Why is a good turnover package so important in post-production?

A well-constructed turnover package is the backbone of an efficient post-production pipeline; it prevents costly delays, creative compromises, and technical headaches by ensuring organized asset delivery to all departments.

What is the best format for proxy files?

Proxies at 1080p in H.264 or ProRes Proxy are commonly used, as they successfully balance visual quality with manageable file sizes for review and editorial work.

Should I bake my creative LUT into the footage before sending it to the colorist?

No. Baking in creative LUTs prematurely is a common mistake that severely limits the colorist's creative freedom and can lead to suboptimal results.

What is the 'sandwich CST' workflow in DaVinci Resolve?

It is a non-destructive color management technique where you transform footage from camera log into a working color space, apply grades, and then transform it to an output space like Rec.709, which preserves maximum flexibility.

How do I correctly prepare audio files for the sound department?

Export organized stems (dialogue, SFX, music) as broadcast-quality WAV or AIF files, typically at 48kHz/24-bit, and ensure they have 'safe headroom' by peaking around -18dBFS RMS.

What is a 'clean plate' and why does the VFX team need one?

A clean plate is a shot of the background without actors or foreground elements. It is invaluable for VFX artists who need to perform object removals or digital set extensions.

What's the most critical mistake filmmakers make with audio/video sync?

Omitting timecode sync between the camera and the separate audio recorder is a major oversight that causes sync drift and requires hours of manual correction by the VFX and sound departments.

How can I avoid overwhelming my post team with massive RAW files?

Always generate and provide a proxy workflow. Delivering lower-resolution proxies alongside the original camera files allows teams to review and work with the material quickly without requiring massive storage or computing power.

What are multi-layer EXR sequences used for in a VFX turnover?

For complex shots, multi-layer EXR files can contain separate passes like beauty, mattes, and depth information within a single file, which streamlines the compositing process in applications like Nuke or After Effects.

Crafting Seamless Turnover Packages for Post-Production

Q: Which file type is best for exporting my edit timeline for post?

AAF or XML formats are preferred over a simple EDL because they carry richer metadata, including audio levels, effects, and sometimes even basic color information from the editor's timeline.

By BlockReel Editorial Team Guides, Post-Production February 15, 2026

The journey of a film from concept to screen is a complex tapestry woven by many hands. While the magic often feels like it happens on set, the meticulous craft of post-production is where the vision truly solidifies. A critical, yet often overlooked, element in this phase is the turnover package, the organized delivery of all necessary assets from one department to the next. A well-constructed turnover package is not merely a formality; it is the backbone of an efficient post-production pipeline, preventing costly delays, creative compromises, and technical headaches. Without precise planning and execution, the handoff to color, visual effects (VFX), and sound departments can quickly unravel, jeopardizing the entire project.

This guide covers the essential elements of creating thorough turnover packages. For a comprehensive overview of the entire post-production workflow, see our Post-Production Pipeline Masterclass: Proxies to Conform.

The masters of filmmaking understand that the craft extends beyond the lens or the edit suite. Directors like David Fincher, known for his meticulous post-production workflows, rely on an almost scientific approach to asset management. His teams meticulously log every take, every camera setting, and every piece of metadata, ensuring that when the footage reaches the colorist or VFX supervisor, there are no ambiguities. This level of detail, whether for a studio tentpole or an independent short, is what separates a smooth, creative process from one plagued by technical debt.

Universal Checklist: Core Elements of Every Turnover Package

Before delving into department-specific requirements, a universal checklist forms the foundation of any effective turnover. This is the central document that ensures all parties are working from the same playbook, minimizing miscommunication and missing assets.

The current best practice for delivering turnover packages involves secure cloud storage solutions like Frame.io or Aspera, coupled with a master checklist, typically in PDF or Excel format. This checklist should detail the project timeline, comprehensive shot logs, camera reports, and Edit Decision Lists (EDLs). The industry standard for maintaining color consistency across all departments is the ACES (Academy Color Encoding System) workflow. For review and editorial, proxies at 1080p in H.264 or ProRes Proxy are commonly used, balancing visual quality with manageable file sizes.

