BEFORE THE EXPORTS
Production Sound Materials
Provide all recorded materials from the production sound mixer.
Track Layout
We recommend organizing audio tracks on your timeline by having separate tracks for production sound, voice-over, sound effects, and music.
PICTURE DELIVERY
Do not export mp4, h264, AVC files, or any other video compression codecs because they are using a lot of CPU, they are not accurate and in most cases causing problems on playback.
Before start exporting
1. Make sure you have a universal leader before the FFOP (first frame of the picture) with a 2-pop.
2. Supply transparent burn-in timeline’s timecode on the lower left or right side of the frame. Ideally not cover movements in the shot to sync foley. *
3. Burn-in scene and take number on the upper left side of the frame. That you can take from the video track on your timeline. *
4. Burn-in clip timecode on the upper right side of the frame. That you can take from the video track on your timeline. *
* More info on how to do it, here.
Exporting Video File
• Submit a 1920×1080 QuickTime Movie (.mov) or MXF file using DNxHD 36 or ProRes 422 Proxy codec.
• Embed a stereo mixdown of your timeline in the video file.
AUDIO DELIVERY
AAF Instead of OMF
We recommend AAF instead of OMF as the OMF is an old protocol and does not carry all the necessary metadata and in some cases may cause issues.
AAF Export
Create an AAF with WAV or MXF separate audio files, 48khz sample rate, 24-bit depth, 20 seconds handles, no rendered audio effects.
Why Separate Audio Files Instead of Embedded Files
Consolidating your media into an embedded AAF assures that there are no re-linking issues when importing into Pro Tools. However, embedded exports will lose some clip metadata that is necessary for dialogue editing. For that reason, it is better to separate audio clips from AAF file rather than an Embedded file.
Example of AAF export settings
On the export settings window use the following settings:
• Export As: Select “AAF” from the drop-down menu
• Uncheck the following (Use Marks, Use Selected Tracks, Include Inactive Audio Tracks, Enable Mask Margins, AAF Edit Protocol)
• Uncheck “Include All Video / Data Tracks in Sequence”
• Check “Include Audio Tracks Tracks in Sequence”
• Select “All Tracks” from the drop-down menu
• Export Method: Select “Consolidate Media” from the drop-down menu
• Handle Length: 700 Frames
• Uncheck the following (Include Rendered Audio Effects, Render All Audio Effects, Flatten Audio Tracks that Contain Effects)
• Check the following (Remove Track Effects, Split Tracks to Mono)
• Uncheck “Add Audio Mixdown”
• Convert Audio Sample Rate to: Select “48 kHz”
• Convert Audio Bit Depth to: Select “24 Bit”
• Convert Audio Audio File Format to: Select “WAVE (OMF)”
• Audio: Select “Folder”
• Check “Use Same Folder As AAF File”
EDL DELIVERY
Conforming audio from production sound if necessary
If there are missing microphones we need to put them back to the timeline. To do that we need an EDL of the audio tracks on your timeline that has the production sound (no Music or FX that you may add from libraries).
There may be a limitation of how many tracks and EDL can carry, usually 4 audio tracks per EDL. In that case, export as many EDLs are necessary.
Important note
Audio conforming through EDL can only happen when the production sound files carrying source timecode, roll or tape name metadata, and they are properly imported to your NLE, so the EDLs can match that information with production sound materials.
Audio recordings from devices like Zoom, Tascam, or any other cheap recorders that do not have timecode or roll name functions, are not able for audio conforming. And for bringing back the missing microphones need to be done through “Match Frame” process on Media Composer.
Example of EDL export settings for audio conforming
• Format/Type: File129, File32, CMX3600 or any text-based format *
• Frame count: Use project count.
• Sort order: Master (Record In) order
• Reel ID Type: Source File/Tape (Sound Roll) **
• Dupe List Type: None (do not create dupe list when the option is available)
• Options: Export Clip Names and Source File Name
• Dissolves: Don’t export or select ‘Dissolves as Cuts’ if applicable
• Wipes: Don’t export or select ‘Wipes as Cuts’ if applicable
* Select the EDL format that uses the longest field to store Roll Names. The Roll Name field of File129 can contain 129 characters, while File32 can contain 32 characters and CMX3600 8 characters.
** When creating Audio EDLs, the Reel ID (roll name) of each event needs to contain the Tape or Sound Roll metadata stored in each WAV file. If this is not available, export the WAV filename in the comments of each event.
Re-Conform edits
Please also provide an EDL especially if your edit is not locked yet, for the re-conforming.
An EDL for each relevant VIDEO track (no subtitle, mask, or photo tracks).
Include the ‘source’ and the ‘clip name’ as a comment line.
Try to use file32 type where possible.
Do not include any transitions or effects in the comments, only the ‘from clip name’ field.
Or to make it more simple, an EDL as the ones for online editing – color grading just to re-sync the new edit.