OMF Version 2, AAF or MXF
.WAV Format Preferred (AIFF formats also acceptable)
Handles: Please deliver all OMFs with handle sizes (pre & post handles) of at least 8 seconds (240 frames) or with complete audio files.
Please INCLUDE all crossfades, panning and Volume levels, DO NOT STRIP OUT VOLUME.
OMF has an internal limit of 2 GB on most systems. Consequently, if your OMF file is larger than 2 GB then export in sections,
where each OMF file is for example tracks 1 thru 6 and the second section is tracks 7 thru 12, third is 13 thru 24.
Please deliver any movie or image SEPARATE from the .OMF file in a .MOV container file.
OMF/AAF Preferred Specs:
48 kHz Sample Rate
16 or 24 bit depth
24 fps frame rate (Film Projects)
29.97 NDFTC (Video Projects)
*Please notify me in advance if OMF delivery specs differ from these.
QuickTime video codec DNxHD starting at the beginning of the hour. SAME AS SOURCE.
Use no compression, (1920 x 1080 preferred) with audio track embedded, preferably with isolated dialogue on one channel, and sound effects and music on the other channel.
Burn-in of timecode: Medium type size (transparent BG if possible)
within safe area farthest top center of QuickTime.
We can take delivery of OMF/AAF/MXF’s & Quick Time and any other required data
on any of the following media types:
Firewire Drive 400 or 800, USB 2 (All must be Mac compatible)
DVD-R or CD-R
I can also accept delivery online via WeTransfer, Gobbler or Dropbox.
The OMF/AAF must NOT contain any effects processing or merged audio.
Dialogue tracks must be at the top. Any sound effects must be on their own tracks and not mixed with production sound or music. Please don’t use any effects on the master channel.
Music must be on its own tracks and not mixed with production sound or sound effects.
No video data is to be included in the OMF/AAF.
In addition to the OMF/AAF, please include a complete copy of the original production
sound recordings, preferably on a hard drive, and a copy of the lined script, even if it
no longer matches the structure of the film.
If files with roomtone are available, please label them according to room and scene and provide them separate from the session.
Any recorded FX or foley that is not included in the timeline, should be provided separately.
Total PICTURE LOCK is assumed. If this is not the case, it is extremely important to notify me upfront.
I can accept either Pro Tools, Logic, Cubase, Ableton Live or Reason session files. Please consolidate any necessary plugins and make sure that sessions are complete. Especially Pro Tools is notorious for spreading assets in multiple folders.
For sessions under 40 tracks, I prefer unconsolidated files with necessary effects burned in. For larger sessions, please contact me. Keep FX and music separate and label your channels and preferably also the clips. Unlabeled sessions without prior contact will not be accepted. If possible, please also include the mic and preamp used in the labels. This is not absolutely necessary, but it saves time.
If you prefer to not provide a session file, but prefer to transfer only the soundfiles, please LABEL them clearly and CONSOLIDATE over the whole length of the track: if your track is 4 minutes long, all provided sound files must have this length. This does not apply if you’re providing me with a session file.
No FX or plugins on the masterbus please.
Please don’t overcompress your files before delivery. We can always compress more, not less.
Scores can be delivered in Sibelius (.sib) format.
Any mixnotes should be provided in a separate .txt or Word file. Please include time or measure codes.
For music I accept 44.1 or 48 kHz at 16 or 24 bit. Please label the session accordingly (put 48/24 in the name of the session) If any other format is used or when in doubt, please contact me.