Essential Components of the Universal Turnover

1. Project Timeline and Version Control: A clear document outlining the current edit version number, previous versions, and any significant changes between them. This prevents departments from working on outdated material.

2. Detailed Shot Log: A spreadsheet detailing every shot, including scene number, take number, camera original filename, timecode in/out, and any specific notes from set (e.g., "good take," "VFX plate," "audio issue").

3. Camera Reports: The original daily camera reports from set, containing crucial metadata such as camera model, lens used, focal length, f-stop, I shutter speed, and white balance settings for each take. This information is invaluable for colorists and VFX artists attempting to match elements or correct issues.

4. Edit Decision List (EDL) or AAF/XML: This is the backbone of the edit. An EDL is a text file that lists every edit point, clip name, and timecode from the editor's timeline. More feature-rich formats like AAF (Advanced Authoring Format) or XML (Extensible Markup Language) carry richer metadata, including audio levels, effects, and sometimes even basic color corrections. DaVinci Resolve, for instance, allows for generating AAF/EDL files with embedded metadata, which is critical for seamless handoffs.

5. Proxies: While original camera negative (OCN) files are essential, proxies are vital for review and editorial. These are lower-resolution, computationally lighter versions of the original footage. Delivering proxies (e.g., 1080p H.264 or ProRes Proxy) alongside the high-resolution originals ensures that departments can quickly review and work with the material without requiring massive computing power or storage.

6. Original Camera Negatives (OCN): The untouched, highest-quality camera files (e.g., Blackmagic RAW, ARRI RAW, REDCODE RAW). These are the source files for color grading, VFX work, and mastering. They should be delivered in their native log gamma, preserving the maximum dynamic range.

7. Synchronization Information: Crucial for sound and VFX. This includes timecode sync between camera and audio, and ideally, a separate audio track containing timecode. Without accurate sync, departments waste hours manually aligning footage and sound.

8. Metadata Preservation: All metadata generated on set and during editorial must be preserved and passed down. This includes lens data, camera settings, and any editorial markers.

💡 Pro Tip: Always include "sandwich CST" (Color Space Transform) nodes in Resolve exports (e.g., input from camera log to DaVinci Wide Gamut Intermediate, grade, output to Rec.709). This ensures accurate inter-department previews without baking in a specific maintaining flexibility for the colorist.

A common mistake filmmakers make is omitting timecode sync between camera and audio. This seemingly small oversight can cause significant drift in VFX and sound departments, leading to hours of manual correction. Another frequent error is delivering uncompressed RAW files without accompanying proxies, which can overwhelm storage systems and drastically slow down review processes, especially for remote teams. A single hour of Blackmagic RAW footage at 6K resolution, for example, can generate 200-500 GB depending on compression ratio and content complexity.

Color Department Handover: Formats, LUTs, and Grading Prep

The color department is where the visual tone and emotional impact of a film are often cemented. A clean, well-organized turnover package is paramount for the colorist to focus on creative decisions rather than technical troubleshooting.

When handing off to color, the primary goal is to provide the highest quality source material with as much relevant metadata as possible, while avoiding premature creative decisions. This means providing camera originals (e.g., BRAW, R3D) in their native log gamma. Crucially, this includes Input Device Transforms (IDTs) and any technical Look-Up Tables (LUTs) that might be necessary to interpret the footage correctly.

Color-Specific Checklist

1. Original Camera Negative (OCN) Files: As mentioned, these are the untouched RAW files in log gamma. The colorist needs these to extract the maximum dynamic range and color information.

2. IDTs and Technical LUTs: Any specific IDTs required to correctly interpret the camera's log footage into a working color space (like ACEScct). Technical LUTs might be provided by the camera manufacturer or DIT to convert log footage to a viewing gamma (e.g., Rec.709) for on-set monitoring. These are for technical conversion, not creative looks.

3. Editorial Timeline (AAF/XML/EDL): The locked picture edit, exported in a format that preserves clip order, duration, and any speed ramps.

