Why a conform exists
Editors rarely cut with camera originals. A day of 6K raw from two cameras is too heavy to scrub through smoothly, so dailies produces proxy files that carry the same clip name and timecode as the originals. After picture lock, the finishing facility needs the edit rebuilt on the originals so the colorist has the full image data to work with.
How the match works
The assistant editor exports the cut as an EDL, XML, or AAF. Each event in that list points to a source clip and a range of timecode. A simplified EDL event:
012 A007C003 V C 14:22:10:05 14:22:14:18 01:03:41:08 01:03:45:21
* FROM CLIP NAME: A007C003_260812_R2KD.MOV
That says event 12 uses clip A007C003, from source timecode 14:22:10:05 to 14:22:14:18, and places it at record timecode 01:03:41:08 in the reel. The reel field only holds eight characters, so the full clip name travels in the comment line underneath. The conform artist loads the list, points the software at the original media, and it relinks each event. At 24 frames per second, the event runs 4 seconds and 13 frames on both the source and record side, and those durations have to match.
Checking the conform
A conform is only trusted after it is checked against the offline reference. The usual method is to lay the editor's reference export over the conformed timeline and play them as a difference or split screen. Any frame that doesn't cancel out is wrong. Common problems include:
| Problem | What it looks like | Typical cause |
|---|---|---|
| Wrong shot | Different take in one event | Duplicate clip names across cards |
| One frame offset | Slight jump at a cut | Timecode rounding or pulldown mismatch |
| Framing mismatch | Shot is larger or smaller than reference | Resize or stabilization not carried over |
| Speed error | Slow motion plays at normal speed | Speed ramp lost in translation |
| Missing media | Offline or black event | Card never delivered to the facility |
Missing media is the one that hurts schedules. If the original cards weren't archived properly, someone has to find the backup drive from the shoot. That is why the DIT's offload logs and drive labels matter months later.
Keeping it clean from the start
Most conform problems begin on set or in dailies. Cameras should have unique reel names, and nobody should rename clips in the edit bin. Speed ramps, reframes, and effects built in the editing software should be listed in the turnover notes so the online editor can rebuild them. Tell the facility early what the edit system is and what format of list you'll send.
After the conform passes, the timeline goes to color grading, then to VFX shot drop in, titles, and finally the renders that go through a QC report.