Film and TV Music Deliverables Checklist: What Composers Owe on Every Cue
The short version
For most film, TV and trailer jobs, every cue needs a full mix, an instrumental or no-vocals mix, any alternate versions or cutdowns the edit asks for, and stems. They usually go out as 48 kHz, 24-bit WAV files named with the cue number. Track them per cue, not per project, and keep a record of what you sent, to whom, and when the client signed off.
The music is the hard part. The deliverables are where a finished cue still goes wrong: a missing instrumental the night before a mix, stems that don't line up, or a client asking which version you sent three weeks ago. This is the checklist most composers end up rebuilding from scratch on every job, written down once.
The Checklist, Cue by Cue
Ask for the client's own delivery spec first. When there isn't one, this covers what most picture and trailer work expects.
| Deliverable | What it is | Who usually asks for it |
|---|---|---|
| Full mix | The finished cue as you intend it to play | Everyone |
| Instrumental or no-vocals mix | The full mix with the vocal or lead line removed | TV, ads and production music libraries |
| Alt mixes | Finished variations, such as no drums, sparse or no melody | Editors and trailer houses |
| Cutdowns | Timed edits like :60, :30 and :15 that land on a clean ending | Ads, promos and trailers |
| Stingers and buttons | Short hits and endings cut from the cue | TV and trailers |
| Stems | The cue split into groups: drums, bass, keys, strings, synths, FX | Mix stage, trailer houses, music editors |
| Session files or MIDI | Only when the contract says so | Some work for hire deals |
Not every cue needs every row. A forty second underscore cue for a documentary may only need a full mix and stems, while a trailer cue can need all of them. The point is to decide per cue, at the start, so nothing is a surprise at delivery.
File Specs That Save a Re-Delivery
- Sample rate and bit depth: picture work is usually 48 kHz, 24-bit WAV. Library and streaming work often accepts 44.1 kHz. Confirm with the client before you bounce anything.
- Naming: lead with the cue code, then the title, version and type, for example 1M3_The_Rise_v2_FullMix.wav. The cue code (reel 1, music cue 3) is how the editor finds it in the timeline.
- Stems that line up: every stem starts at the same point and runs the same length as the full mix, so they drop into a session and sum back to the mix.
- A note in the folder: a short text file listing what is included and the version number answers most questions before they get asked.
Alt Mixes vs Stems
These get mixed up constantly, so it's worth being precise.
An alt mix is a finished alternate version you mixed yourself: the same cue with no drums, or with the melody pulled out. The editor drops it in and it works.
Stems are the parts of the cue split into groups, so someone else can rebalance or remix it. They are raw material, not a finished version.
Clients who say "send the stems" often mean "send me a version without the drums". Ask which one they need. For how supervisors and editors use each one, see getting the instrumental, the cut-down and the stems without waiting, and for keeping versions grouped with their main track, see naming alt mixes and stems.
Track Deliverables per Cue, Not per Project
A single spreadsheet per job works until the second revision round. Then the "stems sent?" column is out of date, the instrumental for cue 4 lives in an email, and the due dates are in a different tab.
What holds up is a checklist attached to each cue: the deliverables it needs, ticked off as each one goes out, next to the cue's status and due date. When every cue on the job sits in one grid, it takes seconds to see what is still owed.
That is how the DropCue Project Planner is built. Each cue starts with a deliverables checklist (full mix, no-vocals mix, two versions and stems), which you can change for one cue or for every new cue on the project. The Deliverables tab puts every cue's checklist in one grid.
Watch: DropCue Project Planner walkthrough: cues, deliverables, agreements and a board
Keep a Record of What You Delivered
Ticking a box says a deliverable is done. It doesn't say what the client actually has. Keep a simple delivery log for every package you send:
- What went out and which version
- Who it went to and how (a link, Dropbox, Aspera, WeTransfer)
- The date it was sent, and when the client received it, asked for changes or accepted it
That log settles the "which version did you send us?" conversation in seconds. It also matters when you replace the audio on a cue after delivery: you know exactly who still has the older file. In DropCue each delivery keeps a record of the tracks and files that went out, and flags when the audio on one of them has changed since.
Don't Forget the Paperwork
Deliverables are not only audio files. A job isn't finished until these are done too:
1. The agreement: a signed sync license or work for hire agreement before the music is used. 2. The cue sheet: filed once the project airs, so the performance royalties reach you. Our music cue sheet guide has a template. 3. The invoice: sent when the deliverables are accepted, not when you remember.
A Simple Flow From Brief to Invoice
1. Brief in: create the job with one row per cue, a due date for each, and the deliverables each one needs. 2. Write: update each cue's status as it moves from writing to sent to approved. 3. Deliver: tick each deliverable as it goes out and log the package. 4. Approve: record when the client receives and accepts each delivery. 5. Close: file the agreement and cue sheet, then invoice.
Seen across all your jobs at once, that flow is a board: planning, in progress, delivered, need to invoice, invoiced. It keeps the money step from slipping when the next brief lands.
Frequently Asked Questions
What deliverables does a film composer usually owe?
Usually a full mix, an instrumental or no-vocals mix, any alternate mixes or cutdowns the edit needs, and stems for each cue. Trailer and ad work adds timed cutdowns like :60, :30 and :15 and short stingers. Always check the client's delivery spec first, because every production asks for something slightly different.
What is the difference between alt mixes and stems?
An alt mix is a finished alternate version of a cue, such as the same cue with no drums, that an editor can use as is. Stems are the cue split into groups like drums, bass and strings, so someone else can rebalance or remix it. When a client asks for stems, it is worth confirming whether they really want a finished alternate version.
What format should music deliverables be in?
For picture, usually 48 kHz, 24-bit WAV files, named with the cue code, title and version so they are easy to find in an edit. Library and streaming work often accepts 44.1 kHz. Stems should start at the same point and run the same length as the full mix.
How do I keep track of deliverables across several projects?
Give every cue its own checklist of deliverables, with its status and due date, and keep a log of each package you send and when the client accepted it. A tool like the DropCue Project Planner does this per cue and shows every job on one board, from planning to invoiced.
Do I need to send stems for every cue?
Only if the contract or the client's spec asks for them. Trailer houses and mix stages often want stems, while a library or a documentary may only need the full mix and an instrumental. Agree on it at the brief, so it is on the checklist from day one.
