
Content Hub & Physical Archive Media Delivery Specifications Requirements v1.6
1. Scope
To provide a set of delivery specifications for working materials and archival assets of a Netflix Original production. This document outlines the asset types, naming conventions, and delivery mediums for these files.
Download this article as a PDF:
• English
2. Overview of Archival Assets
2.1 Production
2.2 Dailies & Editorial
2.3 Post-Production
3. Delivery Preparation
3.1 Folder Structure & Naming Conventions
3.1.1 Production Digital Media Assets
3.1.2 Post Production Assets
3.1.2.1 Editorial Turnovers
3.1.2.1.1 Edit List
3.1.2.1.2 Video File
3.1.2.2 Editorial Media for Archive
3.1.2.3 Picture Archival Assets
3.1.2.4 LUTs
3.1.2.5 Servicing Elements
3.1.2.5.1 ProRes Servicing Elements
3.1.2.6 Final Audio Deliverables and Archival Assets
3.1.2.7 Music Archival Assets
4. Delivery Methods
4.1 Netflix Web-Based Upload Tool: Content Hub (Web UI)
4.2 Prepare Assets for API Upload
4.2.1 Physical Asset Inventory Specification
4.2.2 HDD Specification
4.2.2.1 HDD Labeling
4.2.3 LTO Specification
4.2.3.1 LTO Labeling
4.2.3.1.1 Production & Dailies Assets
4.2.3.1.2 Final Picture Assets
4.2.3.1.3 Final Audio Assets
4.2.3.1.4 Example
5. Appendix
6. Change Log
2. Overview of Archival Assets
- Original Camera Footage
- Production Sound
- On-Set Color Information (CDLs, LUTs, etc.)
- Editorial Media (Proxies, EDLs, ALEs/Bins, etc.)
- Dailies Transfer Reports
- Final Picture Assets
- Final Audio Assets
- Final Music Assets
For a detailed description of requirements and specs, please reference the production’s delivery schedule.
3 Delivery Preparation
3.1 Folder Structure & Naming Conventions
FOR ALL DELIVERABLES:
Legal characters: [ a-z ], [ A-Z ], [ 0-9 ], [ . ], [ _ ], [ - ]
(ILLEGAL: spaces or any other symbols/characters)
3.2 Production Digital Media Assets
The following section applies to productions that are NOT using a Netflix API-integrated dailies solution. Production assets should be prepared by a DMT / DIT according to the following specification.
→ Root directory: PROJECT TITLE
→ Second-level directory: ASSET TYPE
♦ OCF - Original Camera Files
♦ WAV - Production Sound
♦ LOOKS - Any on-set looks (.cdl, .ccc, .edl with CDLs)
♦ LUT - Any LUTs used (.cube, .3dl)
♦ ALE - Any ALEs generated, with all fields available, including CDL columns if applicable
♦ PROXIES - Any proxies recorded or generated, whether at camera or through dailies processing (for editorial and/or review)
♦ REPORTS - Any data or dailies reports generated
→ Third-level directory: SHOOT DAY & DATE
♦ Example:Day_001_20161016
→ Fourth-level directory: CAMERA / SOUND ROLL
OCF Example:
CHEFS_TABLE/
OCF/
Day_001_20161016/
A001CGAL/
A002DJEU/
Below this folder level, original folder structure and filenames must be maintained from camera or sound cards.
MD5 checksum manifest must accompany all original camera files, stored in the folder of files upon which the checksums are being run, at one of the following directory levels:
- camera card
- shoot day
- root level
Netflix MD5 Checksum and ZIP Tool
For those familiar with Python, Netflix has provided a freely available Python package called the “Netflix Packager” (aka “npack”) that can run MD5 checksums and create the required checksum.txt file. The tool can also ZIP archive the frame sequences in COPY/STORE ONLY mode which is required for Content Hub uploading. Instructions and example command can be found on our Backlot Help center at the following link.
