Video, and even allows you to isolate certain audio tracks from the AAF to use. The compositor might use just the reference video file, or the VFX editor might isolate just the upper Video tracks from the AAF. You can even get your hands dirty and manually edit the matches list - simplifying or healing over changes that you just don't care about.
Ditch reliance on pix dept. change notes - A carefully handcrafted, accurate change note for every cut update is what you deserve - but we know the likelihood of getting that are… and you're definitely not going to get a note for r3v10 to r3v16 at 2 am on Sunday morning. With an AAF accompanying every picture handover you'll always be able to find the changes between any two versions, without making a call to the picture dept. You'll get it when you need it and you'll know it's right for your dept.
In this video, Justin Webster from The Cargo Cult shows how you can use Matchbox to re-conform in Pro Tools and apply a set of changes to your sessions.
In this tutorial, Justin shows how to use Re-conforming lists in which dialog databases are forcibly retimed to a new cut.
Re-conforming - How Do We Handle The Lack Of A Picture Lock? Our Expert Panel Discuss
As we know the days of picture lock are gone, in this article, we explore how our Expert Panel of Reid Caulfield, Kevin Dallas, Graham Kirkman and Korey Pereira handle the inevitable changes in the picture edit after we have started work on the audio post-production.
Realistically ‘picture-lock’ is not going to come back and so tools to help us not lose the valuable work we have done on a project when the picture edit changes are a necessary part of the audio post-production toolkit. For most of our Expert panel, it would seem that Matchbox from The Cargo Cult is very much the tool to beat when it comes to re-conforming.
What Do You Use?
How do you handle re-conforming workflows, which software do you use to re-conform Pro Tools sessions? What are your workflows? Do share in the comments below and we would love to share your tips and workflows with the whole Production Expert community.