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Dialogue Recording Guidelines

Note: The studio environment plays a critical role in the quality of dialogue records.  In an effort to capture a sonically neutral performance, we advise against small booths or reflective rooms that negatively impact the sound of the voice.  Naturally, loud performances will excite the characteristics of each room.  For reflective rooms, the use of gobos and carpet, along with proper mic placement can limit the amount of room sound recorded.

 

FEATURES - RECORDING GUIDELINES

SPECS

  • 24bit/48kHz Broadcast .wav
  • True 24 fps timecode
  • Session start 00:59:50:00
    • No recorded material before 01:00:00:00

SESSION WORKFLOW

  • Please start and stop regions at every sequence break.  If possible, lock DAW to the same continuous timecode feed that is fed to Source Connect and animation reference cameras (if applicable).  
    • No overlapping timecode at sequence breaks
  • Record primary mic discretely to L channel and secondary mic to R channel of a stereo track

NAMING CONVENTIONS

Note: PDX and P = Production, SCR or S = Scratch

  • Session 
    • YYMMDD_Title Abbreviation_(PDX or SCR)Session# (3 digits)_Character_Actors Initials
      • Example: 220123_B2TO_PDX002_Maddie_IF
  • Audio Track
    • (P or S)Sequence_Character_Actor Initials_YYMMDD
      • Pro Tools will automatically apply take #
      • Example: P0100_Maddie_IF_220123_01.wav

MICROPHONES

  • Primary Mic: Neumann U87Ai
    • must have Voice-less pop-screen (Popper Stopper or Stedman, not Foam Ball)
      • Place primary mic ~12-18 inches from actor to reduce proximity effect
  • Secondary Mic: Neumann TLM 170 or Neumann U87Ai 
      • Place secondary mic 4-6 inches further behind and record 6dB lower in level than primary mic to ensure unexpected projections are captured without distortion
    • Both mics should be in Cardioid without any internal pad/roll off
    • Use only clean solid state preamps with high headroom (no tubes)
    • Millennia, John Hardy, SSL, Grace, Neve, API, BAE, etc.
    • Hi pass filter at 80Hz or below
    • No compression ratio beyond 3:1
  • Director mic:  If director is on stage with the actor, please record spot mic to separate mono track

SOURCE CONNECT

  • Stereo connection with primary mic on L channel and LTC timecode on R
    • In the Advanced menu, make sure Use Source Stream is selected 

VIDEO CONFERENCE

  • Video
    • Place VC camera in a position where actor’s full face can be seen for animation reference
    • Please have timecode visible in frame without obstructing any facial expressions
    • Have monitor available for talent to see incoming feed
  • Audio
    • Primary mic and engineer talkback feeds audio input
    • Audio output fed to actor’s headphones

DELIVERABLES

Single Actor Records

  • Export regions as Stereo Interleaved
    • Do not check Avid Compatibility in export window

                    FeaturesInterleaved.png

Dual Actor Records

  • Create stereo .wav with actor 1 primary mic on L and actor 2 primary mic on R
    • Label: (P or S)Sequence_Character 1_Actor Initials_Character 2_Initials_YYMMDD_primary_take #
      • Example:  P0100_Maddie_IF_Chaz_EB_220123_primary_01
  • Create stereo .wav with actor 1 secondary mic on L and actor 2 secondary mic on R
    • Label: (P or S)Sequence_Character 1_Actor Initials_Character 2_Initials_YYMMDD_secondary_take #
      • Example:  P0100_Maddie_IF_Chaz_EB_220123_secondary_01
  • Export regions as Stereo Interleaved

All files should be delivered immediately following the session via the Netflix Aspera or Content Hub links provided to you before the session.  If you have not received anything, please contact production before the session to ensure speedy delivery.

