What an Ad Agency Should Send an Audio Post House
A good turnover does not need to be complicated. It just needs to contain the right picture, the right audio and enough context that nobody spends the first hour asking where everything went.
When an agency sends a commercial or branded-content project to audio post, the goal is simple: give the mixer enough material to start working immediately. The more complete the handoff, the more time can go toward dialogue, sound design, music and the mix—and the less time goes toward opening folders named NEW_NEW_USE_THIS.
1. A Reference Picture Everyone Agrees Is the Right One
Send a reference movie with visible timecode burn-in and, ideally, a file name that includes the version or date. The audio-post session has to stay synchronized to picture, so “the latest cut” is much more useful when there is only one latest cut.
The reference should include the current editorial audio. That guide track may not be beautiful, but it is extremely useful for confirming sync, identifying intended music and effects, and understanding what the creative team has already been living with for the last three weeks.
2. An AAF or OMF From the Edit
The AAF is the roadmap from the picture-editing timeline into audio post. It should contain the production dialogue, temp effects, music and other editorial audio used in the cut, with enough handles to make edits and repairs possible.
If your editor can provide separate, reasonably organized tracks for dialogue, music and effects, even better. Nobody is asking for a museum-quality timeline. We are simply trying to avoid discovering that a door slam, a VO pickup and half the score are all sharing Track 7 for reasons lost to history.
3. Production Audio and VO Sources
If the project contains production dialogue, send the original production sound when available—especially if the editor has been working from camera audio or flattened clips. Original recordings often provide alternate microphones, cleaner channels or additional material that can make difficult dialogue much easier to repair.
For voice-over, include the preferred take plus alternates when they may still be under consideration. If there is a client-approved VO comp, say so clearly. “Use whatever sounds best” and “the client is emotionally attached to Take 14B” are two very different assignments.
4. Music, Stems and Licensing Information
Provide the highest-quality music files available. If the track comes with stems—drums, bass, vocals, instruments, etc.—send them. Stems can make a major difference when the music needs to move around dialogue or be restructured for picture.
Also flag any restrictions: licensed duration, required edit points, mandated track versions, end-tag requirements or anything else that affects how the music can be used.
5. Creative Notes and Brand Expectations
Audio post should know what the spot is trying to feel like. Is it clean and premium? Loud and kinetic? Intimate? Comedic? Naturalistic? Does the brand have sonic assets, mnemonic sounds or previous campaigns that should be referenced?
A few useful creative notes can save a round of revisions. “Make it cinematic” is a start. “Premium, restrained and tactile; keep the VO intimate and let the product moments carry the impact” is considerably more actionable.
6. Deliverable Specs and Versioning
Before the mix is nearly finished, confirm where the work is going: broadcast, web, social, cinema, internal presentation or multiple destinations. Different platforms and broadcasters may have different loudness, peak, channel-layout and file requirements.
Also send the version list. A :30, :15, :06 and three social cutdowns are not “basically the same spot” from a delivery standpoint. Each one needs to be checked, mixed and exported correctly.
A Simple Agency Handoff Checklist
- Current reference movie with timecode burn-in
- AAF or OMF with handles and usable media
- Original production sound when available
- Approved VO plus relevant alternates
- High-resolution music and stems
- Temp sound effects or important creative references
- Creative notes and brand guidance
- Final runtime/version list
- Delivery and loudness specifications
- One clear point of contact for approvals
None of this has to be elaborate. A clean folder, a short email and a complete turnover can do the job beautifully. The real objective is simply to let the audio team begin solving creative problems instead of administrative ones.