Linking back to source also means any conversion, degradation or processing inflicted on the audio is avoided. If the editor has deleted some of the audio tracks recorded on set, the conform would restore the full multitrack clip, allowing the sound editor access to every channel recorded. If you aren't familiar with the concept of conforming sound to source, this is the process whereby the editor's timeline is linked back to the unaltered files that were recorded on set by the location sound team. Should we use Merged Clips, or Multi-Camera Clips? Could AAFs actually work, or should we expect to use OMFs, and plan accordingly? Enlisting the help of the very talented mixer, Matt Chan,, I whipped up some quick test timelines to see how each syncing technique would fare when exported via AAF and conformed to source in ProTools.
This led me to revisit this audio issue, as I wanted to nail down a workflow before we start cutting. Recently I switched back to Premiere to prep for a feature length documentary that's in it's early stages. I wanted to see for myself if this is true (spoiler alert: it's not). Additionally, I’ve been told that Merged Clips in Premiere do not retain proper audio metadata. Personally, I have some issues with using Multi-Camera workflow, but I’d like to be convinced otherwise (that’s a topic for another post). Many users have abandoned this command altogether, opting instead for the “Create Multi-Camera Source Sequence” workflow outlined by Jarle Leirpoll here: Further complicating the issue are the well documented shortcomings of the “Merge Clip” tool in Premiere.
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