# Correct way to Export Cues? - TV



## Bropecia (Sep 16, 2018)

I've set up individual sessions per cue (1m1, 1m2 etc with identifying names), video is properly synced, session templates are ready, and I've been provided an early version of the pilot to practice on. Going well enough. I have a few cues done that I'm happy with and I'm going to start bouncing and importing them into a global MASTER session for organization's sake. Question: what is the proper way to bounce for delivery to the music editor? Bounce from Cue start to cue end? Or... From Session start to cue end? Other method? Thanks. I've found some good resources on naming conventions but I can't seem to find an answer to this.


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## NoamL (Sep 17, 2018)

Well there's two processes. But you're going in the right direction with having a master session (Pro Tools?) to organize your cues.

*During the approval process*, bounce individual cues from your sessions. Make sure that they have a postfix with the SMPTE code so that there is never any problem lining them up.

The SMPTE code should always be the start of the audio file, i.e. the start of the bounce region, never the downbeat of the music or anything else. For this reason it is very helpful to have a consistent start point for your cues, for example that the downbeat will always be measure 5. That way you never have to wonder or worry about whether you are selecting the right start and end points for your bounce region, it will always be consistent and easy to rebounce if you need to return to the session, which happens a distressing amount of time. 

With some composers I assist, we use the naming format

ShowInitials(no space)EpisodeNumber(dash)CueNumber(space)CueName(space)SMPTE

e.g.

AB104-27 Helping Hand 01195321

the cue name can have version numbers if you go through multiple versions.

There's no point in borrowing the 1m1 format from films. Instead you want to use a three digit code. The hundreds digit is the season and then the other two are the episode. So 101, 102, 103.... 201, 202, 203. This really helps in finding cues fast when you need them. (If you need to add a cue between two already numbered cues then use 104-27A, 104-27B etc.) It's also the same system used by the rest of TV post staff.

*Once all cues are approved AND you have picture lock*, you should put all your bounces into one session with the locked picture, conform them, and bounce a _single stereo file _for the music editor. This makes it impossible for them to fuck it up or misplace cues. When you deliver as a zip file the empty space in the WAV gets compressed away to nearly nothing. We usually bounce from 00590000, that's 58 seconds before the 2pop and 60 seconds before picture in.


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## Jeremy Spencer (Sep 17, 2018)

My cues are typically sent for approval just as an MP3, with instructions on where the cue placement is (usually in the actual file name, showing as a time reference).

Like @NoamL mentioned, for the final delivery, almost always in a Pro Tools session file. I'll import the final reel (full), place all the stems in their correct positions (usually multiple tracks), and then send the session file. This way it all loads up exactly the same on the editor's end. This method is sometime referred to as "checker boarding" because that's what the session file looks like. If you just send individual files, there's no guarantee it's going to line up exactly the same on their end.

For me personally, I ask for the reels to be sent with the timecode burnt directly into the picture, makes my workflow so much easier.


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## Bropecia (Sep 17, 2018)

NoamL said:


> Well there's two processes. But you're going in the right direction with having a master session (Pro Tools?) to organize your cues.
> 
> *During the approval process*, bounce individual cues from your sessions. Make sure that they have a postfix with the SMPTE code so that there is never any problem lining them up.
> 
> ...



Thank you so much for taking the time for this!


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## Bropecia (Sep 17, 2018)

Wolfie2112 said:


> My cues are typically sent for approval just as an MP3, with instructions on where the cue placement is (usually in the actual file name, showing as a time reference).
> 
> Like @NoamL mentioned, for the final delivery, almost always in a Pro Tools session file. I'll import the final reel (full), place all the stems in their correct positions (usually multiple tracks), and then send the session file. This way it all loads up exactly the same on the editor's end. This method is sometime referred to as "checker boarding" because that's what the session file looks like. If you just send individual files, there's no guarantee it's going to line up exactly the same on their end.
> 
> For me personally, I ask for the reels to be sent with the timecode burnt directly into the picture, makes my workflow so much easier.


Gotcha thanks!


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## NoamL (Sep 17, 2018)

No prob


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