Turnover Specs - Film & Television
Overview
This page provides the picture department with turnover specs as well as detailed and specific settings for their non-linear video editing systems. The settings within this document have been tested and are ideal for our workflows. Although many of the screenshots are from an older version of Avid Media Composer, similar settings can be achieved in current versions of Media Composer and Premiere.
Quick Check List (see Recommended Settings for more details)
QuickTime videos (DNxHD)
Dialog, music, and effects guide tracks
Dialog, music, and effects AAF (Link-to, not embedded)
Picture EDL
Audio EDL(s)
Production sound reports
All Avid audio media files
All original/RAW production audio
Wild Track Logs (if available)
ADR Locator List (if available)
LFOA lists
Lined script
Picture department contact list
Character list
Continuity list
Recommended Settings
QuickTime Videos
We will need QuickTime video files per reel with window burns and embedded audio. A standard 8 second countdown head leader is needed at the beginning of all reels.
The exact first frame of each video file (0x:00:00:00) shall be the "Picture Start" mark. The "2 pop" frame shall be at exactly 6 seconds (0x:00:06:00), and the first frame of action/program shall be at exactly 8 seconds (0x:00:08:00). No black or bars are required, nor desired, before Picture Start.
Suggested example file name for the QuickTime video is as follows:
SW_R1_v03_1920x1080_DNxHD_2398.mov
COUNTERS:
Timecode at Picture Start = 0x:00:00:00
where x = Reel Number, i.e. the timecode hour for each reel is the reel number.
SYNC POPS:
Visual Punch/Mark at head of reel is at 0x:00:06:00.
Audible Pop at head of reel is: 1 kHz tone of duration exactly 1 film frame, starting exactly at 0x:00:06:00.
Visual Punch/Mark at tail of reel is at the Last Frame of Action (LFOA) + 2 seconds. Audible Pop at tail of reel is: 1 kHz tone of duration exactly 1 film frame, starting exactly at LFOA +2 seconds.
First Frame of Action (FFOA) is at 0x:00:08:00.
WINDOW BURNS
Upper Left Matte: Reel and version number, e.g. “SW R1 v02” Upper Right Matte: Keycode and Sound Timecode
Lower Left Matte: Timecode (at project frame rate)
Lower Right Matte: Footage and Frames (optional)
“Property of xxxxxxxx” or whatever watermarking is necessary. It's preferable to have it translucent in whatever area you are required to place it.
Please make sure that the reel name, timecode and footage counters are not too close to the edge of the screen, so that playback on an NTSC monitor with overscan will not lose any characters or digits.
Supported Codecs
HD: All Uses
DNxHD 36 (i.e. approx. 36 Mbit/sec)
Normal Size: 1920 x 1080
FPS: 23.976, 24, 29.97, 59.94i, 25
HD: Screening Use Only
Apple ProRes 422
Normal Size: 1920 x 1080
FPS: 23.976, 24, 29.97, 59.94i, 25
DNxHD 115 (i.e. approx. 115 Mbit/sec)
Normal Size: 1920 x 1080
FPS: 23.976, 24, 29.97, 59.94i, 25
Guide Tracks
3 Avid exported WAV file guide tracks for DX (mono), FX (stereo, LR), and MX (stereo, LR).
It's extremely helpful to try and keep the tracks as cleanly organized as possible on the Avid, so that, for example, the DX guide tracks really only contain production audio, ADR, or PFX. Ideally, the FX tracks are FX only, and the MX tracks are free and clear of anything else.
Suggested file names are as follows:
SW R1 v03 GT DX.wav
SW R1 v03 GT FX.wav SW R1 v03 GT MX.L.wav SW R1 v03 GT MX.R.wav
The start of the WAV file should begin exactly at 0x:00:00:00, at Picture Start. No pre-roll before Academy Leader is needed.
Format: WAVE, 48 kHz, 24 bit
Avid Screenshot:
AAFs
DIALOG, MUSIC, AND EFFECTS
We need an audio-only AAF of the DX, FX, and MX tracks for each reel.
Suggested file name example: SW R1 v03.AAF (which includes the DX, FX, and MX tracks)
We also need to receive all the audio media the picture department is using in their timelines. Above all, we need to receive all of the original production audio. This includes MXF, WAV, AIF, and/or MP3 files. As you can see below, the “Export Method” is “Link to (Don't Export) Media.” Match settings to the screenshot below.
Picture EDLs
We will need one picture EDL for each cut delivered.
Format/Type: SMPTE File32, CMX3600 or any text-based format
Frame count: 24, 25, 29.97/30 NDF or 29.97/30 DF
Sort order: Master (Record In) order
Reel ID Type: Tape (Sound Roll) *
Dupe List Type: None
Options: Export Clip Name in comments *
Optimization: Dissolves as Cuts and Wipes as Cuts
Audio EDLs
Remove: audio fades, dissolves (or converted into cuts if applicable), audio processing effects, volume automation, track patching (if applicable)
Contains slate information
Source timecode refers to production sound
Clip names in the “comments” field
Remove temp sound effects edits and music edits
Versioning
There are a couple of very important points about versioning that affect the sound department and its ability to track different versions of picture, sound, materials for ADR, and mixes. Things can get complicated quickly.
Two very important ideas that help keep things simple are:
Once a reel has been “published”, that version has been “retired.” More specifically, a reel is “published” if the “reel has left the cutting room.” For example, if any of the following has been handed out to another department: QuickTime video, videotape, AAF, cut list, etc., then that reel version should not be “re-used” – it's been “retired.”
If a new “set” of reels is released, and there are reels that have not changed, then those unchanged reels should stay “as is” – i.e. not have their version numbers changed.
Continuity List
We are requesting standard continuity lists for each reel. Having locations (e.g. EXT – Mike's Apt.) on the continuity lists are extremely helpful.