Frequently asked questions

Audio post-production can include:

• Editing of the production sound (dialogue editing), sync and speech clean-up
• Music selection (licensed library music) or original composition
• Sound editing and sound design (editing of sound effects and ambiences)
• Foley: recording realistic sounds of people interacting with objects
• ADR: recording additional dialogue not captured on set
• Voice over management
• Stereo or multichannel (5.1 / 7.1) mixing
• Dynamics and loudness management: normalisation to the standards of the target platform (e.g. -14 LUFS for streaming, -23 LUFS for broadcast) and delivery in the required formats: YouTube, cinema, streaming, planetariums

Every project is different: write to me and we will work out together what you need.

The materials depend on the type of project.

Branded content, commercials, corporate, YouTube and social video

• A .mov H.264 export of the locked cut with the temp audio included
• The AAF of the picture edit, embedded or with the media folder attached
• The original file of the music, if already chosen and edited
• Links to stylistic reference videos, if available

Documentary and fiction: everything above, plus:

• All the production sound files
• The sound report, to identify takes and alternates
• An AAF with handles of at least 5 seconds per clip, needed to work on dialogue with the flexibility this kind of project requires

Podcast: an AAF with the audio files and a reference video if there is one; notes on format, style and destination.

Immersive installation and planetarium: every installation has its own acoustic and technical characteristics. Before starting we set up a dedicated consultation to define the workflow and the materials together.

If it is not clear how to prepare the files or export the AAF, we can go through it together before starting. Write to me and we will prepare the project together.

Commercial / ADV. Short formats (15, 30, 60 seconds) with tight deadlines and technical standards for web, radio or TV. I usually receive a locked cut, mute or with temp audio. The work includes: sound for camera moves and the subject on screen, foley, effects on graphics (themed effects, whooshes), library music selection and editing, voice over management (quote, casting, VO editing), stereo mix and delivery with loudness calibrated for web, radio or broadcast TV. Typical turnaround: 1-2 days per video, depending on availability and complexity.

Branded content. Mid-length videos (90-180 seconds), often with production sound and a music pre-selection already in hand. The cut arrives locked, with the AAF and the original audio files (including camera audio if useful). The work includes: editing and clean-up of the production sound, additive sound design (effects, ambiences, foley), sound on graphics and transitions, voice over management, music editing, stereo mix with loudness for web and trade shows. Typical turnaround: about a week.

Corporate / institutional video. Medium to long format (2 to 6 minutes), with interviews or VO, institutional footage and company graphics. I receive a locked cut with the AAF, original audio files and temp music. In recent years corporate has moved closer to branded content: the sound design is denser and scenes are often entirely re-sounded in post, whether the production sound is mine, an external mixer's, or just camera audio. Typical turnaround: 1-2 weeks.

Documentary / doc series. Variable format, often with mixed material: interviews, field footage, archive, motion graphics. I receive a locked cut, an AAF with the edited production sound, all the production sound files, the sound report, temp VO and temp or final music. The work includes: clean-up and editing of the production sound, additive sound design in stereo or surround, voice over, music editing, stereo and/or surround (5.1 / 7.1) mix, M&E for dubbing, delivery with loudness for web, streaming, TV or cinema. Timing to be agreed with the director and the production.

Short film / feature. The most demanding project in terms of sonic complexity. I receive a locked cut, an AAF with the edited production sound, the sound report, all the original files, temp or final music and VFX in progress. The work includes: dialogue clean-up and editing, sound design in stereo or surround (ambiences, foley, SFX), ADR if needed, stereo and surround mix, delivery with loudness for every distribution platform, M&E for dubbing. Timing to be defined with the director and the production.

Immersive installation and planetarium. Every installation is a project of its own, with technical requirements tied to the physical space and the playback system. Before any quote we set up a dedicated consultation to define audio format, delivery specs and workflow.

YouTube / podcast. For YouTube videos I receive a locked cut with the AAF. For podcasts, the AAF of the audio edit and the editorial notes. In both cases I take care of everything needed: speech clean-up, sound design, voice over if required, stereo mix with loudness optimised for streaming platforms.

Yes, changes to the cut are possible at any stage of post-production. It helps to know that even a small change requires conforming the audio session, with a direct impact on time and cost.

If changes to the edit are already planned, it is better to postpone the start of audio post-production: it saves time and money for the whole production.

If changes happen once post-production is under way, it helps to receive a change list (frames added or removed, with the exact point in the timeline) or a visual reference directly on the video, such as markers on the changed scenes. The more precise the information, the faster and more accurate the conform.

As a rule the project includes revision rounds agreed at the quote stage. Additional revisions beyond those included are billed hourly, at the rates agreed in the quote.

Working from an approved cut and a clear brief from the start reduces the number of passes needed and shortens delivery times.

Yes, most projects are handled entirely remotely, with file exchange via cloud and feedback by email, chat or call.

I am also available on site for location sound, mixing sessions in a studio or ADR, throughout Italy and abroad.

Incoming material. I accept any standard video and audio format. For the best compatibility with a Pro Tools workflow, video files are preferably .mov H.264 1080p and audio files WAV 48 kHz 24 bit, with the AAF of the picture edit. If the available material has different specs, we work with what there is.

Deliverables. Deliveries are supplied in the formats required by the production or the target platform. The final mix is delivered as WAV 24 bit 48 kHz. On request: separate stems, M&E, 5.1 and 7.1 multichannel mixes, and any other broadcast or streaming format needed.

To prepare an accurate quote I need to see the material (or a preview), receive a brief on the production's needs and, if available, a few aesthetic references that help define the sonic direction. If the material has not been produced yet, we can refer to similar projects and discuss the production intent (duration, sonic density, complexity) to reach a reliable estimate anyway.

It also helps to know the type of content (commercial, documentary, corporate, etc.), the state of the cut (picture lock or still in progress), the required deliverables (stereo, 5.1, specific formats) and the delivery schedule.

Before every quote there is a short introductory call or meeting to align on the project and answer any questions.

When a project needs a voice over (off-screen voice, narrator) the process runs in two stages.

Before the final recording, I record a scratch voice on the approved script. It is used to judge pace, tone and length against the cut, and to confirm the text works before bringing in a professional voice actor.

Meanwhile I handle the casting: I select a shortlist of profiles that suit the project in tone, style and language, and propose a choice of 3 to 4 options with a quote. Once the voice is confirmed, I manage the recording, editing and mixing of the final voice on the video and deliver it for review.

The service is available in any language. I can guarantee accuracy and full understanding of text and intonation in Italian, English and French.

Yes, in some contexts it can be a viable choice, with some limits.

Current speech synthesis tools give acceptable results above all in English and for corporate, e-learning and institutional content, where the naturalness of the voice is not decisive.

Where an AI voice works less well is in projects where the emotional tone and credibility of the speaker are part of the message: commercials, branded content, documentaries, artistic narration. In those cases a professional voice actor remains the more effective choice.

I assess case by case which approach best fits the project and the budget.

Yes. Alongside post-production, I offer location sound for documentaries, interviews, branded content, commercials and corporate video. The kit includes up to 6 simultaneous wireless channels (Sennheiser EW100 G3), Sennheiser MKH 416 and Rode NTG3 boom microphones, DPA 4060 lavaliers, and plant mic solutions for awkward positions. For the full kit and availability, see the Services page.