Technical Rider

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

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)