You can't see this job. So here it is with the sound taken out.

Dialogue edit — Cleaning, matching and rebuilding what was recorded on the day. Unglamorous, invisible when done well, and the thing that most often rescues a scene
Foley — Performed to picture — footsteps, cloth, props. Recorded rather than dropped in, because a person walking sounds like a person and a library file sounds like a file
Sound effects and ambience — The world around the scene. This is where library material earns its place, and where using it well is the actual skill
The mix — Balancing all of it to a delivery target. It is not a polish at the end — a mix decision made in week one is what makes week six possible
Why the distinction matters to you — A quote for "sound design" can mean any one of these. Say which you need, or say what the film needs and get told which
Music is a fifth thing — Composed by somebody else, usually. Sound design and score have to be planned together or they fight, and that conversation should happen early

The named work — List it here with the year and the role. "Sound design" on its own is vague — say whether you cut dialogue, did foley, or mixed it
The unnamed work — Some of the best of it is under an agreement and cannot be listed. That is normal in post and it is worth saying rather than leaving a thin-looking list to speak for itself
Two clients who will talk — Both chose to be nameable. A five-minute call with a previous director tells you more than any reel, and it is the reference nobody thinks to ask for
What a credit doesn't tell you — How much of it was already right when it arrived. A brilliant credit can be a small job and a modest one can have been a rescue
Union and guild memberships — List whichever apply, exactly, and don't imply any you don't hold. It takes one search to check and it is the fastest way to lose a job
Rates — Day rate for post, project rate for anything with a delivery date. Both quoted after seeing the picture, and neither moves once quoted

Most sound design is library material — Used well. Anybody telling you every sound in their reel was recorded from scratch is describing a budget nobody has had since about 1998
What that actually takes — Choosing, layering, pitching, tuning and placing. A door in a finished mix is usually four library files and a room, and none of them sounded like that door
What does get recorded fresh — Anything specific to your film — a named machine, a particular room, a voice. That is where a recording day earns its money rather than everywhere
Licensing — Every library used here is licensed for commercial delivery, and the paperwork travels with the project. Ask for it; a broadcaster eventually will
Why say all this — Because "all bespoke" is a claim clients cannot check and shouldn't have to. Being told how it is actually made is more useful than being flattered
What it does not excuse — A stock clatter that everyone recognises. Recognisable library files are the one real failure here and avoiding them is most of the craft

Stems, always — Dialogue, effects, foley and music delivered separately as well as mixed. It is what makes a foreign-language version or a re-cut possible without starting again
Loudness targets — Different for cinema, broadcast and streaming, and a mix that is right for one is wrong for another. Say where it is going before the mix, not after
Formats — Stereo, 5.1 or Atmos, plus a phone-speaker check on everything. Most of your audience will hear it on something terrible and that is a design constraint rather than a shame
Session files — Handed over on request at the end. Some people are surprised by that; a project you cannot reopen in two years is a liability rather than an asset
Revisions — Two rounds included, then hourly, and you will be told when a change has crossed from a note into a new brief
Turnaround — Quoted from the picture lock rather than from the shoot. A date given before there is a cut is a guess wearing a suit