Below are the delivery specs to abide by for file delivery. Before you begin your export, it’s a great idea to check out this blog post over at Frame.io. How to Keep Your Sound Editor Happy
PICTURE:
Quicktime Movie file with visual burnt-in timecode in the lower-thirds.
Video frame rate must match frame rate of the exported OMF / AAF sequence(s).
The following are my preferred file specifications:
File Types:Apple Pro Res (Preferred)
Avid DNxHD
If using H.264 .mp4 format please note that this is not frame accurate and the codec compression can knock audio off sync by anywhere between 1/4 and 1/2 frame. If using .mp4 it is vital that use use a 2-pop AND tail-pop (see video below) .
Resolution:
HD 1920x1080 (Preferred)
HD 1280x720 (Minimum)
SD 720x480
DO NOT SEND 4K or HIGHER
Audio:
Left / Right Stereo file for reference embedded in video
AUDIO:
Audio File Type: broadcast wave (.wav)
Bit Depth: 24 bits
Sample Rate: 48kHz
Handles: Minimum of 5 Seconds (120 frames @ 23.976, 150 frames @ 29.97, etc)
Audio must be delivered as an embedded AAF or OMF file, which contains all audio within a single file.. I prefer AAF as OMF does not retain the metadata from production sound.
Include a 2-pop at exactly 00:59:58:00
Picture must begin at 01:00:00:00 so when a 2-pop is included the first frame of the file should be 00:59:58:00. This assumes you’ve trimmed your academy leader down to just the “2”.
Timecode format of AAF/OMF must match that of the corresponding video
EXTRAS:
pdf of lined script (if available) or finalized script
folder of original production sound organized by scene with wild lines separated in a unique folder
Prior to our spotting session please list all notes by referencing exact timecode. The final frame of picture may still be flexible at the time of audio post while credits are being worked on. If this is the case, indicate where exact picture frame ends and provide a range where fades to music and sound design can at least be roughed in.
Please note: Embedded OMF 2.0 file types have a file size limit of 2GB. If your project is larger than this, please split the project by reels of no longer than 20 min and note the exact timecode of the start and stop for each reel.
Metadata and why it’s important.
Audio metadata is information stored inside each file that provides information about frame rate, scene, shot, take, character names, microphones used, notes on audio problems, notes on what takes the director chose on set, as well as basic information on who recorded the audio and how they can be contacted.
Why is it important?
Without metadata, editing and cleaning up dialog becomes significantly more difficult and costly. Take a look at the three images below. One shows Scene and take information as well as character names. The next, scene and take numbers but no character names. Finally, the third shows no metadata whatsoever. Track names for the isolated tracks that a production sound mixer records are vital to efficiently editing dialog. With a properly named set of clips we can quickly organize, mute, and/or trim the clips not needed for a particular shot without even listening. Of course, we will still audition each clip to make sure we have the best possible audio for that shot and having the track names will give us insight into similarly named clips down the line.
Also, if we have to find an alt take for a particular shot we can simply search by scene/shot/take and quickly locate the specific track by it’s name and sub in only that isolated audio without bringing in an entire polywav. The second image shows that while we can find the scene/shot/take information we will still have to waste a lot of time rooting around for the specific track we need. The third image proves that these clips tell us nothing. If we need to sub out a section of dialog it will unfortunately be inefficient and eat into a lot of time that could otherwise be spent working on your project in a cost-efficient manner.
2-Pop / Tail-Pop
Whether it’s prepping your video for a DCP or for your audio post person, you’ll want to review this video to better understand how a few simple steps can ensure perfect audio sync throughout the post process.
Premiere Pro AAF Export
Make sure all desired audio is enabled. Select the entire project. Go to: File>Export>AAF
Tutorial
If you're confused on how to properly export your audio please check out this video.
Tips
- Remember that your volume and pan automation will be deleted and redone at the audio post stage. If there is audio that you wish to not be in the picture it's best to temporarily unlink that audio with the video image and trim the clip within your sequence. Keyframe information doesn't always transfer over correctly and can create confusion. Also, if noise reduction is needed or the clip gain needs to be changed it can render the video editor’s automation useless.
- AAF/OMF Exports can't handle multichannel audio. If your sequence contains multichannel tracks then only the top track will be exported. You will first need to change your audio preferences to display all tracks as multiple mono tracks so that each track is separated prior to exporting.
- Remember to print a copy of any and all audio effects you'd like to send over as a reference. Original, unaffected audio must be included.
- The more organized your tracks are the quicker your audio post can begin. For instance, the first set of tracks from top to bottom should be dialog, followed by any temp effects you're including, followed by music.