Production Assets Example
3.1.2 Post-Production Assets
3.1.2.1 Editorial Cut Turnovers
Video and edit lists submitted to Content Hub to facilitate review, post-production and distribution work (i.e., work or reference picture, cuts for review and notes) must follow the specifications outlined below.
3.1.2.1.1 Edit List
File type: Edit list should correspond to the video file delivered, in one of the following formats:
- Avid AAF (.aaf)
- Final Cut or Premiere XML (.xml)
- CMX 3600 EDL (.edl)
- OpenTimelineIO (.otio)
3.1.2.1.2 Video File
Resolution: Both vertical and horizontal pixel counts must be integers evenly divisible by 4. It is recommended to encode content at its native aspect ratio, padding with black to the nearest integer evenly divisible by 4.
- Minimum: 1280x960
- Maximum: 4096x2160
Frame Rate:
- Supported: 23.976fps, 24fps, 25fps, 29.97fps, 30fps, 50fps, 59.94fps, 60fps
- Variable Frame Rate (VFR) is not supported
- Interlaced and progressive inputs are supported; interlaced sources will be deinterlaced.
Video/Audio Source Format Specs:
- H.264 (Closed GOP; Compressed Movie Atom [cmov] and Edit Lists [elst] are not supported)
- Container: MP4 or MOV
- Audio
- Codec: HE-AACv1, HE-AACv2 or AAC-LC
- Sample Rate: 44.1 kHz or 48 kHz
- Single audio track, with one of the following channel layouts
- Interleaved Stereo: L, R
- Interleaved Matrixed Stereo: LT, RT
- Interleaved 5.1: C, L, R, Ls, Rs, LFE
- ProRes 422 (HQ)
- Container: MOV
- Audio
- Codec: PCM
- Sample Rate: 48 kHz
- Audio Tracks & Channel Layouts:
- Single Track
- Stereo: L, R
- Stereo (Matrixed): L, R
- Interleaved 5.1: L, R, C, LFE, LS, RS
- Interleaved 5.1 + Stereo (Matrixed) : L, R, C, LFE, LS, RS, LT, RT
- 2-track:
- Discrete Stereo: L / R
- Discrete Stereo (Matrixed): LT / RT
- Interleaved 5.1 + Stereo Matrix Interleaved: L, R, C, LFE, LS, RS / LT, RT
- 3-track: Discrete Stereo (Matrixed) + Interleaved 5.1 : LT / RT / L, R, C, LFE, LS, RS
- 7-Track : Discrete 5.1 + Interleaved Stereo (Matrixed): L / R / C / LFE / LS / RS / LT, RT
- 8-Track : Discrete 5.1 + Discrete Stereo (Matrixed): L / R / C / LFE / LS / RS / LT / RT
- Single Track
Note: forward slash "/" denotes track separation and comma "," denotes channel separation
3.1.2.2 Editorial Media for Archive
- Must maintain original folder structure from dailies or editorial system.
- Any non-dailies source material should be included (GoPro, stills, licensed footage, etc).
3.1.2.3 Picture Archival Assets
Folder Structure
The first table shows each folder level as a row, along with a corresponding example.
The second table is a legend for the “Deliverable Name” item in red.
