Sound Design and Audio Editing Consultation Form

Client Information

Business Name

Contact Person

Phone Number

Email

Project Name

Industry

Project Deadline

Project Scope & Service Selection

Sound Design Services

Audio Editing & Mixing Services

Music Services

Additional Services

Project Details & Client Expectations

Project Overview

Describe your project in detail (genre, style, mood, etc.):

What is the total runtime of the material requiring sound design/audio editing?

Creative Direction & References

Do you have any reference tracks, films, or commercials for the desired sound aesthetic? (Please provide links or descriptions.)

Are there specific sound libraries or tools you prefer we use? (e.g., BBC Sound Effects, Boom Library, etc.)

Technical Specifications

What is the delivery format?

Required audio specs (sample rate, bit depth, surround format, etc.):

Do you need multiple mixes (e.g., TV broadcast, online, cinema)?

What are your current marketing efforts?

Do you have any existing email lists?

Timeline & Revisions

What is your expected turnaround time?

How many rounds of revisions are included in your budget?

Budget & Licensing

What is your estimated budget for this project?

What is your estimated budget for this project?

Additional Notes

Is there anything else we should know about your project?

Next Steps

Attach any relevant files (scripts, rough cuts, reference videos, etc.)

Description

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Preferred communication method:

By submitting this form, I confirm the details provided are accurate.

Client Signature:


Client Intake Form Insights

Please remove this client intake form insights section before publishing.

1. Client Information

Purpose:

  • Establishes basic contact details and project context.
  • Helps categorize the project (film, TV, ad, etc.) for tailored workflows.

Key Insights:

  • Project Deadline ensures realistic scheduling (audio post-production often has tight turnarounds).
  • Industry dictates sound design priorities (e.g., ads need punchy SFX; films require immersive atmospheres).

2. Service Selection (Checkbox-Based)

Purpose:

  • Clearly defines the scope to avoid miscommunication.
  • Helps estimate time, resources, and pricing.

Why It Matters:

  • Sound Design vs. Audio Editing are distinct tasks:
    Sound Design = Creating/recording original sounds (e.g., Foley, sci-fi textures).
    Audio Editing = Cleaning, syncing, and balancing existing audio (e.g., dialogue cleanup).
  • Mixing Formats (Stereo vs. Atmos) impact equipment and labor needs.
  • Loudness Normalization is critical for broadcast compliance (e.g., -24 LUFS for TV).

3. Project Details & Expectations (Open-Ended Questions)

Purpose:

  • Uncovers the client’s creative vision and technical requirements.

Breakdown of Critical Questions:

A. Project Overview

  • "Describe your project’s genre/style/mood"
    Example: A horror film will need eerie ambiences, while a car commercial demands crisp engine SFX.
  • Runtime dictates pricing (e.g., per-minute rates for SFX vs. flat fees for mixing).

B. Creative Direction & References

  • References (e.g., "Make it sound like Stranger Things") align expectations.
  • Sound Libraries clarify if the client has preferences (e.g., avoiding overused stock SFX).

C. Technical Specifications

  • Delivery Format (e.g., Pro Tools sessions for further edits vs. WAV for final masters).
  • Multiple Mixes may be needed (e.g., a cinema mix with dynamic range + a compressed TV mix).

D. Timeline & Revisions

  • Revisions prevent scope creep. Example: "2 rounds of revisions included; additional fees apply."

E. Budget & Licensing

  • Budget Tiers help tailor solutions (e.g., stock music vs. original scoring).
  • Rights Ownership is vital for legal clarity (e.g., work-for-hire vs. licensing royalties).

4. Why This Form Works

  • Prevents Miscommunication: Clients often assume "sound design" includes mixing—this form clarifies.
  • Streamlines Pricing: A client selecting "Foley + Atmos Mix" knows it’s costlier than stereo editing.
  • Identifies Red Flags: E.g., a low-budget feature requesting Dolby Atmos may need education on feasibility.
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