How to deliver event recordings to a client or editor

Ask who will use the recordings

The organizer may need a session ready to share; an editor may need separate camera recordings and audio; the communications team may need captioned excerpts. Ask about these uses before choosing the recording setup. Note the expected duration, language, presentation materials, delivery date, and reviewer.

Also agree on the scope: recording, editing, subtitles, graphics, or file copying only. Specify vertical versions, translations, and individual speaker excerpts separately. Confirm what the crew needs to capture to produce each one.

Separate files by their purpose

This inventory illustrates a two-camera session. Each row describes a possible deliverable; include only what was agreed and actually recorded. An editing project may reference external files, so have those dependencies checked before delivery.

Use a status column: pending, received, reviewed, or issues noted. State explicitly when an item is excluded. This lets the recipient distinguish a partial delivery from an omission.

Preserve originals and organize delivery versions

Adobe recommends copying the entire folder and its subfolders to preserve the media structure. Identify each card outside that structure and check which supporting files the editor needs.

Agree on simple names for delivery exports. For example, SESSION01_PROGRAM_EN_v01.mov identifies the session, purpose, language, and version; it illustrates naming, not a recommended file format. Keep a record linking that name to its sources. Avoid renaming originals already linked to a project without agreeing on and testing the process. For Ki Pro Ultra 12G, see the camera identification guide (Spanish).

Test a sample with the recipient

Before the event, record and deliver a sample using the planned system. Ask the recipient to open it in the application they will use and check picture, sound, and audio tracks. Record the container, codec, resolution, frame rate, and audio configuration; an extension such as .mov or .mp4 does not fully specify the delivery.

After the event, repeat the check with actual event files. If conversion is needed, keep the original and document the settings used for the new copy. Also agree on image and color handling when using different cameras. A sample can reveal a compatibility problem before the entire session is processed.

Provide a clear audio track map

Identify each audio track and the channels it contains. List the source heard on each one: program mix, moderator, panelist, room ambience, or interpretation. State whether voices are isolated or mixed and which processing was applied. Listen to the files to verify every expected source; track names alone do not establish what was recorded. In this worksheet, a track means an audio selection in the file or editor, while channels are its components, such as left and right in a stereo track. Note how your application displays them.

The OBS audio track guide explains that standard media players typically play one track at a time. With OBS recordings, check which tracks are enabled in the editor before concluding that a voice is missing. For audio preparation, see the guides to REAPER export channels (Spanish) and Wave Agent track names (Spanish).

Verify the copy and review its content separately

The DaVinci Resolve Clone Tool copies media with checksum verification, comparing the source and destination checksums. Keep the verification result and identify the source and destination used.

Picture and sound also need review: confirm the correct session, expected contributions, and complete set of segments. Check the start, major transitions, and end, along with any incidents logged during the event. Sampling can reveal problems but does not cover the full recording; agree on and document the extent of the review.

Build the inventory as you review

Use one row per file. If grouping a card, identify its included files and list segments and issues separately. Record the relative path, purpose, duration or covered range, format, audio tracks, status, and notes. For split recordings, list the playback order and check the joins. The downloadable spreadsheet is blank so the example cannot be mistaken for an actual delivery.

Keep the inventory with the files. If a slide is unreadable, a contribution was not recorded, or a correction is still pending, identify the session and approximate time. This gives the editor a place to start without searching through all the footage.

Test from the delivered location

Ask the recipient to confirm access, download, and opening from the delivered drive or folder. If further editing is required, also check linked media and a sample of the audio tracks. Sending a link and successfully importing a file are different stages; record what worked and what remains pending.

In Premiere, Organize Media organizes media within the project without copying it to a new location. If you use it when receiving files, check their actual locations before removing the source card or disconnecting the original drive.

Resolve review notes and agree on original-file retention

Request corrections with a filename, version, and approximate time, such as changing a speaker title or checking a voice between two contributions. Keep the previous version clearly identified and issue a new version for the next review. Avoid names such as final_final that leave the recipient guessing.

Agree on who accepts the delivery and how long originals, projects, and copies will be retained. Record acceptance and any exceptions. Separately define when drives may be returned or recording cards reused, and which copies must be kept. If the archive must remain available, identify who maintains it, where it is stored, and how to retrieve it.

REAPER: the project opens on another computer, but media is missing

For a handoff to another REAPER system, section 3.3 of the 7.81 guide, p. 58 distinguishes copying from moving. Prepare a new destination with its own name and version. Keep the project and media together; transferring only the .RPP does not establish that its referenced files are included.

1. Prepare a project copy with its media

   Open the project to deliver and choose File > Save project as. In a new destination, enable Create subdirectory for project and Copy all media into project directory. For this package, leave Convert media, Trim media, and Move all media disabled. Check these boxes before saving: converting or trimming would produce a different deliverable.

2. Record dependencies and scope

   Check that all used media is available before copying. Record the REAPER version, audio format, plugins, and other outstanding components. Opening the copy does not establish that another system can load every plugin.

3. Open the delivered folder

   Open the .RPP from the copy and check each source, beginning, and end. Ask the recipient to test it on their computer without relying on the original drive. Keep the original; if a missing-media warning appears, record filenames and paths and locate the source before repackaging.

REAPER plays an older version: check the active source

The REAPER 7.81 guide, section 7.8, pp. 134–135 describes how to inspect an item, its active take, and source properties. Open Item Properties with F2 and use Properties in the source area to check the file. The displayed track or take name may have been edited; compare it with the actual source.

To inspect multiple files, open View > Project Media/FX Bay. Section 12.6, pp. 221–224 distinguishes Source Media, which includes available or used sources, from Media Items, which shows active items. Check usage, path, and take before replacing files.