4. Reference QuickTime: A high-quality, non-graded QuickTime export of the locked picture, typically in Rec.709, for the colorist to reference against the RAW files. This helps ensure no clips are missing or out of sync during the conform process.

5. Shot Log with Exposure Notes: Beyond the universal shot log, the color department benefits from specific notes on exposure, white balance, and any on-set lighting conditions that might impact the grade.

6. Lens Metadata: Details on the lenses used for each shot can inform how the colorist handles aberrations, vignettes, or specific optical characteristics.

7. Baseline Primaries Balance Notes: If any on-set primary color balancing was done (e.g., white balancing a specific gray card), those notes can provide a starting point for the colorist.

8. CDL (Color Decision List): If any on-set grading or DIT-level primary corrections were applied, these can be passed as a CDL, a simple numerical representation of primary color adjustments. This is not a baked-in look but a suggestion.

The "sandwich CST workflow" in DaVinci Resolve is a powerful technique for color management. It involves taking the camera log footage, applying a Color Space Transform (CST) to convert it to a linear or scene-referred working space (like Resolve Wide Gamut Intermediate), performing primary and secondary grading, and then applying another CST to convert it to the desired output color space (e.g., Rec.709 for monitoring). This non-destructive approach allows for maximum flexibility. For creative film emulation, tools like Dehancer Pro offer over 35 film stocks (e.g., Kodak Gold 200, Fuji C200 profiles) and can be used to apply filmic looks after the primary grade.

💡 Pro Tip: When working in Resolve, paste power grades from a "hero shot", a well-exposed, well-lit shot that represents the desired across similar clips. Then, fine-tune the primaries (lift/gamma/gain wheels) for each individual clip. This method can save substantial time on short films, often reducing grading time by 50%. For selective adjustments, utilize color slice nodes post-primaries to make specific hues (like skin tones) pop without affecting the overall image.

A common mistake is baking in creative LUTs prematurely. This locks the colorist into a specific limiting their creative freedom and often leading to suboptimal results. Another frequent error is ignoring gamma mismatches, which can cause clipped shadows or highlights in Rec.709 previews, creating an inaccurate representation of the RAW footage's true dynamic range.

VFX Department Handover: Clean Plates, Mattes, and Tracking Data

Visual effects are deeply integrated into modern filmmaking, from subtle clean-ups to elaborate digital environments. The VFX department relies on highly specific assets and data to integrate digital elements into live-action footage. Precision is key, as even minor discrepancies can result in costly reworks.

For VFX turnover, the package must include clean plates, rotoscope mattes, and accurate camera tracking data. This ensures that VFX artists have all the necessary ingredients to create believable effects.

VFX-Specific Checklist

1. VFX Shot List: A comprehensive list of every shot requiring visual effects, including specific requirements for each (e.g., "remove wire," "add creature," "chroma key green screen"). This is often generated during the script breakdown and updated throughout production and editorial.

2. Original Camera Negative (OCN) for VFX Shots: The highest quality RAW files for all shots designated for VFX work. These are often processed with minimal color correction, ensuring a neutral starting point for effects integration.

3. Clean Plates: For shots requiring object removal or digital set extensions, a "clean plate" (a shot of the background without actors or foreground elements) is invaluable. If a clean plate wasn't shot, a locked-off camera with a few frames of the empty background can sometimes suffice.

4. Rotoscoping Mattes (Alpha Channels): If characters or objects need to be isolated from the background, pre-generated rotoscope mattes (often as alpha channels within an image sequence) can save significant time for the VFX team. Tools like Adobe Premiere Pro (with its AI tracking capabilities) or DaVinci Resolve can help generate initial mattes.

5. Camera Tracking Data: Information that allows VFX artists to recreate the camera's movement in 3D space. This can include: * Lens Distortion Maps: Crucial for accurate compositing, as lenses introduce optical distortions that must be accounted for.

* 3D Solve Files: If on-set tracking markers were used, the data from specialized tracking software (e.g., PFTrack, Syntheyes) can be included.

* Camera Metadata: Focal length, sensor size, and any pan/tilt/zoom data from the camera.