Table 1:
Folder | Naming | Example |
Project Title | project_title | chefs_table |
Episode / Reel # / Longplay | s[##]e[##] or r[##] or lp | s01e01, s01e02, r01, r02, lp |
Deliverable Name (see table below) | [deliverable name] | nam, vdm, dcdm |
Dynamic Range (if VDM or GAM) | [dynamic range] | hdr, sdr |
Color Space | [color space] | rec709, p3d65, xyz |
Transfer Function / Gamma | [transfer function] | pq, g24, g26 |
Creation Date & Render # & textless/inserts info if applicable | [YYYYMMDD]_[render ##]_[textless] | 20160430_01, 20160430_02_textless |
Resolution | [width]x[height] | 3840x2160, 4096x2160 |
Language version, if other than OV | [see appendix] | ko, fr |
Table 2:
Deliverable Name | Abbreviation |
Non-graded Archival Master | nam |
Graded Archival Master | gam |
Video (Display) Master | vdm |
Digital Cinema Distribution Master | dcdm |
Final DI LUT Package | lut_pkg |
Episodic Series Examples:
/chefs_table/s01e01/nam/aces_linear/20160430_01/3840x2160/
/chefs_table/s01e01/nam/aces_linear/20160430_01_textless/3840x2160/
/chefs_table/s01e01/vdm/sdr/rec709_g24/20160430_01/3840x2160/
/chefs_table/s01e01/vdm/sdr/rec709_g24/20160430_01_textless/3840x2160/
Feature Film Examples:
/pwbh/r01/vdm/hdr/p3d65_pq/20160229_01/4096x2160/
/pwbh/r01/vdm/hdr/p3d65_pq/20160229_01_ja/4096x2160/
/pwbh/lp/dcdm/sdr/xyz_g26/20160229_01/3996x2160/
File Naming
Filenames should include the same information as folders above, separated by underscores:
ProjectTitle_EpisodeReel_DeliverableName_DynamicRange_ColorSpace
_CreationDate_Resolution
Episodic Series Examples:
chefs_table_s01e01_nam_aces_linear_20160430_01_3840x2160.#######.exr
chefs_table_s01e01_nam_aces_linear_20160430_01_textless_3840x2160.#######.exr
chefs_table_s01e01_vdm_sdr_rec709_g24_20160430_01_3840x2160.#######.dpx
chefs_table_s01e01_vdm_sdr_rec709_g24_20160430_01_textless_3840x2160.#######.dpx
Feature Film Examples:
pwbh_r01_vdm_sdr_rec709_g24_20160430_01_4096x2160.#######.dpx
pwbh_r01_vdm_sdr_rec709_g24_20160430_01_textless_4096x2160.#######.dpx
pwbh_r01_dcdm_sdr_xyz_g26_20160430_01_3996x2160.#######.tiff
pwbh_r01_dcdm_sdr_xyz_g26_20160430_01_textless_3996x2160.#######.tiff
For textless or other versioned inserts, reel numbering and frame numbering of textless should match the texted sections, and be provided cut to cut.
Also, textless end credits do not require a distinct naming convention; they should be submitted alongside the rest of the textless sections.
Full Example
MD5 Checksums
Every directory that contains an image sequence should also contain an MD5 checksum manifest of the files contained within it.
MD5 Checksum Example for Frame Sequences
From within the sequence folder, call the following command to create checksum.txt
find . -type f -maxdepth 1 -exec sh -c "ls -s '{}' | cut -d' ' -f1 | tr '\n' ' ' " \; -exec md5 -r {} \; | awk '{print $3,"\t",$1,"\t","md5","\t",$2}' > checksum.txt
Example of checksum.txt (note spaces are TABs)
1.exr 8 md5 09f7e02f1290be211da707a266f153b3
2.exr 8 md5 ac4434fc6e7bb238e0349e018f3c96bf
3.exr 8 md5 abc7dc6ca1883b025ecf25af68eaba79
4.exr 8 md5 865471defd1407d20b72ca1550547555
Netflix MD5 Checksum and ZIP Tool
For those familiar with Python, Netflix has provided a freely available Python package called the “Netflix Packager” (aka “npack”) that can run MD5 checksums and create the required checksum.txt file. The tool can also ZIP archive the frame sequences in COPY/STORE ONLY (no compression) mode which is required for Content Hub uploading. Instructions and example command can be found on our Backlot Help center at the following link.
All LUTs must be delivered in .cube format; we have no requirement for LUT dimensions.
File Naming
For a LUT to be useful, it is important that its file name be descriptive as to its application. It must be easy to understand at a glance.
