Production Archive

General Notes and Recommendations

  • On Set Recordings (a.k.a.” sound rolls”) should be archived on their own, separate from Dailies, which are generally backed up with the picture materials.
  • Production Logs and Reports should be archived in a searchable database as well as in deep archive. Master takes for each scene should be circled.
  • ADR recordings and “Coverage ADR”-the complete set of ADR recordings should be archived. Any Coverage ADR should be in its own clearly labeled directory for easy access by a future editorial team.
  • ADR Logs and Reports should be archived in a searchable database as well as in deep archive. Master takes for each ADR event should be noted by time code and circled.
  • Foley Recordings-the complete set of Foley recordings should be deep archived.
  • Foley Logs and Reports can generally be deep archive only.
  • Field recordings-these are “wild” sounds recorded in specific locations to be used in the particular soundtrack. They should be put in deep archive.
  • Field Recording Logs and Reports can generally be deep archive only.
  • Signature title-specific sound effects. These are sounds that are specific to a franchise that will be used in future content in that series. They need to be well catalogued in a searchable database. The audio itself can be in deep archive.
  • Multitrack music score should be retrieved and deep archived. Whether the score is orchestral, electronic or a combination of both, the score recordings with individual instruments should be collated and archived. Demo recordings are a plus if available for future added value.
  • Music Score Logs and Reports include track sheets and take logs. Master takes must be circled. Track sheets describing what instrument or section are on each recorded track should be created and archived on a per cue basis.
  • Custom title-specific source music that was created for the title should be archived separately from the multitrack score and should be noted on the music score logs.
  • Music publishing cue sheets are generally archived with the music department. A copy can be kept with the audio if desired.
  • Lined Script should be retrieved and input into a searchable database. The physical copy, if any, should be archived with the picture materials.

Formatting Recommendations

  • On Set Recordings (a.k.a.” sound rolls”) should be a collection of one or more .wav files in individual folders for each scene, named per scene. Takes should be within the scene folder, each in its own folder. Audio files should be named with the actor’s name and character name.
  • Production Logs and Reports should be .csv, .rtf, .txt or pdf.
  • ADR recordings and “Coverage ADR” should be mono .wav files for loop lines and can be stereo or wider for Group ADR.  These should be in individual folders for each scene, named per scene. Takes should be within the scene folder, each in its own folder. A series of takes can be in one folder, named with the take numbers. Audio files should be named with the actor’s name and character name. 
  • ADR Logs and Reports should be .csv, .rtf, .txt or pdf.
  • Foley Recordings should be organized into folders for Footsteps, Props and Cloth. Each should contain a collection of one or more .wav files in individual folders for each scene, named per scene. Takes should be within the scene folder, each in its own folder. A series of takes can be in one folder, named with the take numbers. Folders containing specific Foley covering actor motion should be named with the actor names and character names that are represented e.g. 55T5-Footsteps-actor names-character names.
  • Foley Logs and Reports should be .csv, .rtf, .txt or pdf.
  • Field recordings should be organized into folders for location and type of sound recorded. Each should contain a collection of one or more .wav files in individual folders based on the audio configuration of the recording.
  • Field Recording Logs and Reports should be .csv, .rtf, .txt or pdf.
  • Signature title-specific sound effects should be organized into folders named with the signature sound effect. The folder should contain session (s) with the constituent parts of the sound effect and relevant audio files.
  • Multitrack music score should be organized into folders for each cue with the cue name and recording date. The folder should contain sessions with relevant audio files for that cue, one session per take. If the cue is recorded again on another day, it has its own folder and date.
  • Music Score Logs and Reports should be .csv, .rtf, .txt or pdf.
  • Custom title-specific source music should be organized into folders named with the song title and cue number. The folder should contain session (s) with the constituent parts of the music and relevant audio files.
  • Music publishing cue sheets should be .rtf, .txt or pdf.
  • Lined Script should be .rtf, .txt or pdf.