6. Multi-Layer EXR Sequences: For complex shots, exporting multi-layer OpenEXR sequences from Resolve can be highly beneficial. These files can contain separate passes (e.g., beauty, matte, depth, normals) within a single file, streamlining the compositing process in applications like Nuke or After Effects.

7. Reference QuickTime: A graded or ungraded QuickTime of the locked picture for reference, especially useful for understanding the context of the VFX shots.

💡 Pro Tip: Embed depth maps in OpenEXR files via Resolve's depth node. This provides instant Z-depth information for VFX applications, allowing for more realistic depth of field and volumetric effects without manual calculation. For large projects, flag "hero VFX shots" and provide proxy timelines that are under 10% of the full resolution. This helps manage bandwidth and storage while still allowing for quick review.

A significant mistake is failing to provide static frames for matchmoving. Without a few frames where the camera is completely still, VFX artists are forced to manually rebuild camera tracks, a time-consuming and often less accurate process. Another error is delivering interlaced footage without proper de-interlace metadata, which can lead to visual artifacts and complicate compositing.

Sound Department Handover: Audio Organization, Sync Points, and Stem Prep

Sound is half the picture, yet it's often an afterthought until the final stages of post-production. A disorganized audio turnover can cripple a sound designer or mixer's ability to create an immersive and impactful soundscape. The goal is to provide clean, organized audio assets that are perfectly in sync with the picture.

The sound department requires organized stems (dialogue, sound effects, music, ambiences) in broadcast-quality formats like WAV or AIF, typically at 48kHz/24-bit. Crucial elements include sync pops or claps logged on set and an audio EDL.

Sound-Specific Checklist

1. Audio Edit Decision List (EDL) or AAF/XML: Similar to the picture EDL, this document outlines every audio clip, its position, and duration within the timeline. AAF or XML formats are preferred as they can carry more information, including volume automation and some basic effects.

2. Original Production Sound Files: The raw, unmixed audio recorded on set, typically from a dedicated sound recorder. These should be delivered with all takes, even those not used in the final edit, as sound editors may need alternative takes or clean room tone.

3. Dialogue Stems: All production dialogue, typically consolidated onto separate tracks per character or microphone. This includes ADR (Automated Dialogue Replacement) tracks if already recorded.

4. Sound Effects (SFX) Stems: Any sound effects added during editorial. These should be organized into logical categories (e.g., Foley, hard effects, backgrounds) on separate tracks.

5. Music Stems: All music cues, organized by cue number or sequence. If temp music was used, it should be clearly labeled as such.

6. Ambience/Room Tone Stems: Any ambient sound or room tone recorded on set or added in editorial.

7. Sync Pops/Claps Log: A document detailing the location of visual sync points (e.g., slate claps) and their corresponding audio pops, especially if timecode issues are suspected.

8. Noise Floor Reports: Any notes from the production sound mixer regarding environmental noise, hums, or other issues on set that might require sound cleanup.

9. Timecode Audio Track: Ideally, a dedicated audio track containing the recorded timecode from the sound recorder. This is a failsafe for syncing if metadata is lost or corrupted.

10. Multicam Sync XML: If multiple cameras and audio recorders were used, a sync XML generated by DaVinci Resolve's Fairlight multicam sync, Adobe Premiere's auto-sync, or dedicated tools like PluralEyes can simplify the syncing process in the sound editor's DAW (Digital Audio Workstation).

DaVinci Resolve's Fairlight page offers comprehensive tools for preparing audio turnovers, allowing for 48kHz/24-bit stem exports and flexible bus routing. Adobe Premiere Pro's Essential Sound panel can assist in auto-tagging dialogue and effects, which helps in organizing tracks for export.

💡 Pro Tip: Include "guide track" stems at -23 LUFS integrated, per EBU R128 broadcast standard. This provides a consistent reference for the sound mixer. Al embed 1kHz sync tones every 10 seconds in the guide track. When exporting OMF/AAF files, ensure pan automation is preserved, especially for handoffs to advanced DAWs like Nuendo or Pro Tools.