Item | Naming | Example |
Project Title | project_title | chefs_table |
Season / Episode (if applicable) / Longplay | s[season ##]e[episode ##] or r[reel ##] or lp[longplay] | s01e01, s01e02 or s01 or lp |
Input Colorspace | gamma_gamut | vlog_vgamut, slog3_sgamut3 |
To | TO | TO |
Output Colorspace | gamma_gamut | rec709_g24, dci_p3, pq_rec2020 |
Light Level / Max Luminance (if applicable) | Max Luminance | 1000nits, 14fl, 100nits |
Signal Range IN & OUT | F = full/extended, L = legal/head | FF, FL, LF, LL |
LUT Example:
chefs_table_s01_redlogfilm_dragoncolor2_TO_rec709_g24_100nits_FF.cube
3.1.2.5.1 ProRes Servicing Elements
Resolution: Both vertical and horizontal pixel counts must be integers evenly divisible by 4. It is recommended to encode content at its native aspect ratio, padding with black to the nearest integer evenly divisible by 4.
- Supported resolutions: 1920x1080, 3840x2160, 4096x2160
Frame Rate:
- Supported: 23.976fps, 24fps, 25fps, 29.97fps, 30fps, 50fps, 59.94fps, 60fps
- Variable Frame Rate (VFR) is not supported
- Scantype must be Progressive
Video/Audio Source Format Specs:
- ProRes 422 (HQ)
- Container: MOV
- Audio
- Codec: PCM
- Sample Rate: 48 kHz
- Audio Tracks & Channel Layouts:
- Single Track
- Stereo: L, R
- Stereo (Matrixed): L, R
- Interleaved 5.1: L, R, C, LFE, LS, RS
- Interleaved 5.1 + Stereo (Matrixed) : L, R, C, LFE, LS, RS, LT, RT
- 2-track:
- Discrete Stereo: L / R
- Discrete Stereo (Matrixed): LT / RT
- Interleaved 5.1 + Stereo Matrix Interleaved: L, R, C, LFE, LS, RS / LT, RT
- 3-track: Discrete Stereo (Matrixed) + Interleaved 5.1 : LT / RT / L, R, C, LFE, LS, RS
- 7-Track : Discrete 5.1 + Interleaved Stereo (Matrixed): L / R / C / LFE / LS / RS / LT, RT
- 8-Track : Discrete 5.1 + Discrete Stereo (Matrixed): L / R / C / LFE / LS / RS / LT / RT
- Single Track
Note: forward slash "/" denotes track separation and comma "," denotes channel separation
ProRes Servicing File Naming
The following table shows each folder level as a row, along with a corresponding example.
Folder | Naming | Example |
Project Title | project_title | chefs_table |
Episode / Longplay | s[##]e[##] or lp | s01e01, s01e02, lp |
Frame Rate | [frame rate] | 23976, 24, 25, 2997 |
Resolution | [width]x[height] | 3840x2160, 4096x2160 |
Dynamic Range | [dynamic range] | hdr, sdr |
Color Space | [color space] | rec709, p3d65, xyz |
Transfer Function / Gamma | [transfer function] | pq, g24, g26 |
Creation Date | [YYYYMMDD] | 20160430, 20160501, etc. |
Version # | [render ##] | 01, 02, etc. |
textless/inserts info if applicable | [textless] | textless |
Filenames should include the information above, separated by underscores:
ProjectTitle_EpisodeOrLongplay_Resolution_DynamicRange_ColorSpace_TransferFunctionOrGamma_CreationDate_VersionNumber
Episodic Series Examples:
chefs_table_s01e01_23976_3840x2160_sdr_rec709_g24_20160430_01.mov
chefs_table_s03e01_23976_3840x2160_hdr_p3d65_pq_20170125_03.mov
Feature Film Examples:
pwbh_lp_24_4096x2160_hdr_p3d65_pq_20160430_01.mov
meridian_lp_23976_4096x2160_sdr_rec709_g24_20160430_01.mov
Textless Examples (if applicable):
chefs_table_s01e01_23976_3840x2160_23976_sdr_rec709_g24_20160430_02_textless.mov
Pwbh_lp_24_4096x2160_hdr_p3d65_pq_20160430_01_textless.mov
3.1.2.6 Final Audio Deliverables and Archival Assets
It is important that Mix Versions and Stem file names contain all relevant information within their file names. They must be easy to understand at a glance. All 5.1 surround (6ch) elements must be delivered as discrete files.
