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)