Article 1 Identity and definitions

1.1 still sound design is a trade name of Selle Inti Sellink, sole proprietorship, located at Wibautstraat 150, 1091 GR Amsterdam, the Netherlands. Chamber of Commerce (KvK) number 62904965, VAT ID NL002314429B89. Email: selle@still.productions.

1.2 In these terms:

• client: whoever commissions still sound design or asks for a quote;
• assignment: the agreement about the work, as set out in a quote, confirmation or signed contract;
• project: the production the work is done for, such as a film, series, documentary, commercial or installation;
• work: sound design, re-recording mixing and related sound services;
• picture lock: the moment the picture edit is final;
• delivery: handing over the agreed final files (deliverables);
• renter: whoever rents the studio (article 16);
• in writing: by letter or email.

Article 2 Applicability

2.1 These terms apply to all quotes, assignments and work of still sound design, and to the rental of the studio.

2.2 Deviations apply only if agreed in writing. A signed contract takes precedence over these terms.

2.3 The client's own general terms or purchase conditions do not apply. still sound design expressly rejects them.

2.4 still sound design sends these terms with every quote. They are also at still.productions/sound/terms.

Article 3 Quotes and agreement

3.1 A quote is valid for 30 days, unless it states another period.

3.2 The assignment is agreed as soon as the client accepts the quote in writing, or as soon as still sound design starts the work with the client's consent. Agreement by email is sufficient.

3.3 The quote or confirmation, any signed contract, the workflow document (article 9) and these terms together form the agreement.

3.4 A quote is based on the client's information, such as the length of the production, the schedule and the required deliverables. If that information changes, still sound design may adjust the quote.

Article 4 Execution and schedule

4.1 still sound design carries out the assignment to the best of its ability and with craftsmanship. This is an obligation of effort, not a guarantee of a particular result.

4.2 The client delivers the material on time and complete according to appendix 2: the picture, an AAF (no OMF), an EDL, the original sound recordings and an ADR list. If a delivery that deviates from it takes extra time, still sound design may charge for it.

4.3 The mix starts after picture lock. If the picture changes after that, adapting the sound (re-conform) takes extra time. It is invoiced according to article 5, after consultation in advance.

4.4 Agreed dates are target dates, not strict deadlines, unless agreed otherwise in writing. If material arrives late or incomplete, or the client changes the schedule, the schedule moves. Article 7.3 applies to reserved days left empty as a result.

4.5 still sound design may have parts of the work done by third parties, such as a foley artist, an ADR studio or an assistant, after consulting the client. They work under the same confidentiality (article 12).

Article 5 Rates and costs

5.1 All amounts are in euros and exclude VAT, unless stated otherwise.

5.2 A project price is agreed in the quote. Work by the day or hour is invoiced at the rate in the quote, or otherwise at the rates in appendix 1.

5.3 A working day is 8 hours. Hours beyond 8 a day are invoiced at the hourly rate. Evening and weekend work only by agreement.

5.4 The day rate includes the use of the studio and all equipment, software licences and plugins, lunch, coffee and tea, use of the building's sauna and hot tubs (at own risk) and the other studio facilities.

5.5 Third-party costs are not included in the day rate, such as a foley artist, an ADR studio, voice actors, a certified theatre for the cinema mix, specific sound libraries, hard drives and shipping. They are passed on at cost, after consultation in advance.

5.6 Travel outside Amsterdam is reimbursed: public transport at cost, or € 0.23 per kilometre.

5.7 If the project takes up to 10% longer than planned, there is no extra charge. Anything beyond that is invoiced at the day or hourly rate after consultation in advance, unless still sound design is the cause.

5.8 still sound design may adjust its rates each year on 1 January. Assignments in progress keep the rates of the quote.

Article 6 Payment

6.1 Unless agreed otherwise, a project price is invoiced in four parts:

Instalment	Share	Invoiced
1	25%	on agreement
2	25%	at the start of the work
3	25%	when the work in the studio is finished
4	25%	on delivery

6.2 Invoices are paid within 30 days of the invoice date, by transfer to the account on the invoice. If the agreement comes less than a month before the start, the first instalment must be paid before the start.

6.3 Work by the day or hour is invoiced when the work is done, and for work of more than a month at the end of each month.

6.4 still sound design delivers the final files as soon as the first three instalments are paid. The rights to the work pass only when everything is paid (article 10).

6.5 If an invoice is not paid on time, the client is in default without notice and owes the statutory commercial interest, plus extrajudicial collection costs of 15% of the outstanding amount, with a minimum of € 40.

6.6 As long as an invoice is unpaid, still sound design may suspend the work. The schedule then moves.

6.7 Objections to an invoice are made in writing within 14 days of the invoice date. An objection does not suspend payment of the undisputed part.