A common mistake is delivering audio with unnormalized levels, often peaking close to 0dBFS. This forces the sound mixer to redesign the entire mix from scratch in their DAW, as clipping can occur during processing. Another critical error is the absence of a timecode audio track, which can break sync in non-linear editors and cause significant delays.

Common Mistakes in Turnover Packages and How to Avoid Them

Even with the best intentions, mistakes happen. However, many common errors in turnover packages are preventable with careful attention to detail and standardized procedures. Awareness of these pitfalls is the first step towards avoiding them.

Current best practices emphasize the use of standardized checklists, often verified by a DIT (Digital Imaging Technician) before any files are uploaded. DaVinci Resolve's project export manager, for example, can be a useful tool for ensuring all necessary components are included.

Key Mistakes and Their Solutions

1. Incomplete Metadata: * Mistake: Failing to include LUT paths, lens information, camera settings, or shot notes.

* Avoid: Embed IDTs and CDLs directly into MXF wrappers or provide them as separate, clearly labeled files. Ensure camera reports and detailed shot logs are always part of the package.

* Impact: Colorists struggle to interpret footage correctly, VFX artists lack crucial camera data for tracking, and sound editors miss important sync information.

2. High-Resolution Delivery Without Proxies: * Mistake: Providing only massive RAW files, making review and initial editing cumbersome.

* Avoid: Always provide a proxy workflow. A common recommendation is an 8:1 proxy ratio using H.265 Long GOP for efficient storage and playback.

* Impact: Slowdowns in review, difficulty in sharing files, and increased storage costs.

3. Mixed Frame Rates: * Mistake: Delivering footage shot at various frame rates (e.g., 23.976fps, 24fps, 25fps, 29.97fps) without conforming them to a single project master.

* Avoid: Conform all footage to the project's master frame rate (e.g., 23.976fps or 24fps) before turnover.

* Impact: Playback issues, dropped frames, and complex conforming challenges in downstream applications.

4. No Version Control: * Mistake: Sending multiple versions of an edit without clear labeling or a system to track changes.

* Avoid: Implement strict naming conventions (e.g., "ProjectName_Edit_V03_Locked") and utilize version locking features in platforms like Frame.io. For editorial timelines, consider Git-like versioning systems if working with multiple editors.

* Impact: Departments working on outdated material, leading to wasted effort and conflicting deliverables.

5. Unconsolidated Media: * Mistake: Delivering project files that link to disparate media locations, making it difficult for the receiving department to relink.

* Avoid: Always "consolidate" or "transcode" media into a single, organized folder structure before export. This embeds or copies all necessary media into a self-contained package.

* Impact: Hours spent relinking media, or worse, missing media.

6. Lack of "Guide Track" Audio: * Mistake: Providing only raw production sound without an edited guide track from the picture editor.

* Avoid: The picture editor should always provide a rough mix of dialogue, music, and effects that matches their locked picture. This serves as a critical reference for the sound team.

* Impact: Sound editors must guess the editor's intentions, potentially leading to creative mismatches.

💡 Pro Tip: Run "preflight" scripts or manual checks in your NLE (Non-Linear Editor) or color grading software (like Resolve) before delivery. These checks can flag common issues such as missing timecodes, audio sync discrepancies, or offline media. Catching these problems before delivery can prevent 90% of turnover-related headaches.

Expert Workflow Optimization: Pro Tips and Currently Shipping Tools

Beyond avoiding mistakes, optimizing your turnover workflow involves leveraging advanced techniques and the right tools. The goal is to build a pipeline that is not only reliable but also creatively empowering.

Hybrid DaVinci Resolve/Premiere Pro pipelines are increasingly common, with tools like Dehancer used for creative filmic looks, and AI-powered features in Premiere enhancing efficiency. AI is increasingly aiding in tasks that traditionally consumed significant time, allowing filmmakers to maintain quality without sacrificing speed.

Advanced Optimization Strategies

1. Consistent Color Management (ACES): Adopting ACES from pre-production through post-production ensures a consistent color pipeline across all departments, regardless of the camera or software used. It provides a standardized way to handle color, making turnovers more predictable.