* Do not zip folders before sending via Aspera

 

ADDITIONAL SESSION MATERIALS IF APPLICABLE

  • Monitor on stage for video playback
  • HDMI Input allowing audio/video playback to stage from laptop
  • Script stand, headphones, and spot mic for director if on the stage w/ actor
    • Additional setup for reader

ANIMATION REFERENCE CAPTURE

  • If Netflix provides cameras for animation reference, please provide the following to the stage:
    • Post fader feed of primary and secondary mics on discrete XLR cables
    • XLR feed of timecode

 

SERIES - RECORDING GUIDELINES

SPECS

  • 24bit/48kHz Broadcast .wav
  • True 24 fps timecode
  • Session start 00:59:50:00
    • No recorded material before 01:00:00:00
  • Each actor recorded on a single mic to discrete mono track

NAMING CONVENTIONS

Note: PDX = Production, SCR = Scratch, ADR = Automated Dialogue Recording

  • Pro Tools Session 
    • Title Abbreviation(3 Digit Ep#)_PDX or SCR or ADR_YYMMDD
      • Example:  TWB101_PDX_220123
  • PDX and SCR Track Names
    • Name each track with all character names played by actor
      • Example:  Nick Birch_Maury the Hormone Monster
      • If production requests to start at take other than 01, please indicate start take at end of track name
        • If starting with take 101 for Nick Birch, label track Nick Birch_100
          • PT will then label first take as Nick Birch_100_01.wav
  • ADR Track Names
    • Line#_Character
      • Example:  93a_Nick Birch

MICROPHONES

  • Large diaphragm condenser placed no closer than 8 inches to reduce proximity effect
    • Preferred mics: Neumann U87Ai, TLM 170, TLM 103, TLM 102, etc.
      • Mic must have Voice-less pop-screen (Popper Stopper or Stedman, not Foam Ball)
      • All mics should be in Cardioid without any internal pad/roll off
  • Use only clean solid state preamps with high headroom (no tubes)
    • Preferred brands: Millennia, John Hardy, SSL, Grace, Neve, API, BAE, etc.
  • Hi pass filter at 80Hz or below
  • No compression ratio beyond 3:1

SESSION WORKFLOW

  • For all PDX and SCR records, please record in continuous takes that do not overlap
    • A full take may consist of a run of multiple lines or multiple passes of a single line.  Please be consistent throughout the session allowing no more than 3 reads of a line to exist on a take unless absolutely necessary
    • If possible, have a visual take counter visible to the circle taker.  If not, verbally head slate each take (not to tape)
    • If take is not slated at the head, tail slate to ensure recorded takes match the lined script exactly
  • For ADR recordings, please drag each take to a dummy track below the record track in the exact position it was recorded
    • If cutting takes in on the fly, create Select tracks and an Alt track as needed, making sure to leave the original unedited take in the tracks below 

VIDEO CONFERENCE

  • Video
    • Place VC camera in a position where actor’s full face can be seen
    • Have screen available for talent to see incoming feed of production attendees
  • Audio
    • Actor’s mic and engineer talkback feed audio input
    • Audio output fed to actor’s headphones

DELIVERABLES

PDX and SCR Records

For each episode recorded please provide mono .wav file exports

  • Highlight all newly recorded takes and export each mono .wav file to a folder labeled the same as the Pro Tools session.  
    •  All labeling of exported files should match those in the Pro Tools session and circle take script.

                            PDXSCR.png

 

ADR Records

For each episode recorded please provide a copy of the Pro Tools Session

  • Select all tracks containing newly recorded takes, including Select and ALT tracks
    • Do not include any Guide/Picture/Aux tracks
    • In the Pro Tools menu choose File > Save Copy In… 
    • Under Items to Copy, select Audio Files and Selected Tracks Only

                   ADR.png

Immediately following the session, please upload all deliverables via the Netflix Aspera or Content Hub link provided to you before the session.  If you have not received a link, please contact production before the session to ensure speedy delivery.

* Do not zip folders before sending via Aspera

 

OPTIONAL PRODUCTION REQUESTS

Editorial Deliverables

  • For an additional cost, Production may ask for the files to be edited and/or re-labeled according to a particular specification. Please check with Production to ask if they have any special requests.

Video Performance Reference Capture

  • Animation Series do not typically use performance capture, but in rare instances production will provide an HD camera to record talent for performance reference
  • Provide post fader feed of mic to stage via XLR cable
    • If recording to timecode, provide LTC via XLR to stage
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