Define the Boundaries Between Narrator, Editor, and MA: An Audio Handoff Sheet

When responsibilities and decision ownership are vague, narration projects can easily go out of alignment. Define the split—for example, the narrator handles delivery and recording, the editor places audio against the picture, and the MA operator handles the overall level and BGM balance—so the brief is neither incomplete nor excessive. Instead of leaving everything to the narrator or throwing it over to the editor, make the handoff by process visible.

Separate the three processes

Confirm the copy, delivery, accents, recording range, and delivery files with the narrator. If you write “please balance the final loudness to the BGM,” confirm exactly what that includes. The editor decides placement against picture, head and tail room, replacement sections, and treatment of unused takes. The MA operator manages the overall sound structure and final-export specifications.

Example:

The important point is to separate the lead from the people consulted. “Make the pause longer” may be a narration discussion, while “the picture has insufficient duration” is an editorial decision. Do not combine both people’s work in one revision instruction.

Decide the unit of file handoff

Whether to deliver one long file or separate files by segment depends on the edit and the likelihood of replacements. Decide the unit in advance using chapters, picture units, and expected revisions. If you want split files, map script line numbers or timecodes to filenames.

Project:
Script version:
Audio lead:
Editor:
MA operator:
Audio unit: full program / chapter / segment
Requested work: read only / specified cleanup included / to be discussed
Delivery format:
Replacement contact:

“Cleaned audio” means different things to different people. State whether it means a noise-reduced recording, a level suitable for editing, or a final mix. If the specification is uncertain, leave it as an item for the editor responsible for rough placement to confirm.

Put revision boundaries in writing

A misread and a copy change are different tasks even when both are called a “revision.” Separate delivery adjustment, pronunciation correction, copy wording changes, and re-recording caused by a duration change so estimates and schedules are easier to review. Current guidance indicates one complimentary expression adjustment, with later adjustments and copy changes handled by project-specific conditions; confirm the actual scope before ordering.

The difference between audio cleanup processes is also explained in the relationship between cleanup, MA, and narration. Check conditions on the corporate video request page and include the responsibility split from recording through finishing.

Before sending, ask what the person receiving the file can confirm next. If the role and completion condition can each be stated in one line, the handoff is working.

Update the table when moving from rough cut to picture lock. Mark unchanged items as “no change” so they are not confused with unchecked items. Separating the reviewer from the final decision-maker also keeps the revision contact stable.

When handing over files, place only the version the recipient needs in a prominent location and archive previous versions. Avoiding several files called “final” is the simplest accident-prevention measure in the audio process.