Item | Naming | Example |
Project Title | project_title | chefs_table |
Episode / Reel # / Longplay | s[season ##]e[episode ##] or r[reel ##] or lp[longplay] | s01e01, s01e02, s01e03 or r01, r02, r03 or lp |
Picture Sync Time Code Rate | time code rate without period | 23976, 24, 25, 2997, 30 |
Asset Type (see legend below) | asset type | PM, ME, FXStem, FXPD, ADR |
Soundfield Type (if applicable) | soundfield type | Nearfield, Theatrical |
Mono, Stereo or 5.1 Surround | mono, 2ch or 6ch | mono, 2ch, 6ch |
Sample Rate | [##]k | 48k |
Bit Depth | [##]b | 24b |
Channel/Track Mapping | channel/track designation | L, R, C, LFE, LS, RS, LT, or RT |
Version # (for Mixes or Stems) | v[##] | v05 |
Asset Type | Abbreviation |
Final Mixes | PM, ME |
Final Stems | FXStem, MXStem, DIAStem, FFFXStem... |
Pre-Dub Units | FXPD, MXPD, DIAPD... |
ADR Recordings | ADR |
Final Discrete Stereo Mix Example:
chefs_table_s02e02_23976_PM_Nearfield_2ch_48k_24b_LT_v04.wav
chefs_table_s02e02_23976_PM_Nearfield_2ch_48k_24b_RT_v04.wav
or
chefs_table_s02e02_23976_PM_Nearfield_2ch_48k_24b_L_v04.wav
chefs_table_s02e02_23976_PM_Nearfield_2ch_48k_24b_R_v04.wav
Discrete 5.1 Stem Unit Example:
chefs_table_s02e02_23976_FXSTEM_6ch_48k_24b_L_v03.wav
chefs_table_s02e02_23976_FXSTEM_6ch_48k_24b_R_v03.wav
chefs_table_s02e02_23976_FXSTEM_6ch_48k_24b_C_v03.wav
chefs_table_s02e02_23976_FXSTEM_6ch_48k_24b_LFE_v03.wav
chefs_table_s02e02_23976_FXSTEM_6ch_48k_24b_LS_v03.wav
chefs_table_s02e02_23976_FXSTEM_6ch_48k_24b_RS_v03.wav
Discrete 5.1 Pre-Dub Unit Example:
chefs_table_s02e02_23976_fxpd_6ch_48k_24b_L_v09.wav
chefs_table_s02e02_23976_fxpd_6ch_48k_24b_R_v09.wav
chefs_table_s02e02_23976_fxpd_6ch_48k_24b_C_v09.wav
chefs_table_s02e02_23976_fxpd_6ch_48k_24b_LFE_v09.wav
chefs_table_s02e02_23976_fxpd_6ch_48k_24b_LS_v09.wav
chefs_table_s02e02_23976_fxpd_6ch_48k_24b_RS_v09.wav
Discrete 5.1 Music & Effects Example:
peewee_lp_23976_ME_Nearfield_6ch_48k_24b_L_v02.wav
peewee_lp_23976_ME_Nearfield_6ch_48k_24b_R_v02.wav
peewee_lp_23976_ME_Nearfield_6ch_48k_24b_C_v02.wav
peewee_lp_23976_ME_Nearfield_6ch_48k_24b_LFE_v02.wav
peewee_lp_23976_ME_Nearfield_6ch_48k_24b_LS_v02.wav
peewee_lp_23976_ME_Nearfield_6ch_48k_24b_RS_v02.wav
ProTools sessions
For premix and stage mix sessions, all tracks should be frozen, consolidated, and rendered out as WAV files. If a ProTools session is provided, please perform a “File >> Save Copy In…” and select Audio Files under “Items to Copy” to consolidate files:
It is important that Mix Versions and Stem file names contain all relevant information within their file names. They must be easy to understand at a glance. All mono or 5.1 surround (6ch) elements must be delivered as discrete files.
