Delivery Specs For Post-Production

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. 

Understanding Post-Production Audio in a Post-COVID World.

Our new age of COVID-19 has placed a higher importance on working remotely. Without the benefit of having an audio person in the same room it is important to consider the unique variables of reviewing audio work outside the studio. Below are some tips and guidelines for understanding the workflow and best practices of post production audio, especially in a remote context. Remember….Post-Production begins at Pre-Production!

Workflow

Social distancing requires a remote approval system and clear communication between client and post team. This image shows a simplified step-by-step process of what our time together would entail working remotely on a feature-length film. Each project has a different scope but the general flow of work remains the same. 

Properly Monitoring Your Mix

How are you viewing the work and more importantly, what are you using to listen to the audio mix? Studios are acoustically treated and calibrated to match how your film will sound in a theater. These calibrations work for television and web-based audio content too. However, monitoring in an untreated room, or a noisy environment, or on poor sounding speakers can have a significant adverse effect on how you perceive the work your post team has accomplished. From left-to-right, this image shows a progression of ideal to terrible when reviewing the audio for your project. At the end of the day, your audio needs to sound great on every platform available. However, during the post process it’s vital that you and your mixer are on the same page about how you are listening. Knowing how you’re listening will give significant insight into what you’re hearing. For instance, are you feeling that there’s not enough low frequency power during an action scene? It makes a big difference to know whether you’re viewing on a dub stage or on an iPhone. If possible, review your mix on as many systems as you have access to. Just make sure you keep track of how you’re monitoring and discuss it with your post team.

Viable Software Options

SessionLinkPro - browser-based, can record dual mono, syncs with video
Source Connect - wide array of product options, used in many studios already
Cleanfeed - currently audio only, great for podcasts or voice overs
Sessionwire - standalone app, better suited for studio-to-studio recording

Accessible but Poor Performing Options

Zoom
Skype
Google Hangouts

Real-Time Feedback & Remote Recording

Remote recording has become much simpler over the last decade with widespread access to broadband internet and decrease prices in basic high quality audio equipment. Currently, there are several viable options for providing real-time feedback and even recording voice over or ADR synced with video. Each has their own set of pros and cons. Depending on the needs of your projects some platforms may work better than others. The good news is that I can help you navigate the product field and breakdown technological obstacles as well as choose the right option that fits your budget. 

Itemized Feedback and Remote Approvals

There’s a variety of ways to provide feedback for revisions. Whether it’s a question or comment it’s always best to reference an exact timecode. Frame.io provides an excellent way to do this by allowing you to comment directly onto the same platform that hosts the video. Your mix will be married to the same picture-locked video file that I am using, then uploaded to the service for your review.  Your comments can then be exported and each specific item can be reviewed in chronological order. After changes are made, the updated mix will be uploaded to the service and, if needed, any additional notes can be made.

Production F.A.Q. - Planning For Your Shoot

If you’re new to hiring a professional location sound mixer (or if you just need a refresher), the information below will provide a nice summary of the topics that frequently come up during the pre-production stage of your project.

Planning For Your Shoot

Whether you’re planning for a corporate interview, a docu-follow “run & gun”, or a narrative feature, you’ll need on-set audio that’s recorded right the first time. Getting high quality results require planning during the pre-production stage. It will always be more cost effective to communicate with your sound mixer prior to the shoot regarding potential sound issues rather than to deal with problems as they occur. Below are the major categories of production sound for you to consider.

What Gear Do You Need?:

The first question we tend to ask a producer, coordinator, or director is “what kind of gear do you need?”. The reply is often “oh, just a few lav mics”. While this is helpful, we need to dig deeper to make sure your audio needs are fully met and that you have budgeted appropriately. Production sound gear is rented out in two forms. First, as a core equipment package, which consists of all the essential elements for a successful day on set. Then, as “a-la-carte” for every piece of equipment that is in addition to the core package.

So what’ are the essential elements?

A typical core equipment package consists of:

  • (1) Multi-track recorder/mixer capable of recording isolated audio channels as well as producing a mixed feed to send to camera.

  • (1) Boom microphone w/ accessories appropriately chosen for the shooting location along with a boom pole and c-stand w/ mount if necessary.

  • (2) Wireless systems. This can either be two wireless systems for talent mics or it can be one talent mic and one wireless camera feed.

  • All the battery power necessary for each device to operate a full day.

  • Any accessory required to secure talent mics such as clips, adhesives, straps, and mounts.

“Do I need to rent more equipment for this shoot?”. Well, it depends. How many actors do you plan having on camera simultaneously? How many cameras are you shooting on and do you require a wireless audio feed to each camera? Does your post team require a timecode sync box to feed continuous sync to each camera? Do you need a “Smart Slate”? Would you like individual wireless monitoring for each client present on set?

A La Carte:

Depending on the complexity of your shoot you may need to rent additional equipment beyond the basic kit. Typically these items are:

  • Extra wireless systems for talent

  • Wireless audio feed to camera

  • Timecode “smart” slate

  • Timecode sync boxes

  • Client monitoring


Locations:

The location you choose will, by far, have the most significant impact on the quality of audio recording for your shoot. Before locking down a location, ask your location scout and the location’s owner the following questions:

  • Is the location close to a busy road, highway, bus route, intersection, etc? Is it only busy part of the day/night?

  • Is the location underneath a flight path? Is it near a railway? If so, do you know the frequency at which the trains run.

  • Will you have complete control over the location once we’re on set? Will you be able to turn off heating/air conditioning? Will you have access to the breaker box? Will non-film people be on location during filming and do they understand what will be required of them in terms of being quiet?

  • If we’re shooting in a bar/cafe/restaurant, are we able to turn off coolers, refrigeration units, air conditioners, etc? Will the establishment be fully closed and free of random foot traffic from the public and/or employees?

  • Will you have the labor resources to lock down locations and keep foot traffic from interrupting takes?

Wardrobe:

Not all fabrics sound the same. When choosing an actor’s wardrobe consider where a lav mic will be placed. Your sound dept. will greatly appreciate it if you consider the following:

  • Request that actors/interview subjects wear natural fabrics like cotton but NOT silk.. Synthetic fabrics like polyester also tend to be noisy.

  • Remember that we have to strap a transmitter box onto your actor. If he/she isn’t wearing much (or wearing very tight clothing) your sound mixer may need additional time to conceal the mic and transmitter pack in a way that is both comfortable for the actor and sounds good to our ears.

  • Consider how much noise a piece of jewelry makes, especially necklaces and bracelets.

Art Dept. & Set Dressing

  • Remove or fix noisy furniture like chairs that squeak or rattle.

  • Remove or secure shelved items that make noise when actors walk in a scene or when doors are opened/closed.

  • Allow the sound dept. to place sound blankets off screen within a room to deaden a reverberant space.

Help from the A.D.

Your assistant director is our most important ally to implement a sound friendly protocol on set. Request that the A.D. make a habit of the following best practices and all your other crew members will follow suit.

  • Make sure all cellphones are either turned off or put into airplane mode.

  • Honor requests for room tone and wild lines from actors if needed.

  • Make sure the boom operator is included in rehearsals.

  • Adjustments are often needed to find the best possible positioning of a lav mic. Allow enough time for an actor to be wired up so these adjustments can be made prior to or immediately after blocking takes place.

  • Request other crew members to work quietly or hold work if needed. If there’s too much noise between takes it can be very difficult to determine if there’s a sound issue until moments before action is called.