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The technical bits

Our Fairlight and Pro Tools Digital Audio Workstations can import audio from Avid or Final Cut Pro editing systems, by use of either the Open Media Format (OMF) or Advanced Authoring Format (AAF), via proprietary software from Fairlight, AVtransfer.

This OMF / AAF capability allows audio that has been edited on Avid or Final Cut Pro systems to be loaded directly onto our systems, without the need to re-digitise the original sound through auto-conform.

For OMF, OMF2 files are preferred, with at least 75 frame handles on all clips, (although 100 frames are ideal) and all fades and effects should be rendered before creating the OMF / AAF file.

The sample rate of all clips should be 48kHz, with bit-depth set to 16-bit, at 25fps.

Full specifications and preferred track-layouts are supplied as part of our preparation and planning with you and your editors, but as a guide for TV projects we would suggest:

As we now operate a tapeless workflow, with QuickTime files our preferred ingest medium for pictures, we reserve the right to pass on any machine hire-charges for ingest from tape.

QuickTime files should be SD for ease and speed of export, set to 640 x 360 dimensions within the 'Format Options > Size' of the Export window, with 25 fps Burnt-In Time Code, at a sample rate of 48kHz, 16-bit and encoded to MPEG-4 or H.264 at a data

Our television mixes can be supplied to you in mono, stereo, Dolby Surround (Pro-Logic II) or 5.1, and are supplied as finished, frame-accurate 'Broadcast .WAV' (.BWF) files ready for direct import to your 'on-line' Video device's time-line, as a download from our secure onlineTVmixing® server.

Dolby Surround mixes deliver perfect mono and stereo compatability, as well as offering suitably-equipped viewers an engaging Surround Sound experience.