Technical Rider
Sound Recording for film or television production
Sound Recording for film or television production
for all productions:
- provide information if the session is a set/location recording or a foley/adr (additional dialogue recording) session
- provide information about the required recording format (sampling rate, bit rate, etc.)
- have your clapperboard ready when you tend not to work with fall-back sound on film
please provide at least one of the following prior to the shooting (including call sheets):
- screenplay/script (or a storyboard including lines)
- shot list
- location address (an audio engineer also likes to do some location check in advance)
Sound Design for film or television production
Sound Design for film or television production
for all productions:
- provide your film in a low resolution format that doesn’t require lots of CPU ressources (.avi/.mov)
- on a Workstation running Mac OS X with ProTools, the best Codec so far has been Apple ProRes
- however H.264 is not suitable
- provide all sound files of your entire project (if available)
- provide a copy of your shooting script (if necessary)
- provide a copy of your takesheets or production sound reports
- provide information about the desired destination delivery format (multichannel configuration, broadcast or multimedia platform, etc.)
- accepted file formats: Waveform Audio File Format or Broadcast Wave Format (.wav) or Audio Interchange File Format (.aif)
if your film isn’t synced:
- provide timecode or reference sound on film
- provide cue sheets
if your film is already synced:
- provide your session in an Open Media Framework Interchange (.omf) file format
- Sample Rate: 48 kHz, 96 kHz or 192 kHz
- Sample Size: 16 Bit or 24 Bit
- Handle Length: ±5 seconds (an increased amount improves the workflow but requires more disk space)