Nathan AshtonNathan Ashton

Video & Audio Specs

When it comes time to start your Audio Post adventure, here is what my team needs from your picture editor:

  1. A copy of the video
  2. AAF (or OMF)
  3. EDL (flattened)
  4. Production Sound Files
  5. Production Sound Logs
  6. PDF of shooting script

Please click each link below as it applies.

Video Specifications

  1. QuickTime video with a 1280×720 resolution, at your timeline’s native frame rate.
    • Internet Upload: H264
    • Hard Drive Delivery: Apple ProRes LT (not HQ) or DNxHD
  2. Timecode
    • Video file should start with a Slate at 00:59:30;00 indicating film name and edit version
    • Academy leader at 00:59:52;00 with a 2-pop at exactly 2 seconds before the hour at 00:59:58;00.
    • First frame of the Picture must be at exactly 01:00:00;00.
    • Another pop should occur (usually on a flash frame or bars frame) 2 seconds after the last frame of credit roll.
    • If you your Production is going to be split into REELS, please contact me for best timecode procedure.
  3. Embedded audio guide track. Bonus points if dialog is isolated on Left and music/sfx are on Right.
  4. Window burn
    • Continuous visible time code either under the video in the black or near the upper left hand corner over picture
    • Bonus points if there is a second field indicating the shot name or number.
  5. Send the same video file to your Music Composer

Audio Specifications

A short note up front:

When in doubt, don’t throw anything away. It is better to deliver tracks that we don’t need than to experience delays locating deleted audio. If you don’t want to hear something during picture editorial, place it on an inactive track in your timeline and move it right along with your edit.


  1. AAF/OMF matching timecode and sync with the video you are providing.
    • The AAF should NOT contain effects processing or merged audio.
      1. Dialogue should be raw, unprocessed production sound.
      2. All microphone tracks from original production should be included but “unused” audio can be placed on muted tracks.
    • There should be 5-second (150-frame) handles on all audio clips wherever possible. Exports with shorter handles may be rejected.
    • Sync 2-pops included on the main dialogue track.
  2. If production dialogue has been replaced with an alternate take or ADR, please place the director’s preferred version on a higher track (above) the original audio. Include the original for sync purposes.
  3. Music must be on its own track(s) – or in its own AAF/OMF.
  4. A sample rate of 48K is preferred.

In Addition to the AAF, my team will need:

  • Flattened EDL with each version of the film delivered. See Option 1 under this link for detailed notes on EDL generation.
  • Production Sound recordings – complete copy of original audio files, preferably on a hard drive
  • Production Sound Logs
  • PDF of the shooting script

ADR Specifications

For outside ADR/LOOPING facilities:

  1. Please record ADR / VO in place against the same video used for all audio post.
  2. Record a shotgun mic on mono track #1 and LAV on track #2.
    • Ideally, use the same microphones used in production.
    • Second option, use a Senheiser 416 shotgun and a Sanken COS-11SBP LAV.
    • If these mics are not available, please use the closest equivalent.
  3. Place selected takes on one set of tracks and approved alt recordings on second set of visible tracks.
  4. Prefer deliverable is a ProTools session zipped. Alternate is an AAF/OMF.

File Transfer Options

For Internet File Transfer:

  • ZIP folders prior to transfer (if applicable)
  • FTP to my secure server – contact me for login
  • HighTail, Dropbox, or other service link works as well

For Physical Media Transfer:

Contact me for physical mail address