Not that the editors are too happy about it, it not being Avid Mediacomposer and all, but I would like to test some workflows while I have the chance. There are a number of youtube users using the free version who never seem to upgrade because their videos are always really short!įunny enough, the project I'm about to start working on in two weeks is being edited in Premiere. Only one person needs a license, not both ends.įor short videos of course it is fully functional. This is so sound editors don't have to convince clients to buy it. Then regenerate the RPP at your end with a license to complete the process. This is so that you can get a client to run the free version, which will pack up all the media but with a limited REAPER project, which they can zip up to send you. The free version will also copy and transcode all the media and bundle it up. This is so people can check if the conversion looks right before upgrading. After this they will be placed correctly but appear empty. The unlicensed version will convert the whole timeline but not fill in item details for items after first 5 mins of timeline. Well, I know mostly Premiere users in the Youtube world. I could test this with the editor I collaborate with on the Tf2 Top 10 series. I really need to make an explainer video about what to do and what not to do for reconform to work most effectively. Spotting repetition and managing it sensibly is also important for getting the most out of reconform. Colours are cycled by 49 degrees of hue again. This also makes it easy to spot repetition, such as temporary effects copied and pasted by the video editor which will be replaced/improved by sound editor. Shots from same take will be same colour, making it easy to spot items that have same sound quality/issues to deal with. If they refer to same media file, they will be same colour. Items are coloured based on the media source. VORDIO will not put differently configured items on the same track.Ģ. The track name also will have a number in front showing number of channels all the items on it need. Colours are cycled 49 degrees of hue each time a new colour is required. So mono tracks will all be next to each other and the same colour. Tracks are coloured based on the number of channels the items on that track require, not the colours from Premiere. Release + demo tomorrow.Ĭolour coding in VORDIO works like this.ġ. I could make the track color to be premiere pro label color. Is there any particular reason for that ? In this screenshot (), all your child tracks are red. Thanks a lot for the screenshot, it is very helpful (don't have Premiere Pro here) I am not looking forward to ironing out the quirks in EDLs coming from various different apps () They are also quite quirky (which is why the Nuendo demo shows options for 'cleaning' faulty EDLs which are common). A few local production companies in my town seem to be using EDIUS too and asked about Vordio with EDLs for that reason.ĮDLs are not very rich in metadata compared to XMLs. This is mainly because Media Composer doesn't export XMLs and it is a common NLE. I am planning to support EDLs later though. I can't believe they downloaded Vordio for their personal use as none of them bought a license later on and 5 minute videos aren't enough for most people (the free version only does first 5 mins). It wouldn't surprise me if some have been reverse engineering Vordio. On the other hand, I have noticed a number of downloads by various companies that make other tools. They avoid common issues by introducing a manual correction stage, so you can find these mistakes before applying reconform. Vordio cannot reconform a project that was not converted using Vordio (the accuracy would be much less if I tried to implement that as the checking algorithms would not work at all). Vordio avoids some of the typical reconform mistakes with other tools by embedding information during the first conversion which is later used to double check for mistakes during reconform. The Nuendo video doesn't mention other features in Vordio's reconform such as 'locking' which are massively useful. The history is also quite interesting as Lord of the Rings had a crew member called 'Katy' who used to manually produce EDL change sets for the sound editors. I have spoken to some protools users since that have used it and so know about some of the quirks. It's funny but I only looked at Virtual Katy (and Conformalizer is another) after I had already added reconform to Vordio. Virtual Katy say they have Steinberg as a partner, so this is very likely. Looks almost identical to their approach which is based around EDL change sets. I suspect Steinberg have done a deal with Virtual Katy. (note: it uses EDL, which is pretty nice actually). Did you see that Nuendo has now a built in ReConform solution ? :)
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