Item | Naming | Example |
Composer Identifier | XX | LH |
Song Title | SongTitle | BodyAndSoul |
Mix Version or Stem Type | MASTER, STEM_group | MASTER, STEM_keys, STEM_horns |
Sample Rate | [sample rate]k | 96k |
Bit Depth | # bit rate | 24b |
Mono, Stereo, or 5.1 Surround | mono, 2ch, 6ch | 6ch |
Channel/Track Mapping | channel/track designation | If mono ● mono If Discrete ● L, R, C, LFE, LS, RS, LT, or RT
|
Version # (for Mixes or Stems) | R[0-9][0-9] | R02 |
File Extension | wav,aif | wav |
Asset Type | Abbreviation |
Mix Masters of Original Score, Original Songs, and Licensed Cues Used in Final Program | MASTER |
Multi-track of Original Score - Stems (frozen/consolidated tracks) | STEM_group |
Discrete Stereo Master Mix Example:
LH_BodyAndSoul_MASTER_48k_24b_2ch_LT_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_2ch_RT_v04.wav
or
LH_BodyAndSoul_MASTER_48k_24b_2ch_L_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_2ch_R_v04.wav
Discrete 5.1 Master Mix Example:
LH_BodyAndSoul_MASTER_48k_24b_6ch_L_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_6ch_R_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_6ch_C_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_6ch_LFE_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_6ch_LS_v04.wav
LH_BodyAndSoul_MASTER_48k_24b_6ch_RS_v04.wav
Mono Stem Example:
LH_BodyAndSoul_STEM_vocals_48k_24b_mono_v04.wav
Discrete 5.1 Stem Example:
LH_BodyAndSoul_STEM_keys_48k_24b_6ch_L_v04.wav
LH_BodyAndSoul_STEM_keys_48k_24b_6ch_R_v04.wav
LH_BodyAndSoul_STEM_keys_48k_24b_6ch_C_v04.wav
LH_BodyAndSoul_STEM_keys_48k_24b_6ch_LFE_v04.wav
LH_BodyAndSoul_STEM_keys_48k_24b_6ch_LS_v04.wav
LH_BodyAndSoul_STEM_keys_48k_24b_6ch_RS_v04.wav
4.1 Netflix Web-Based Upload Tool: Content Hub (Web UI)
TO BE USED FOR FINAL DI, FINAL SOUND, FINAL MUSIC, FINAL EDITORIAL FILES
A web-based UI with drag-and-drop functionality is available to upload assets into the Netflix Content Hub. A user account with project-specific permission is necessary. Please request access from your Netflix Post Production or Distribution contact if needed. Online documentation is available here.
4.2.1 Physical Asset Inventory Specification
For each physical asset (LTO or HDD) created, upload the following digital files to the production’s “DASH/Prodicle > Production > Digital Media Asset Inventory” folder:
- Copy of MD5 checksum manifest of the physical asset’s contents named per the following convention:
- [vol or lto barcode]_checksum.txt
- Examples: chefs_table_s01_backup01_checksum.txt, BNN034L4_checksum.txt
- Text file (.txt) containing physical asset label information named per the following convention:
- [vol or lto barcode]_label.txt
- Examples: chefs_table_s01_backup01_label.txt, BNN034L4_label.txt
- Tape numbering (“Tape x of y”) per transfer/shoot day.