Article 7 Cancellation and postponement

7.1 If the client cancels after agreement, it pays a fee for reserved time, preparation and planning:

Cancellation	Due
more than 4 weeks before the start	25% of the project price
1 to 4 weeks before the start	50% of the project price
less than 1 week before the start	75% of the project price
after the start	the work already done at the day rate, and at least the instalments already due

7.2 Postponement is not cancellation. If the client wants to move the project, still sound design looks for a new schedule, depending on availability. There is no extra charge: the first instalment stays as an advance and is set off against the project price.

7.3 If the project is moved less than 2 weeks before the start or during the work, still sound design may charge the reserved days it cannot fill with other work, at 50% of the day rate.

7.4 If no new schedule is agreed within 6 months, the project counts as cancelled. The first instalment is then the fee and is not refunded.

7.5 This applies whatever the reason for cancellation or postponement, except force majeure on the side of still sound design (article 15).

Article 8 Revisions and changes

8.1 During the project, revisions are made until both parties are satisfied, as long as the project stays within 10% of the planned time. Beyond that, article 5.7 applies.

8.2 Change requests are recorded in writing before work on them starts.

8.3 Small changes within 14 days of delivery are free if they take less than an hour. After that, or if they take longer, the hourly rate applies for work up to 4 hours and the day rate from 4 hours.

8.4 If a change is urgent at the client's request, a rush fee may apply. It is agreed in writing in advance.

Article 9 Delivery and specifications

9.1 Unless agreed otherwise, still sound design delivers:

• theatrical mix: 5.1 surround (Dolby 5 & 6 loudness)
• 5.1 stems: DX, EX and MX separately
• LoRo television mix, normalised to EBU R128
• LoRo stems: DX, EX and MX separately
• internet mix: stereo, for online distribution

9.2 Formats, sample rate, bit depth and other specifications are in a workflow document sent in advance to the editor and the client. If the client changes the specifications after agreeing to that document, this may mean extra work and costs.

9.3 Complaints about the delivery are made in writing within 14 days. After that, or as soon as the work is used, broadcast or screened, the delivery counts as approved.

9.4 The client checks the final files (QC) before using them or passing them on to a broadcaster, distributor or festival.

Article 10 Intellectual property

10.1 After full payment the client receives the exclusive, worldwide and unlimited right to use the delivered work for the project: in all versions, media and forms of exploitation, including trailers and promotion.

10.2 If a transfer of copyright is needed, for example for a fund or broadcaster, the parties record it in a separate document signed by both.

10.3 still sound design may reuse individual elements of its sound design in other projects, such as sounds, recordings and processing, if they are clearly changed and not recognisable as a copy. still sound design does not use the work as a whole, or recognisable parts of it, for other productions.

10.4 Session and project files, such as the Pro Tools session, remain with still sound design. On request the client receives them against payment for the time, insofar as third-party licences allow.

10.5 Sound libraries and plugins licensed to still sound design may be used by the client only as part of the delivered work.

10.6 The client guarantees that it holds the rights to everything it supplies, such as picture, music, archive material and recordings. Clearing music rights and other licences is its responsibility. It indemnifies still sound design against third-party claims about them.

Article 11 Portfolio and credits

11.1 After the first public screening or release, still sound design may show the work in its portfolio and showreel, on its website, in presentations and on social media, including stills, short excerpts and the trailer of the project, with the title and makers. While an embargo applies (article 12), only with permission.

11.2 still sound design is credited in the end credits, in every version and edition of the project:

• Sound Design & Re-Recording Mixing: Selle Inti Sellink
• Sound Design Studio: still sound design

11.3 The credit follows the work actually done, unless agreed otherwise in a contract. If still sound design only does the mix, for example, that role is credited.

11.4 The client also includes the credits in the credit lists for festivals, broadcasters and databases such as IMDb, and does not remove them or make them smaller than comparable roles.

Article 12 Confidentiality

12.1 Both parties keep confidential information about the project secret, such as recordings, scripts, picture, budget, schedule and content. They do not share it with third parties without written permission, except with people who work on the project and are bound to confidentiality themselves.

12.2 Confidentiality applies during the collaboration and for 12 months after, and beyond that as long as an embargo applies. It does not apply to information that is already public.

Article 13 Archive, backups and privacy

13.1 still sound design keeps project files, stems and mixes for up to five years after delivery, so that new versions, reissues or restoration remain possible. After that they are deleted securely.

13.2 still sound design makes careful backups for this, but cannot guarantee that files are never lost. The client keeps its own copy of the delivered files and of its own material.

13.3 Files from the archive are available on request. The time needed is invoiced at the hourly rate, with a minimum of one hour.

13.4 Recordings can contain personal data, such as the voices of the people portrayed, sometimes minors. still sound design uses them only for the project, secures them well and shares them only with the client and the people working on the project. On request the parties sign a data processing agreement.

