One of the biggest misconceptions in post-production is that preparing a project for the sound team is simply a matter of exporting an AAF.
In reality, a good sound conform starts long before that export button is ever pressed.
In reality, a good sound conform starts long before that export button is ever pressed.
Like every other stage of post-production, the quality of the handover directly affects the quality of the work that follows. A well-prepared project allows the Sound Designer to focus on storytelling, emotion and rhythm, rather than spending valuable time fixing organisation, searching for missing clips or rebuilding a confusing timeline.
The goal isn't simply to send files. The goal is to make the transition between editorial and sound as seamless as possible.
It all starts with a conversation
Before I touch the project, I like to have a short call with the Sound Designer, together with the Post Producer whenever possible.
Every production is different, and this is the perfect opportunity to align expectations before work begins.
Every production is different, and this is the perfect opportunity to align expectations before work begins.
We'll discuss the type of delivery required, whether the project is intended for online platforms, broadcast or cinema, the expected audio formats, whether the mix will be stereo, 5.1 or another format, delivery deadlines and, of course, the preferred workflow. Some sound teams prefer working with AAFs, others may still request OMFs, while larger productions often have their own established pipeline.
Five or ten minutes of conversation at the beginning can save hours of unnecessary revisions later.
Watch the picture lock one more time
Once everything is aligned, I watch the approved Picture Lock from beginning to end. Not as the editor this time, but as the person preparing the project for someone else's work.
This final viewing is an opportunity to confirm that the correct version has been approved, check for any last-minute changes and mentally walk through everything the Sound Designer will receive. If something feels wrong now, it's much easier to solve before the conform begins than after the sound mix is already in progress.
Clean and organise the timeline
With the Picture Lock confirmed, the next step is preparing the timeline.
Any temporary clips, disabled tracks, duplicated elements or unused audio should be removed. The timeline should contain only the material that belongs in the final edit.
Any temporary clips, disabled tracks, duplicated elements or unused audio should be removed. The timeline should contain only the material that belongs in the final edit.
I also make sure the audio is organised logically. Dialogue, voice-over, music, sound effects and ambience each have their own dedicated tracks whenever possible. The objective isn't to create a perfect-looking timeline, but to create one that immediately makes sense to the person opening it.
The cleaner the sequence, the easier it becomes for the Sound Designer to concentrate on creating a great mix rather than decoding the editor's project.
Preparing the conform
Only after the project is organised do I start preparing the conform itself.
The first file I always export is a reference movie of every Picture Lock edit. I simply add _REF to the filename so it's immediately clear that it's the editorial reference.
The first file I always export is a reference movie of every Picture Lock edit. I simply add _REF to the filename so it's immediately clear that it's the editorial reference.
This reference becomes the visual guide throughout the entire sound process. Even if the AAF imports perfectly, the reference video allows the Sound Designer to constantly verify timing, pacing and creative intent while building the mix.
Once that's exported, I generate the AAF or OMF, depending on the agreed workflow.
For Adobe Premiere Pro the process is straightforward:
File → Export → AAF /or/ File → Export → OMF
File → Export → AAF /or/ File → Export → OMF
In DaVinci Resolve I normally use:
Deliver page → select the Pro Tools preset → disable Export Video, choose Wave as the audio format and Embedded in AAF as the codec before exporting.
Deliver page → select the Pro Tools preset → disable Export Video, choose Wave as the audio format and Embedded in AAF as the codec before exporting.
I can cover the AAF export settings in more detail in future articles, but those simple steps and a quick Google or AI search are usually enough to prepare a clean handover.
Handles. Whenever practical, I personally prefer exporting complete audio files instead of trimmed media, particularly on shorter productions such as commercials, branded films or documentaries. The additional storage is usually negligible, while giving the Sound Designer access to complete recordings often proves useful during the creative process.
I also like sharing the organised production audio folders whenever possible. If alternate takes, longer recordings or original production sound are needed later, everything is already available without requesting additional transfers.
Delivering the package
Rather than sending a single AAF, I prefer delivering a complete package / folder.
That normally includes the AAF or OMF, the Picture Lock reference movie, any available production notes, the latest post-production tracker, delivery specifications and the agreed deadline.
Whether those notes come from the director, the creative team or the Post Producer, they provide valuable context for the Sound Designer. If I have any additional observations that might help the next stage of the process, I'll include those as well. In a document or in a call those notes will be welcome.
A clear delivery package leaves very little room for misunderstanding.
What comes back from the Sound Designer
Once the sound mix has been approved, the workflow comes full circle.
The Online Editor receives the final audio package and prepares it for finishing and delivery.
The Online Editor receives the final audio package and prepares it for finishing and delivery.
Most commonly I receive a stereo WAV prepared for online delivery at -6dB and -12dB or even -18dB, together with a full 5.1 broadcast mix, both as a complete interleaved file and as individual channels whenever required.
For broadcast projects I typically work to EBU R128 specifications, targeting -23 LUFS with a ±0.5 LU tolerance and a maximum true peak of -1 dBTP, although the final specifications always depend on the broadcaster or platform.
For broadcast projects I typically work to EBU R128 specifications, targeting -23 LUFS with a ±0.5 LU tolerance and a maximum true peak of -1 dBTP, although the final specifications always depend on the broadcaster or platform.
If the project includes multiple languages, I also receive separate WAV files for each language version.
Whenever possible, I also request stems for dialogue, music and sound effects.
Even if they're not immediately required, they become extremely valuable for future versioning, localisation, archive purposes or unexpected client requests months after the project has been delivered.
Even if they're not immediately required, they become extremely valuable for future versioning, localisation, archive purposes or unexpected client requests months after the project has been delivered.
Good organisation today often saves an enormous amount of work tomorrow.
Final thoughts
"Preparing an AAF only takes a few minutes but preparing a project for the Sound Designer takes experience." Daniel, 2026 ㋡ 🖐️ 🎤
When the project is organised, the communication is clear and every file arrives exactly where it's expected, the technology, expertise and ego is irrelevant. The most important thing is that leaves the sound team free to focus on what really matters, bringing emotion, atmosphere and depth to the story.
And that's exactly what a good conform should achieve.
