Turnover — Department of Post

DOP Turnover Requirements - November 2022

Overview

This is the process of turning over (outputting and transferring) a locked cut from editorial (offline) for finishing (conform/grade/mix/online/QC/deliver). Below are the requirements for assets we need to make your project a success in these final stages. Please allow sufficient time for all these steps, including copying to a drive and transportation, or upload.

Note:

If you haven’t met every requirement of the below steps, we will require a redelivery. Each of these steps are critical to us carrying out our workflow efficiently so please read through this document carefully and ensure you can adhere to each step to avoid unnecessary delays. If some of these steps do not apply to you, please reach out to us to discuss.

Delivery Options

We have 2 methods of safe delivery:

Aspera upload (this is the preferred method). More detail on this at the end of the document.
Courier or drop off a physical hard drive to reception.

Naming Conventions

All sequences and files should be labelled with the following naming convention. Please do not use any special characters in filenames.

programme_episode_version_date

e.g. GDNZ_305_LC_20200314

Avid Media Composer

When you have 100% locked your cut and there are no further changes required, we require the following please:

Avid bin with final locked sequence and consolidated media

The sequence should be flattened to V1 where possible for main vision and layered for other components such as VFX, plates, archive, subcaps, title tools.

Remove match frame edits when possible.
The sequence should contain coloured markers (locators) indicating artistic intentions, technical issues, vfx and any other notes.
The first frame of the cut should start at 01:00:00:00.
Where possible please provide a 2-pip at 00:59:58:00.
For parted content, ensure part breaks have exactly 5 seconds of black (this is not included in the final duration as dictated by your network or client).
Please put end logos in where possible as a guide.
Please provide a list of approved opening credits and closing credits.
Create and share a google sheet listing all VFX and description of work to be completed. Please note you can export Avid markers and import to sheets for quick creation of this document.
Commit multicam edits.
Consolidate vision and include it in the delivery.

Export Reference Quicktime

Duplicate your timeline.

Please include TCIP top right.
Create two mono audio mixdowns from the locked sequence - one with narration only and one with all other sound. These should be panned left and right for the export. This is so we can isolate narration in the reference for VO records.
Replace all audio with the panned audio mixdowns - check the timings match your original sequence.
Export DNxHD 36 Quicktime.

Export Sound AAFs for Pro Tools

Don’t forget to ‘commit multicam edits’ before exporting the AAFs.
Avoid using MP3 and other lossless formats in your source material.
Choose ‘AAF’ as export type in the Avid export box.
Tick ‘AAF Edit Protocol’ and ‘Pro Tools Compatibility’.
For all AAF files, please set ‘Convert Audio File Format’ to ‘WAV’ and leave sample rate & bit depth unticked to preserve the source properties.

We require 3 separate AAFs:

DIALOGUE/RECORDED AUDIO AAF

‘Consolidate Media’ - Destination: Folder.
100 frame handles
Make sure to include all iso mics in the timeline. It is important for our audio engineers to have access to all source material to mix effectively.
Please include atmos buzz tracks if recorded
MUSIC AAF
‘Copy All Media’ - Destination: Folder. This means we have the full music track if necessary for music edits/fades etc.
Please ensure you have indicated which music tracks are temp and cannot be licenced.

SOUND EFFECTS AAF

Same settings as Music AAF above.
Use sound effects that you own or have the licence to use, or indicate clearly which are temporary and are intended as a guide only.
TRACKLAY EXAMPLES
Please tracklay and label your timeline in the following format. You can expand this and label as needed, but please keep consistency. Avoid placing clips in the wrong type of track or add more tracks if needed instead.
FACTUAL LAYOUT EXAMPLE

A1-4 Dialogue
A5-6 Production Effects
A7-8 Sound Effects
A9-12 Music
A13 Voiceover

DRAMA LAYOUT EXAMPLE

A1-6 Dialogue
A5-8 Production Effects
A8-12 Sound Effects
A12-18 Music

Other Assets

Please send any additional files used in the sequence e.g. archive footage and graphics. These should be sent in their full native resolution.
Check all graphic elements match the size, framerate and colorspace for the project.
Please send through any font files that are used.

For content that has not been through DIT and the raw material is not on-site

Please provide a full copy of all your raw material on a hard drive.
Or

Provide a consolidated copy of your cut at a minimum of DNxHD 185 X with at least 50 frame handles.
Or
Contact our production team to discuss.

Adobe Premiere

When you have 100% locked your cut and there are no further changes required we require the following please:

Consolidate Premiere Pro Project using the following method:

Duplicate .prproj file.

The sequence should be flattened to V1 where possible for main vision and layered for other components such as VFX, plates, archive, titles.
Rename new project with naming convention as specified on page 1.
Open new project
Delete any additional sequences not needed for online so you’re left with only the master sequence(s)
Click File/Project Manager
Check the box beside the sequence(s) you’d like to copy.
Deselect “Rename Media Files to Match Clip Names”
Choose the destination path to be the external HDD or folder you will send to online.
Click OK - Premiere will copy only the raw files needed for the final sequence(s), and will also create a new project in the destination path
To ensure that the consolidate has been successful, unmount any drive that has raw footage on it, and open the newly created consolidated project. If everything is online this means that the consolidate worked

XML - for grade

We request an XML of only the shot footage to be colour graded.

Duplicate the sequence and remove any graphics, subtitles, baselines, etc leaving only shot footage.
File > Export > Final Cut Pro XML

AAF/OMF (for audio):

We request both an AAF and OMF for projects cut in Premiere, AAF is a newer and more flexible standard but tends to have some bugs in Premiere so the OMF is also requested as a backup for the AAF.
File > Export > AAF
Breakout to Mono Enabled - Sample Rate 48000 - Bits per Sample 24 (should match source material) - Embed Audio - Format Broadcast Wave - Trim Audio Files - Handle Frames: 200
File > Export > OMF
Settings: Sample Rate 48000, Bits per Sample 24 (should match source material), Embed Audio, Trim Audio Files, Handle Frames: 200

Delivery to DOP

There are two options below, pick one that suits your project the best:
- Department of Post Aspera upload portal - this is the fastest and most secure method of transfer to us, it’s free to use and reliable.
- Hard drive delivery via drop off or courier.