A narration booking can produce a long session recording, several labelled takes or a set of selected lines ready for the film editor. Clarify which result you are buying. The presence of every spoken word does not mean the selection and preparation work has already been done.
This distinction matters when the narrator, director and picture editor are different people. Without a defined handoff, each may assume someone else has chosen the approved performance. The buyer can prevent that gap by specifying the delivery state rather than merely requesting audio files.
Name the expected level of preparation
A full session preserves alternatives, false starts and direction. It can be useful for an experienced editor but requires time to navigate. Selected takes narrow the choices while still allowing assembly. Edit-ready files imply additional decisions about boundaries, unwanted material and the relationship between lines.
Ask what is included in the session fee and the film's postproduction scope. Avoid assuming that a narrator's clean recording also includes creative selection or synchronisation to picture. Equally, do not pay twice for the same preparation because two suppliers both believe they own it.
Record approval at the take level
During an attended session, note the take and phrase selected rather than relying on a general statement that the last one was good. If alternatives remain open, identify who will decide and what evidence they need. The selection should remain connected to the approved script version.
Adobe's marker guidance describes marking ranges and exporting them as separate files. Such tools can package a decision efficiently. They do not establish which performance is approved or whether a marked range contains the intended complete phrase.
Preserve useful alternatives deliberately
A spare reading can help if picture timing changes, but it should be labelled as an alternative rather than mixed into the main delivery without explanation. Decide whether the editor may choose between approved alternatives freely or needs further client review.
A hypothetical corporate narration session produces three readings of a closing sentence. The client approves one for warmth and another as a shorter fallback. The handover identifies both roles. The editor does not have to infer the preference from file order or accidentally use the most recent but unapproved read.
Check line completeness
Listen to the delivered selections as a set. Confirm that every required line is present, the names match the script and the starts and ends leave enough material for the intended assembly. A neatly named folder can still contain a wrong take or an incomplete final word.
If the files are already timed to picture, identify that version explicitly. If they are not, ensure the editor knows that timing remains part of the film edit rather than a fault in the narration delivery.
Acceptance questions include what preparation has been completed, who made the selections and which alternatives remain available. A clear answer turns a narration session into a usable production asset. It also makes the remaining work visible, so the buyer can evaluate the scope honestly instead of treating every recording package as equally ready for immediate use.
Discuss the production
Contact Live Images to discuss the proposed film, intended audience and audio requirements. Confirm suitability, scope and availability for your particular brief.
Editorial note
Original commissioning guidance prepared with AI assistance. Examples are hypothetical, not completed Live Images projects. Search intent is an editorial hypothesis, not measured demand. This draft remains unpublished.