2. Smart Use of Creative LUTs/Film Emulation: While baking in creative LUTs prematurely is a mistake, using them strategically for specific departments can be beneficial. For instance, using Dehancer presets for consistent film looks across color and VFX departments ensures a unified aesthetic. You can chain Dehancer's halation and bloom effects after Resolve's primary grading nodes for an organic glow that doesn't impact the core color work.

3. Leveraging AI for Initial Passes: Modern NLEs like Adobe Premiere Pro include AI-powered features for rotoscoping, object removal, and audio ducking. While these may not be final-quality, they can provide excellent starting points for VFX artists or sound mixers, significantly accelerating initial tasks. Premiere's AI features can also assist in motion graphic exports to After Effects for VFX handovers.

4. Dedicated Review Platforms: Platforms like Frame.io are not just for file transfer; their powerful review and approval features, including version locking, time-stamped comments, and proxy generation, are invaluable for managing feedback loops across distributed teams.

5. Non-Destructive Workflows: Prioritize non-destructive editing and grading whenever possible. This means working with RAW files and applying adjustments via nodes or layers, rather than baking them into the media. This preserves maximum flexibility for all downstream departments.

6. Pre-flight Checks and Automation: Develop a routine for "pre-flight" checks before any turnover. This might involve custom scripts in Resolve or a manual checklist to verify media integrity, timecode accuracy, and metadata completeness.

7. Resolve's Color Warper for VFX Prep: For VFX plate cleanup, Resolve's Color Warper tool can be exceptionally useful. It allows for precise isolation and manipulation of specific hues, making it possible to clean up chroma key spill or problematic colors before handing off to VFX, often without needing external plugins.

8. Sound Stem Headroom: When bouncing sound stems, ensure they have "safe headroom," typically peaking around -18dBFS RMS, rather than pushing levels too high. This prevents clipping during the sound mixer's processing and allows them ample room for dynamic range compression and effects.

The mastery of turnover packages is a hallmark of a professional filmmaker. It reflects an understanding that cinema is a collaborative art, and that efficiency in the technical aspects frees up creative energy for the expressive ones. Just as a director studies shot composition, a producer understands budgeting, and an editor masters pacing, the serious filmmaker obsesses over the minutiae of the post-production pipeline. By adhering to these checklists and embracing optimized workflows, filmmakers can ensure their vision is faithfully translated from the set to the screen, without unnecessary friction.

Interface & Handoff Notes

What You Receive (Upstream Inputs)

* From Production/DIT: Camera original media (RAW files), sound recorder files (multi-track WAVs), camera reports, sound reports, DIT logs, script supervisor notes (continuity, circle takes).

* From Picture Editorial: Locked picture edit (AAF/XML/EDL), reference QuickTime (Rec.709), guide audio track, VFX shot list, music cue sheet, placeholder graphics/titles.

What You Deliver (Downstream Outputs)

* To Color Department: Conformed RAW timeline (AAF/XML from NLE, or Resolve project file), OCN files, IDTs/technical LUTs, reference QuickTime.

* To VFX Department: OCN files for specific VFX shots, clean plates, rotoscope mattes (alpha channels), camera tracking data (lens grids, 3D solve files), VFX shot list, reference QuickTime.

* To Sound Department: Picture-locked AAF/OMF (containing consolidated audio clips from editor's timeline), guide audio track, reference QuickTime, dialogue script, music cue sheet.

Top 3 Failure Modes for Turnover Packages

1. Timecode and Sync Discrepancies: Mismatched timecodes between picture and sound, or inconsistent frame rates, leading to hours of manual re-syncing.

2. Missing or Corrupt Media: Incomplete transfer of OCN files, corrupted drives, or project files linking to offline media, forcing re-delivery or asset recreation.

3. Incomplete or Ambiguous Metadata: Lack of detailed camera reports, shot logs, or specific instructions for VFX/color, resulting in wasted time guessing creative intent or technical specifications.

Next Steps

📚 Complete Guide: Post-Production Pipeline Masterclass: Proxies to Conform

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