Article 14 Liability

14.1 still sound design is only liable for direct damage resulting from a shortcoming attributable to it.

14.2 That liability is limited to the amount invoiced for the assignment, and for work by the day or hour to the amount of the last three months.

14.3 still sound design is not liable for indirect or consequential damage, such as lost income, missed deadlines, festivals or broadcasts, and costs of rejected masters, nor for loss of files or material (article 13.2).

14.4 These limits do not apply in case of intent or deliberate recklessness of still sound design.

14.5 A claim for damages must be reported in writing within 12 months after the client discovered the damage. After that it lapses.

Article 15 Force majeure

15.1 If still sound design cannot keep an agreement because of force majeure, the schedule moves for as long as it lasts. Force majeure includes illness or an accident of Selle Inti Sellink, failures of equipment, power or internet, fire and government measures.

15.2 still sound design reports force majeure as soon as possible. A colleague may take over or finish the work, only with the client's consent.

15.3 If force majeure lasts longer than 30 days, either party may end the assignment. Work already done is then paid proportionally.

Article 16 Studio rental

16.1 The studio can be rented after written agreement of still sound design, only to businesses and freelancers, not to private individuals. Rental is meant for non-commercial purposes. Commercial rental is decided case by case.

16.2 The rental prices are in appendix 1. They include the room, the studio equipment, software licences, coffee, tea and the other facilities.

16.3 After agreement these cancellation fees apply:

Cancellation	Due
more than 5 days in advance	nothing
2 to 5 days in advance	50% of the rental price
less than 48 hours in advance, or no-show	100% of the rental price

16.4 The renter treats the equipment, instruments, software and room with care, reports damage or faults immediately and leaves the studio as found.

16.5 The renter is liable for damage during the rental caused by careless or improper use. still sound design recovers the costs of repair or replacement from the renter. For valuable equipment a deposit or proof of liability insurance may be asked in advance.

16.6 Use of the building's facilities, such as the sauna and hot tubs, is at own risk and subject to the building's rules. still sound design is not liable for injury or for loss of belongings, except in case of intent or deliberate recklessness.

Article 17 Complaints, applicable law and disputes

17.1 Complaints about the work are made in writing within 14 days of delivery (article 9.3), and about an invoice within 14 days of the invoice date (article 6.7).

17.2 Dutch law applies to all quotes and agreements.

17.3 In case of disagreement the parties first consult each other. If they cannot resolve it, the District Court of Amsterdam (Rechtbank Amsterdam) has jurisdiction.

Article 18 Final provisions

18.1 still sound design may change these terms. Changes apply to new assignments. Assignments in progress keep the terms that applied at the moment of agreement.

18.2 If a provision is invalid, the other provisions remain in force. The parties replace the invalid provision with a valid one as close as possible to its intent.

18.3 These terms were drawn up in Dutch. This is a translation; in case of difference the Dutch text prevails.

18.4 In force from 1 June 2024, last updated November 2026. Questions about these terms: selle@still.productions.

Appendix 1: rates 2026

These rates apply unless the quote says otherwise. All amounts exclude VAT.

Work	Per day (8 hours)	Per hour
Sound design and re-recording mixing	€ 700	€ 110
Commercial work	€ 1,050	€ 150

Commercial work is work for advertising & branded content.

Studio rental per day	Weekdays	Weekend
Room	€ 40	€ 40
Equipment, licences and facilities	€ 210	€ 110
Total	€ 250	€ 150

Appendix 2: delivery to still sound design

The client delivers according to this overview (article 4.2).

Picture

1. DNxHD or ProRes HQ with audio guide track, and subtitles if available. A clean export: no timecode or slate/take information.
2. H.264 with audio guide track, timecode of the editor's timeline in the upper left corner, slate/take information in the upper right corner, and subtitles.

Both with start leader, a start beep 2 seconds before FFOA (48 frames at 24 fps, 50 at 25 fps) and an end beep 10 seconds after LFOA (240 frames at 24 fps, 250 at 25 fps). FFOA is always at 01:00:00:00. The projection is 300 cm diagonal, so keep subtitles and timecode small.

AAF (no OMF)

• Link to Media: unmute muted clips when making the media files, and mute clips that should stay muted when making the AAF
• Include Audio Tracks in Sequence: All Tracks
• Render Audio Clip Effects
• Include Clip Copies Without Effects
• 48 kHz, 24 bit, .wav
• no .aiff and no embedded audio: both lose metadata
• tip: remove the video files from the sequence before exporting; with picture in it, errors are common

EDL: for every new version an EDL of all picture cuts on one track, without titles and subtitles.

ADR list: the ADR cues where the director or editor finds ADR necessary, such as off screen, extra lines or action.

Original sound recordings: everything as received from the sound recordist on set, with the sound reports.