1. Compare the two locations

   Record the active source and the WAV opened in the external editor. If they are different files, choose which version belongs in the delivery and retain the earlier version with a clear identifier. Listen to the passage again after linking the agreed version in a project copy.

2. Check content as well as availability

   An online file may contain an older version or the wrong source. In addition to its path, compare duration, channels, and a recognizable passage. If filenames repeat, check these differences before accepting a replacement.

3. Keep a traceable file map

   Complete the worksheet with item/take, source path, package file, and version. If you repaired a link, note the selected file and the passage you listened to, then repeat the opening test from the destination.

REAPER audio for another editor: preserve timing and define included processing

REAPER 7.81 section 21.2, pp. 412–413 documents File > Consolidate/Export Tracks. To test a complete session, select Entire project and the agreed tracks, a new Output directory, and the format, sample rate, and channels the editor needs. Disable Update project with consolidated files to preserve the working copy’s existing references during the test.

The illustrated dialog warns that Ignore silence shorter than can produce multiple files per track, although the manual’s prose describes it differently. If you need one continuous file per track, disable that checkbox for a test export and check the file count and retained silence. Do not extrapolate a short-pause test to a conference with long pauses.

Consolidation retains item properties, including Take FX, take envelopes, and pitch adjustments; it does not apply track properties such as Track FX in the same way. If the delivery needs that track processing, section 21.2 points to rendering stems. See the render channel guide (Spanish). Check both levels before describing an export as unprocessed.

Section 21.2 also warns that Embed tempo can cause tempo interpretation or time-stretching in another application. Leave it disabled for this test unless the recipient has requested and tested that information.

Preserve originals and earlier versions before any cleanup. In section 22.11, p. 451, Clean current project directory lists files in the directory that do not belong to the current project; it does not check the needs of every earlier version. This handoff does not require cleaning that directory.

Complete the blank REAPER delivery worksheet. Import the full session files against a common time reference, listen to a source that starts later, and check the beginning, end, and pauses. Record the destination application and version and the actual scope reviewed. To prepare the recording, use the REAPER multitrack guide (Spanish) and coordinate the track map with audio systems.

Premiere: collect media from multiple drives for a sequence handoff

The official Copy projects guide, updated January 7, 2026, describes media collection. These Adobe instructions do not specify a build, so record the source and destination builds before testing. Preserve the original project and media; prepare a working copy and a new package destination.

1. Choose the sequences to deliver

   Open File > Project Manager. Under Sequence, select each agreed sequence and choose Collect Files and Copy to New Location. Select the destination with Browse and click OK. Check the project and files created in Copied_[Project Name]; the .prproj alone does not establish that its media is included.

2. Distinguish copying from conversion

   Copy, transcode, or archive project distinguishes collection from Consolidate and Transcode, which can create media with a different codec and settings. If the agreement requires source files, test the copy workflow. Record Exclude Unused Clips: it can omit material the recipient needs for another edit.

3. Test the package from the destination

   Open the collected project with the original sources unavailable, without deleting or renaming them. Close the application before disconnecting a drive. Review the agreed sequences, a contribution with separate audio, and the beginning and end. If anything is missing, record the filename and path before correcting the package.

Premiere: Project Manager reports a missing file that still plays

Record the message, path, filename, sequence, and selected options. In a project copy, compare that file with the inventory and watch or listen to the passage that uses it. Adobe’s offline-file guide distinguishes clip name, filename, and path: a panel label alone does not identify the source.

If the clip is offline, select it in Project and use File > Link Media. In Locate, choose properties that identify it unambiguously, such as File Name, File Extension, Media Start, or other relevant properties. Check the content after relinking; two cards may contain identically named files.

Adobe documents Clip > Replace Footage for replacing a source in an offline editing workflow. This describes the control, not a universal fix for Project Manager errors. If testing a replacement, retain a prior copy and review duration, audio, and every use of the file.

Collect the affected sequence again into another destination and check whether the process completes and which files it includes. If it fails, retain the message for support together with the version and build, project, and a minimal test that reproduces the error. Clearing the cache, converting WAV files, or deleting a clip are not universal fixes: identify the failing file and operation first.

Premiere and After Effects: deliver compositions and their source files

A composition can be delivered as an editable project with its dependencies or as a rendered clip. Agree on which the recipient needs before preparing the files.

First establish whether the editor needs to modify layers. For an editable handoff, identify the .aep project and composition used. Adobe requires matching major versions for Dynamic Link; also record builds, fonts, and effects still needed on the destination system.

In After Effects, Collect files in one location, updated March 27, 2026, directs you to File > Dependencies > Collect Files. Choose Collect Source Files for the agreed scope: All also collects unused material; For Selected Comps limits collection to selected compositions. None (Project Only) and Generate Report Only do not copy source files.

For an editable handoff test, select a new destination, run Collect, and inspect the .aep copy, media, and file/effect/font report. The report identifies dependencies; it does not establish that they are installed. Record Obey Proxy Settings if proxies are involved, because it affects which sources are collected.

Open the copies from the destination. For an existing linked composition that becomes offline, Adobe documents right-clicking the composition in the Project panel, choosing Link Media, selecting the collected .aep, and clicking Open. Check the composition name, image, text, and sound. This repairs an existing link; it does not create a new one or collect the media used by After Effects.

If rendered video is the agreed deliverable, Convert After Effects Compositions to Clips produces a flattened clip. Keep the editable project separately and test a sample, including transparency where applicable. Playing the clip does not make its layers editable.

Use the blank Premiere and After Effects delivery worksheet to record what opened successfully and what is still missing. For recording preparation, see event recording (Spanish); coordinate the feeds with cameras and streaming.