The below specifications are based on my tech setups’ manufacturer specs (some are directly cited while others are paraphrased)*. If I receive files from you according to these specs, we may avoid unnecessary technical issues before we can start on your project, as well as prepare for later stages.
* It may be subjected to minor or major changes as my setup evolves
|Delivery address: firstname.lastname@example.org|
stand alone audio files (no film, just sound).
Uncompressed PCM (.wav or .aiff), preferably no less than 48 kHz, 24 bit. Interleaved or dual mono depending on what is to be done. Non-dithered audio.
For mastering, please send me the highest resolution you have available. For better, high-res end results, please consider working with higher sample rates (48kHz-96kHz for instance) and 24-bit throughout the production process (recording, programming and mixing) and render a file for me to master using the same resolution without dithering. Upsampling, later on (i.e. recording/converting a 16-bit file over to 24-bit will basically not add anything that was not there before, only make the file larger.
Please, always provide a film with a burnt-in SMPTE timecode (aka. BITC, Burnt In Time Code) to secure proper sync.
The film should also, preferably, include a standard 8-second leader, and sync ‘plops’ 2 seconds before and after the reel (with accompanying pip in ALL the accompanying sound files).
Should you desire, you can also download my EBU Tech 3304 lineup tones free of charge for later use. But the above 8 seconds leader with a blip 2 seconds before and after the reel will suffice when delivering your project to me.
A 720p HD resolution is often enough to work with and saves the computer processing power.
IMPORTANT NOTE: If you have a film with dialogue and a temp track, please pan the temp track to one side (e.g. full right) and the rest to the other side (e.g. full left). This will allow me to separate the temp track from the other audio while working, but still be able to A/B-ing it for quick reference.
|Format of choice||.mov||Apple ProResAvid|
|Also acceptable||.mov||H.264 configured to encode every frame separately. Make sure to use a key frame interval of 1 frame|
|Also acceptable||.mp4||H.264 configured to encode every frame separately. Make sure to use a key frame interval of 1 frame|
|Also possible but less preferred||.mov||H.263DV/DVCPro|
|Also possible but less preferred||.mp4||H.263|
|Also possible but less preferred||.avi||DV/DVCProMJPEG/PhotoJPEG|
Recommended encoding settings for H.264:
You should take care of the following settings when creating H.264 video files:
- The number of B-frames should not be higher than 3. Anything above will lead to an unreasonably high amount of memory allocation.
- The number of reference frames should not be higher than 2.
- To keep the playback performance up, it is very important to disable weighted P-Frames, weighted B-Frames and pyramidal B-Frames.
- Furthermore, make sure to use a key frame interval (IDR) of 1 frame (thus every frame is encoded separately).
embedded audio formats for film audio extraction.
It would really help of you could supply separate timestamped WAVs (@ 48kHz / 24bit) of:
- Mono dialogue
- Stereo Effects
- Stereo Music
This will save us time during the final mix. Otherwise, it is also possible for me to accept:
- Codecs: PCM, AAC* (MP3, MP2 and AC3 are not supported)
- Audio sample rates: 8 kHz, 11.025 kHz, 12 kHz, 16 kHz, 22.05 kHz, 24 kHz, 32 kHz, 44.1 kHz, 48 kHz, 96 kHz
- Audio bit depth: 8, 16, 24, 32 bit float
- Audio channels: mono, stereo, multi-channel files with up to 48 channels.
*Additional notes for AAC:
- AAC decoder automatically uses the channel configuration of the input stream (mono, stereo, multi-channel).
- General limitation: only 1024-sample frames are supported.
- AAC-LC with a 960-sample frame size is not supported.
- Coupling Channel Elements (CCEs) are not supported.
- Sample rates higher than 48 kHz are not supported.
I accept AAF files with:
- copied media.
- muted events set to a volume -inf dB.
- I prefer all to one file before export file references as relocating the files may be unnecessarily time consuming.
- please, also provide 10 sec handles (or as much as you have available below that) if I’m doing sound editing and/or dialogue editing on your production.
OMF is possible but not suggested as it adds more work.
Please test the project file before sending it to me to make sure that all you want to be there is in fact there. If you send individual tracks with plugins, remember to bounce them since I may not have the same plugins or versions of them. AAF files do not include plugins, Midi, or VST s, so, if these are relevant, remember to render in place before exporting to AAF. Audio channels will be delivered in dual mono within this format.
If we are working together on larger productions, it is advisable also for you, if you can, to supply EDL-files (i.e., Edit Decision List Files) to all picture versions (including the first one) to enable re-conforms within my workstation and, hence, save us a lot of time when the picture changes (as it often does 😉 ). EDLs have limitations, yes, but they can be quite helpful to speed things up on my end.