# How do you deliver?



## bryla (Apr 21, 2010)

Hey there 

I'm in the midst of my first movie, and I'm sending demoes to the director based on the script and directions from him. Right now I'm just attaching mp3's to the mail with descriptions and thoughts on each cue.

This weekend I'm getting picture lock and I was wondering how to go about it. Do you cut up the Quicktime movie and send each cue as a video file? Do yousend each cue as wav with timecode in the file name? Do you attach with the e-mail, or do you upload to your server? Video files will occupy a lot of space even on a server, so do you use yousendit, rapidshare, dropbox?

Just: How do you go about it and why?

Best
Thomas


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## Marius Masalar (Apr 21, 2010)

Well I know I for one don't give them any video. Video is their job, so unless I've got some free time on my hands to make them a quick (and tiny) reference video mix to make sure they're aligning everything properly, I leave the video work to them.

As for actual delivery, Mp3s while we're still doing edits (to keep delivery sizes manageable), and I typically zip everything into a well-labeled single package which I upload to my server and link to in an email. When we're done with edits and the music is approved, I deliver in exactly the same manner only using WAV files instead of Mp3s and including stems where necessary.

In terms of timecode and labeling, I like to make the editor's job as easy as possible, do I tend to work such that each reel is one single WAV file containing all the cues. By the time I'm delivering to them, placement and music is approved so I don't have to worry about that, so I make it so they literally have to just drop the WAV file in right from the beginning and everything magically works. If I can't do that, for whatever reason, that's when I tend to make that crappy-quality reference mix video that I mentioned above.

That's my two cents. I have unlimited space on my web hosting, so I'm never too concerned about uploading things and the advantage is that it's not tied to any email server on their end, or third party service on mine.


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## gsilbers (Apr 21, 2010)

what daw do you have? 

in logic its easy. export audio to movie and select from where to where u wanna export. 

then grab the exported file and make a small file using "export for web" preset or one of those. takes 3 seconds. 

hint: quicktime will always use the last preset used. so next quitiime just pres command E (export) 

ive had better luck with sending small QT files, that way the person on the other end can easily see hit points and such.


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## Ed (Apr 21, 2010)

Mathazzar @ Wed Apr 21 said:


> In terms of timecode and labeling, I like to make the editor's job as easy as possible, do I tend to work such that each reel is one single WAV file containing all the cues. By the time I'm delivering to them, placement and music is approved so I don't have to worry about that, so I make it so they literally have to just drop the WAV file in right from the beginning and everything magically works.



So you only send one long mix for each reel quiet bits and all?


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## dinerdog (Apr 21, 2010)

+1 on the small Quicktimes. Also, I know it can be a LOT of work, but if I can I like to send layback with and without VO so they can 1. here that mixed properly it won't interfere with dialog and 2. what the music sounds like alone, so they can better address specific music changes.

What is important, is to REALLY be organized about your naming and revision system.

If I'm sending to an editor to layback, usually mp3 with some dialog at the front to line up.

nb:just make sure everyone is on the same page as far as sample rate is concerned, and if you can label the aif as either 44 or 48k when you send finals or stems.


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## chrisr (Apr 21, 2010)

I know this answer isn't in the spirit of your question but my view is that deliverables are always the clients decision so you should ask for written delivery specs from them - and really you should have this info _before _you start work on the job just in case it affects your working process as regards simple things like setting session frame rate and how you route your mix in order to bounce out stems if needed etc... Also it lets you tick everything off the list as you go & check that what the editor supplies you with is what it ought to be.

Things that I want to see on a spec from a client:

Stock deliverables. (dvd-r? dat backup? audio cd's?)
Electronic deliverables. (ftp - whose, and who needs to be notified of upload?)
File type. (b-wavs? whole session?)
Sample rate/bits (48k/24?)
No of audio channels (2)
Stems required?
Audio levels (pk -10?)
Frame Rate for any sessions delivered (24, 29.97df, 25)
How to Label media
Delivery Deadlines

I should say that my composing work is pretty low-key corporate, childrens and the odd bit of game work so in that respect I'm definitely one of the less experienced guys around here - but my bread 'n butter is in audio post for tv and film and in my experience the good/big jobs always have clear delivery specs. It's just good practice


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## bryla (Apr 22, 2010)

Thanks for all the replies! Especially ChrisR.

I think I'm gonna deliver Wav-files with timecode in their name for this project through my ftp-server, probably with a video master file with how I would mix it.


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## Nathan Allen Pinard (Apr 22, 2010)

In short films running around 20min I do the whole thing in one shot. One file, so they can just drop it in.

I've never done a feature yet, but I'd no doubt split them into cues like they do in the business (m#)


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## Mike Greene (Apr 22, 2010)

One other thought - I never bother asking a client up front what the delivery formats are going to be because they don't usually know. Plus it always changes on their end.

I'm doing a film right now where the editor has yet to give me a Quicktime the way I ask, let alone what the contract says. She tries, but what am I going to do? Point to a contract and say I'm shutting down until I get a single Quicktime with dialog left and music right, rather than two Quicktimes with stereo mixes of each? Nope. Instead I just say "No Problem. I'll make it work."

The more you say the words, "No problem. I'll make it work," the more a client is going to like you, by the way.

Back to contracts and specs up front, I *still* will sometimes get a contract that says final delivery will be on DAT. I go ahead and sign it as is (why pay an extra $100 or $200 to my lawyer to fix something nobody's going to care about?) because they're not really going to ask for a DAT.

I find it's a lot easier to just wait and handle the questions about delivery as they come up. Want mp3s by email? Yeah, I can do that. Quicktimes to their ftp site rather than mine? No problem. Changed their minds and want DVD by mail? Sure, I'll even pay the postage myself (which reminds me - never nickel and dime a client on the little stuff. It makes you look low budget.)


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## sbkp (Apr 22, 2010)

Mike Greene @ Thu Apr 22 said:


> The more you say the words, "No problem. I'll make it work," the more a client is going to like you, by the way.



That's true in other industries, as well... :mrgreen:


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## Ian Livingstone (Apr 22, 2010)

Depends on if it's TV/film/corporate etc - but I'd be careful of delivering 1 continuous wav because it makes cue-sheets complicated.
Video editors can create a cue sheet straight from their project with all filenames and durations included, otherwise you'd have to do it manually.

re: sync - I include a line of diaglue/vo before the cue starts, making sure there's enough silence for the editor to trim once they've sync'ed up to their audio.

I always deliver aif/wav rather than mp3 as it means you don't have to replace everything at the dub stage - less hassle for both composer & editor. Also if you're working with timecode if you export as a broadcast wav/aif it'll include the timecode within the file so in theory the editor should just be able to drop it in and it'll go to the right place.

Ian


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