REQUIRED DELIVERY FOR EDITORIAL

Clients, in case you have misplaced your PDF, please refer to the specifications and instructions provided below. Materials essential for post-sound on your project will be dependent on the project type and the resources available. Do not hesitate to ask questions!

  • PICTURE: QuickTime Movie File (H264 compression only), with embedded production audio.
    • Embedded production audio must be split stereo (Left Channel: Dialog | Right Channel: Temp ADR, SFX, & Music).
    • Please include a 2-pop at 00:59:58:00 in both channels.
    • Try to limit file size to 10 GB for a 1-hour program and 5 GB for a 1/2-hour program or 1 feature film reel. 
    • A full-resolution, HD export is not necessary. Smaller file sizes are preferred as long as compression does not adversely affect picture quality.
    • Please adhere to the following aspect ratios:

      • HD 1080: 1920x1080
      • HD 720: 1280x720
      • SD 16X9: 720x480
      • SD 4x3: 640x480
    • Picture must begin with a slate that clearly states the following: 
      • Show Name
      • Episode Number (if applicable)
      • Version (Locked, Unlocked, Online, etc)
      • Date of Output
    •  All formats must have visible timecode window burn. Make sure the timecode frame rate matches the frame rate of the picture and is not placed at the extreme edges of picture or at the bottom. Timecode has to be visible from the first frame of the file to the last frame of the file, including the slate.
    • "Brad Flick" or "Brad Flick Sound" watermark on picture is not required, but recommended.
    • AVID DNX files are not acceptable. Again, H264 only.
  • OMF/AAF
    • "How To Export an AAF" - Guide from Avid
    • "Exporting OMF Audio Files" - Guide from Apple
    • Make sure sample rate and bit depth matches the source audio. Frame rate should match picture as well.
    • Select "Include Rendered Audio Effects." Do not select "Render Audio Effects."
    • Export using "Copy All Media" selected. Do not "Consolidate Media" files by creating handles.
    • Include clip-based gain, automation, and fades.
  • EDL (Edit Decision List) *not necessary if audio content does not require an audio assembly upon turnover*
    • Make sure the EDL includes sound roll, scene, and take.
    • Verify that "sound rolls" are selected and not "camera rolls."
    • The EDL should reference the dailies' timecode and not the program's timecode.
    • Include the dailies sound rolls source list.
    • After exporting the EDL, open it using a program like TextEdit or Notepad to verify that there are no edits missing in/out timecode.
    • The names of the sound rolls on the EDL absolutely must match the audio dailies' folder names.
    • EDLs max out at 999 edits/events. If your project has more than 999 edits/events, subsequent EDLs are required. It is best to break up a longer project into reels.
  • All production audio.
  • Any available paperwork associated with production, relevant to sound.
    • Script (lined and unlined)
    • Sound Reports

DELIVERING MATERIALS

The elements listed can be delivered in any of the following ways:

  • Hard Drive (include all requested elements)
  • FTP/Cloud Storage Download Link (Dropbox, WeTransfer, Aspera, etc)
  • E-mail (if files are small enough)
  • HDCAM or HDCAM SR Tape (please note: tape delivery will incur an extra fee to digitize)