Audio Kitchen Post - Cookbook and Recipes

Cookbook and Recipes

What the Audio Kitchen will need to work with you.

Sound Edit and Mix.

Specifications for: Submission of Avid and Final Cut Picture Edit to Pro Tools Audio Post
Specifications for: Using our FTP site for posting and retrieving media files.
Specifications for: Client Login
Specifications for: Music Submissions from Composers
Specifications for: Audio Levels

Avid and Final Cut Picture Edit to Pro Tools Audio Post Specifications

Requested Materials

Please submit the items below and kindly attach a complete inventory list of all individual items being submitted.

Copy of the Locked Video. (see specifications)
Copy of the Audio OMF export. (see specifications)
Original production audio elements with sound reports.
Copy of the production Lined Script.
Copy of the Post Production Schedule.

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Video Specifications

File Format and Aspect Ratio

The video should be delivered as a standard definition QuickTime movie.

Please export a down conversion of the HD project to standard definition NTSC DV or H264 file type.

Aspect Ratio 4:3 with 16:9 letterbox or 16:9 non letterbox. Letter box is preferred since it gives a safe area to place the time code burn in window.

Frame Rate

Please specify your Frame Rate. 23.98 or 29.97 and 24 or 30.

It is preferred that your video file frame rate matches the frame rate of the audio OMF export.

Timecode

The video should have a time code “burn in window” with contiguous (no breaks or duplications in timecode) count that matches the picture edit.

It is extremely helpful that all parties working on the project have the same video with the same burn in window to aid in spotting and note updates. Parties include the sound editor, picture editor, music composer and director.
It is helpful to have a second copy of the video without obstruction from burn in window if letter box is not used.

Leaders

The video should have a head and tail pop that matches the Audio OMF Export.
It is preferred to have a professional standard Academy Leader with a single frame pop on “2” two seconds before FFOA (first frame of action) and a single frame pop “2” two seconds after the LFOA (Last Frame of Action).

Each network has a specific head leader that will sometimes vary from the academy leader standard. Please submit your projects current network delivery specification if this is the case.

It is preferred to have a professional standard Timecode alignment so that the roll over to 1hr is on the FFOA. The standard academy leader would start at the "picture start mark" at 00:59:52;00 and end at the FFOA 01:00:00;00.

If your show is broken into acts for broadcast please have an additional sync pop in between acts.

Snap On Segments

If you have snap on segments for altered running times please submit this at the end of the regular program. Please provide a list of time code points where each snap on will be inserted in the program. For example snap on 1 is inserted in the main program at 01;13;25;00.

Guide Track

The video should have a guide track of the audio from the Avid or Final Cut Pro. The guide track should have the mix balance created by the picture editor. The video guide track should include the head and tail sync pop.

Multiple Film Reels

If your project is shot on film and is split into AB reels for negative cut and return to film printing, please include a LFOA list. The LFOA list is a list of the exact footage and Timecode of the Last Frame Of Action for each reel.

Audio EDL

If you have kept track of your original production audio Timecode with your auxiliary list or audio list in the Avid work station you are a pro and will know that we need the audio-only EDL from your edit for each reel or act.

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Audio Specifications

Audio OMF

The audio should be delivered as an Audio OMF file from Avid or Final Cut Pro. The export choice in Avid is OMF type2 embedded. Final Cut Pro does not give any other option.

Please note that the OMF file is limited to 2 gigabytes in size. This may require the project to be split into separate sections before export. For example Act1 Act2 Act3.

The video does not need to be split into sections if the OMF is split due to size restrictions.

Each split OMF section should sit in the same spot in the time line so that it is in sync with the final complete video and match the original timecode from the un-split Time Line.

OMF Parameters

16 or 24 bit whichever matches the current picture edit.

48khz sampling rate. Please advise me if you are using Pull Down audio rate of 47.952 to perform some sync tests.

Handle length of 10 seconds.

Include Crossfade Transitions

Include Levels

Include Pan

Leaders

The OMF should contain the audio pop for the head and tail leaders. The pop should be 1000hz tone 1 frame in duration.

Production Audio

Please submit the original production audio elements with sound reports. If the audio is recorded direct to camera without a separate dedicated audio recording device, please send any or all "wild track" or "room tone" recordings split off from the video as audio files.

We prefer to receive audio as "audio files" if there was not a secondary sound system, as in the example of a video documentary style shooting. We prefer not to receive any of the original video tapes or video files from production, if there was no separate sound recording device from production. So please hold all original video tapes and files.

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Using our FTP Site for Posting and Retrieving Media Files
You can upload and download picture and audio files and folders to our ftp site by using a ftp browser program like Fetch. A ftp browser program is slightly different than a regular internet browser and you need it to successfully upload or download media files. Our ftp site info will be sent to you upon request from alex@audiokitchenpost.com [Back]
Client Login Login is for our regular clients and new clients unaccustomed to using ftp protocol. This is set up so clients can easily post or download picture and or audio files with a regular internet browser like Netscape or FireFox. To Login you need to be set up with a user name and password. [Back]
Music Submissions from Composers
We prefer music to be submitted as 24bit 48khz .wav files. The music should be of the highest quality possible. Mp3 or aac files used for your iPod are not generally suitable for video and film final mixing. We prefer Music files for final mixing to be labeled, as they will appear on the final music Cue sheet list used for the films distribution. The final mix for the music should be in the stereo format of the final film either Left Right Stereo or 5.1 Surround. It is always a preferred option to have split instrumentation of each cue along with the final mixed version. In that case each file split element and master mix should have the same start point and be of equal running time. We prefer to have the start Timecode in the music cue file name. This would be the Timecode from the time line that matches the placement of the file. This facilitates the correct positioning of the file in the time line even if the file time stamp is incorrect or non-existent. A file name example would be (M25v2 Love theme 1-20-13-05.wav). This file would be Cue25 version2 titled Love theme and the head of the file is placed at Timecode 01:20:13;05. It is important to distinguish the head of the audio file from the head of the music cue. A fade up in the music cue negates the use of the head of the music cue for Timecode placement so we use the head of the audio file to spot the music cue accurately.
Audio Levels
The QC (quality control) restrictions for audio levels are becoming more important for each delivery format. If levels are off scale then the program will fail the QC process, so it is very important to use the correct tools to adjust and balance your final audio. The loudness meter created by Dolby Laboratories is now the de facto measurement tool used in audio mixing for broadcast. The LM100 and Media Meter software gives a dialog level score for a section or the entire program. Audio specification requirements for major broadcast plants like Discovery and PBS now require a specific dialog score for all program material. This dialog score, along with minimum and maximum level restrictions, really help force the mix to sound consistent between different programs and insure a higher production value of their broadcast content. Overall this is a very good thing. The down side is that it is forcing more producers into the audio post process who are not accustomed to the audio post budget expense. This is of most concern to smaller independent filmmakers who, for example, get their program accepted for a statewide PBS broadcast. It is very difficult to final mix a project in Avid and Final Cut and have it pass the QC process. Avid and Final Cut are primarily set up for picture editing and not final audio mixing. Audio Kitchen Post mixes with the quality control process in mind. This insures that the audio has the correct dialog score and will sound great whether it is broadcast or in a film festival. [Back]

cellular - 910.228.9826

alex@audiokitchenpost.com