Audio Requirements:

  • AAF Export: (Minimum 5 Second Handles)
  • Audio File Types: Broadcast Wave (.wav)
  • Bit Depth: 24 Bits
  • Sample Rate: 48KHz
  • Two Pop: Exactly at 00:59:58:00
  • Tail Pop: Exactly 2 Seconds After The Last Frame
  • Folder Of The Original Production Sound Organized By Scene With Wild Lines Separated Into Unique Folders. 

Video Requirements:

  • Quicktime Movie File With Visual Burnt-In Timecode. 
  • Video Frame Rate Must Match The Frame Rate Of The Exported AAF
  • Apple Pro Res .mov/Avid DNxHD (Not H.264)
    Resolution 1920×1080 or 1280×720
  • Embedded Audio Dialogue Panned Left, Music and Effects Panned Right. 

Extras That Are Helpful

  • PDF Of The Script (If Possible) Or Finalized Script
  • Folder Of The Original Production Sound Organized By Scene With Wild Lines Separated Into A Unique Folder
  • Sound Reports
  • Scene Shooting Date List
  • EDL (Edit Decision List)
  • Any Notes With Exact Timecodes


Audio metadata is information stored inside each file that provides information about frame rate, scene, shot, take, character names, microphones used, notes on audio problems, notes on what takes the director chose on set, as well as basic information on who recorded the audio and how they can be contacted.

Why is it important?

Without metadata, editing and cleaning up dialog becomes significantly more difficult and costly. Take a look at the three images below. One shows Scene and take information as well as character names. The next, scene and take numbers but no character names. Finally, the third shows no metadata whatsoever. Track names for the isolated tracks that a production sound mixer records are vital to efficiently editing dialog. With a properly named set of clips we can quickly organize, mute, and/or trim the clips not needed for a particular shot without even listening. Of course, we will still audition each clip to make sure we have the best possible audio for that shot and having the track names will give us insight into similarly named clips down the line.

Also, if we have to find an alt take for a particular shot we can simply search by scene/shot/take and quickly locate the specific track by it’s name and sub in only that isolated audio without bringing in an entire polywav. The second image shows that while we can find the scene/shot/take information we will still have to waste a lot of time rooting around for the specific track we need. The third image proves that these clips tell us nothing. If we need to sub out a section of dialog it will unfortunately be inefficient and eat into a lot of time that could otherwise be spent working on your project in a cost-efficient manner.


Whether it’s prepping your video for a DCP or for your audio post person, you’ll want to review this video to better understand how a few simple steps can ensure perfect audio sync throughout the post process.

Exporting an AAF


– Remember that your volume and pan automation will be deleted and redone at the audio post stage. If there is audio that you wish to not be in the picture it’s best to temporarily unlink that audio with the video image and trim the clip within your sequence. Keyframe information doesn’t always transfer over correctly and can create confusion. Also, if noise reduction is needed or the clip gain needs to be changed it can render the video editor’s automation useless.

– AAF/OMF Exports can’t handle multichannel audio. If your sequence contains multichannel tracks then only the top track will be exported. You will first need to change your audio preferences to display all tracks as multiple mono tracks so that each track is separated prior to exporting.

– Remember to print a copy of any and all audio effects you’d like to send over as a reference. Original, unaffected audio must be included. 

– The more organized your tracks are the quicker your audio post can begin. For instance, the first set of tracks from top to bottom should be dialog, followed by any temp effects you’re including, followed by music.