CLIENT BEST PRACTICES
Submission Checklist for Post
INDEX
1.0 Overview
1.1 Format Confirmation
- Provide a list of deliverables.
- Verify the required delivery formats.
- Provide a detailed list of credits and titles.
1.2 Delivery Schedule
- Include your schedule for final delivery as well as preset internal milestones.
1.3 Guiding References
- Include rough cuts, storyboards, or shot lists (if applicable).
1.4 Document Inclusion
- Supply scripts or planning documents relevant to the post-production.
- Technical Specifications
1.5 Deliverables List
- Resolution: Detail the resolution requirements for each type of deliverable, including standard definitions like 1080p, UHD, etc.
- Codecs: Specify the video and audio codecs required for each deliverable.
- Format Conversions: If applicable, list any specific format conversions needed, such as converting to PAL or social media.
- Aspect Ratios: Clearly state the aspect ratio(s) for the project deliverables, such as 16:9, 4:3, 9:16 etc.
- Closed Captioning: Supply scripts or transcripts(if applicable) for closed captioning. Provide what specs needed for final file (.srt, .scc, .cap, .txt)
- Descriptive Video: Provide specifications for descriptive video services.
- Additional Requirements: Please specify any other deliverables or specifications not listed above that are necessary for your project, including any unique or project-specific needs.
2.0 Receiving Media and Test Files
2.1 Media Transfer Options
- Hard Drive Transfer: Please ensure that media sent via hard drives are well-labeled and include all necessary files and appropriate cables.
- Digital Transfer: For digital delivery, use our secure portal to upload the content. Ensure all elements of your project, including video files, audio files, GFX, and lower thirds, are included in the upload. If available, we can also accept media via client portal.
2.2 Completeness of Elements
- Confirm that all necessary elements (reference videos, Avid bins, MXFs, scripts, etc.) are included, whether transferring via hard drive or digital portal.
2.3 Compatibility Checks
- Send a sample file to confirm technical compatibility before the full transfer.
2.4 Reference Video
- Include a lower resolution reference video with burn-in timecode (1080p h264, minimum 5 Mbps bitrate).
3.0 File Naming and Organization
3.1 Naming Convention
- Adhere to a structured naming system, incorporating the project name, scene, take, and date.
3.2 Folder Structure for RAW Footage
- Organize footage into folders based on scene or shooting day.
4.0 Timecode Consistency
4.1 Timecode Alignment
- Ensure all clips match the source timecode.
4.2 Continuous Timecode
- Avoid any breaks in timecode to maintain synchronization.
5.0 Audio Sync and Quality
5.1 Sync Accuracy
- Ensure all video files are properly synced with their audio.
5.2 Reference Audio
- Include scratch audio tracks for reference.
5.3 For Mixing
- Minimum 120 frame handles.
- Embedded AAF and QT reference with BITC if from Avid Media Composer.
- Embedded OMF and QT reference with BITC if from Adobe Premiere.
- Ensure that each element is kept on its designated track: dialogue on dialogue tracks, and sound effects on sound effects tracks, respectively.
5.4 Picture Ref
- BITC 1080p h264, 5 Mbps (minimum) reference with split-track audio (Guide Voice on one channel, Mix on the other if being used for a Narration Record Session).
5.5 For Versioning
- New QT reference with BITC.
- EDL of the changes made for versioning.
- Potentially new AAF/OMF if available or necessary.
6.0 Picture Lock Turnover And Media
6.1 EDL Details
- Provide an EDL or XML and AAF(AAF preferred) file detailing the offline edit decisions.
6.2 Format Compatibility
- Ensure the EDL format is compatible with our systems.
6.3 Timeline Track Order
- V1 RAW, V2 Archival, V3-4 Animation/VFX, V5-6 LTs & Titles.
6.4 Avid Projects
- For Avid users, provide an Avid bin containing the sequence and a separate folder with HighRes consolidated MXF files with 24 frames handles.
6.5 Premiere Client Best Practices
- The Premiere project file should have a clearly identified picture lock sequence.
- Place an easily identifiable Premiere file at the root of the folder structure, e.g., Master_PictureLock_MyProjectName.prproj.
- Consolidate the project with RAW files.
- Avoid using transcoded and mixed frame rate footage.
- Ensure that your final Sequence settings reflect the final delivery format and framerate.
- Refrain from importing After Effects compositions into Premiere with Dynamic Linking.
6.6 Picture
- Include all source files (RAW) or transcoded to higher quality codecs with 24 frames handles (ProRes444, DNxHR for 4K material; DNxHD & ProRes 422 HQ for HD material).
- Include a lower resolution reference video with burn-in timecode (1080p h264, minimum 5 Mbps bitrate).
- Avoid using ProRes HQ with an .mxf container.
- Provide AAF/XML/EDL of the picture lock sequence.
- BITC ProRes PROXY reference (starting @ 1hr or 10hr is preferred).
- Copy of offline picture lock.
- Blurs list.
- Script.
- Lower 3rds List.
- Window of Opportunity (WOO) List (if applicable).
- Credits List.
7.0 Colour Grading Prep
7.1 Pre-Colouring
- Avoid applying any colour grading or correction to the footage.
7.2 LUTs
- If LUTs were used during shooting, provide these for reference.
7.3 Colour Notes
- Communicate your desired colour grading styles or references.
8.0 Backup and Data Integrity
8.1 Redundant Backups
- Ensure multiple backups are made.
8.2 Checksum Verification
- Include checksum files to confirm data integrity.