Preparation for Online Conform and Audio Post-Production.
For the editor or assistant editor.
Preparation for Conform
Program start must be: 01:00:00:00.
Bars and Tone:
SMPTE color bars together with a continuous 1000 Hz audio tone before sending program material, in order to assert ownership of the transmission line or medium, and so that receiving stations and intermediary telecommunications providers may adjust their equipment.
Bars and Tone is a 1 kHz tone that is one frame long and placed 2 seconds before the start of program: 00:59:58:00.
A matching XML/EDL/AAF of the edit:
• Duplicate sequence to prepare the XML/EDL/AAF
• Delete unused layers
• Dollapse shots down to one layer if possible
• Demove un-used shots
• Delete audio tracks media only used in timeline.
An offline reference QuickTime from the edit with burn-ins:
• Record timecode
• Source timecode
• Source file name
• Text overlays describing unsupported timeline effects like stabilizes (resizes and timewarps should come across in the XML/EDL/AAF below).
Technical requirements for offline reference QuickTime:
• A good rule of thumb is to make a timeline-resolution ProResLT or DNxHD 36 file.
Preparation for Audio Post-Production
Program start must be: 01:00:00:00.
Bars and Tone:
SMPTE color bars together with a continuous 1000 Hz audio tone before sending program material, in order to assert ownership of the transmission line or medium, and so that receiving stations and intermediary telecommunications providers may adjust their equipment.
Bars and Tone is a 1 kHz tone that is one frame long and placed 2 seconds before the start of program: 00:59:58:00.
Dialogue and music must be arranged separately:
• Tracks 1-8: Dialogue
• Tracks 9-16: Temp FX
• Tracks 17-24: Music
An offline reference QuickTime from the edit with burn-ins:
• Record timecode
Technical requirements for offline reference QuickTime:
• A good rule of thumb is to make a 1080p resolution ProRes Proxy or DNxHD file.
Audio Delivery Specs:
• Audio Delivery format must be OMF or AAF (AAF is preferred as OMF doesn’t retain metadata and has 2 GB File Size Limit, and larger projects must be broken into individual reels when it exceeds 2 GB)
• Audio File Format: Uncompressed Broadcast WAVE (.wav)
• Audio Sample Rate: 48 khz (48,000 Hz)
• Audio Bit Depth: 24 Bits
• Audio Handles: Minimum of 5 Seconds, 10 Seconds is Prefered (10 Seconds = 240 frames @ 23.976, 300 frames @ 29.97, etc)
• Timecode Format & Frame Rate must match Reference Video
• Include a copy of all original assets from production audio, alternate takes, & original score & alt versions. (Having alternate takes of production sound can sometimes eliminate the need for ADR)