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  #1  
Old 06-23-2010, 04:05 AM
you kay you kay is offline
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Join Date: Jan 2010
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Default Ask the editor

I am doing sound design for some low budget student films in the next few months.
I'm using Pro tools.
What should I expect/ ask from the editor?
Quicktime movie file/ OMF/AAF .
Would the OMF just have a stereo track if it was low budget.
This is my first unpaid jump into the dark and most of the books I have read deal with
a more elaborate set ups.
Any help appreciated.
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  #2  
Old 06-23-2010, 11:34 AM
mikevarela mikevarela is offline
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Default Re: Ask the editor

Normally I ask for these things....

* Audio-embedded OMF with 2 second handles - if project is full length, then OMF's in reel length of 20 min or less. Ask them to include front and tail pops. This will help you in the final bounce.

* Quicktime movie with timecode window burn in the LOWER right/left - not in the lower third, which covers mouths sometimes. I usually ask for ProRes or DNxHD, or plain DV, I try to stay away from H.264 - which they will try and give you - though for sound design it should be fine.

* Spec sheet with video and audio data rates and bit depths, plus phone numbers and email addresses of the editor, director and production sound mixer/recorder

* then we talk about basic time line and completion dates - I usually also do a dry run with picture lock to spot probable ADR lines and directors notes from the shoot

If you're the composer, then usually you'll just get a quicktime file with an embedded stereo mix... try and make sue you get window burn and pops though. this will help line everything up in the final mix.

also, when you provide the stuff you've created to the mixer, timestamp the bounced audio regions in the regions bin (disclosure triangle in upper right regions bin with highlighted final bounced tracks) and include a full bounce of the entire sound design with the pops so the mixer can lay it in for sync check or if no edits are needed, a single music track


-oh, if they don't give you an omf, which they might not, and which is ok for the composer not to have.. then when you get the quicktime file, import it into Pro Tools with the audio as well. Once in Pro Tools, spot the video and audio regions to the proper timecode. you can do this by dropping a sync point anywhere in the video and noting the timecode burn. then spot that sync point to the timecode you just wrote down. once the video is spotted, line up the audio region and you're ready to go.
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  #3  
Old 06-23-2010, 05:59 PM
dopplah dopplah is offline
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Default Re: Ask the editor

good, clear response Mike... big ups
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  #4  
Old 06-24-2010, 01:02 AM
you kay you kay is offline
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Default Re: Ask the editor

That's a great help.
Thanks for taking the time to write it.
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  #5  
Old 06-24-2010, 06:49 AM
EarHole EarHole is offline
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Default Re: Ask the editor

Since you're new... I would post the spec sheet and frame rate stuff here to avoid any pitfalls that could arise before you start. You want to make sure you set things up correctly instead of having to fix them later.

BTW... The Final Cut OMF will display as 24fps even if it's actually 23.98fps.

Little pitfalls like that will cause you to spend more time in tech mode then creative mode and that's no fun.
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