- Sample:
Client: Netflix
Title: Stranger Things, Season 01
Shoot Date: 20150304
Shoot Day: 12
Transfer Date: 20150305
Tape 1 of 2
Camera Rolls: A036-038, B022, C003
Sound Rolls: S018
VT#s (if applicable): N/A
LTO Barcode #: STT026
To be granted access to DASH/Prodicle, please contact your Netflix Post Production or Distribution representative.
- Acceptable File System Formats
- exFAT or HFS+ preferred
- Acceptable Interfaces
- USB 3.0 or higher
- Thunderbolt
- eSATA
- MD5 checksum manifest
- Stored in the folder of files upon which the checksums are being run.
Label drive and accompanying packaging with the following information:
- Production Name or Alias
- Unique Drive/Volume Name
- Asset type of content.
- LTO 5, 6 or 7
- LTFS Format Specification v2.0.0 (or later)
- Error Correction must be enabled
- MD5 checksum manifest
- Stored in the folder of files upon which the checksums are being run.
- If frame sequence is larger than LTO capacity, please span multiple tapes sequentially and label accordingly (Tape 1 of 2, Tape 2 of 2, etc.)
- If project is broken into reels:
- Load reels of a single deliverable-type successively onto tapes.
- EXAMPLE: Reel 1 NAM > Reel 2 NAM > Reel 3 NAM
- If multiple reels can fit onto a single tape, load as many reels onto each LTO tape WITHOUT splitting or spanning any reels across tapes.
- EXAMPLE: If Reel 1 & 2 can fit completely onto a single LTO, but Reel 3 will not, please only include Reels 1 & 2. Reel 3 should be place on the next successive LTO tape.
NOTE: The informative labels below should not be placed on the LTOs themselves. Only on the spine of the tape should there be a machine-readable barcode, preferably with a three-letter show code:
Note: “LTO” should be replaced with three-letter show code, chosen by production
4.2.3.1.1 Production & Dailies Assets
NOTE: Security title, if it exists, must be used.
- Client
- (Security) Title
- Shoot Date
- Shoot Day
- Transfer Date
- Tape _ of _
- Camera Rolls
- Sound Rolls
- VT#s (if applicable)
- LTO Barcode #
4.2.3.1.2 Final Picture Assets
- Client
- Title
- Episode # or Reel #
- Asset Type (Graded Archival Master, Non-graded Archival Master, Video Master, Alternate Version IMF [Pan&Scan])
- *Specify Texted or Textless
- File Format
- SDR
- NAM, GAM, VDM (bit depth should be at least that of the camera files’ bit depth)
- 10-bit log DPX or 16-bit linear EXR
- HDR
- NAM and GAM (bit depth should be at least that of the camera files’ bit depth)
- 10-bit log DPX or 16-bit linear EXR
- VDM
- Must be 16-bit TIFF
- NAM and GAM (bit depth should be at least that of the camera files’ bit depth)
- NAM, GAM, VDM (bit depth should be at least that of the camera files’ bit depth)
- SDR
- Resolution (3840 x 2160)
- Color Space (Rec. 709, P3-D65, DragonColor2, ACES)
- Transfer Function (Gamma 2.4, PQ, RedLogFilm, Linear)
- Frame Range (if applicable)
- Client
- Title
- Episode # or Reel #
- Asset Type (Final Mixes, Final Stems, Pre-dub Units)
- File Format (Broadcast Wave Files)
- Sample Rate
- Bit Rate
- Frame Rate
- Client: Netflix
- Title: Chef’s Table
- Shoot Date: 8/12/15
- Shoot Day: 23
- Transfer Date: 8/13/15
- Tape: 1 of 1
- Camera Rolls: A001, A002, A003, A004
- Sound Rolls: S001, S002
Language Name | Language Code |
| Language Name | Language Code |
Acoli | ach |
| Faroese | fo |
Afrikaans | af |
| Filipino | fil |
Albanian | sq |
| Finnish | fi |
Arabic | ar |
| Flemish | nl-BE |
Aramaic | arc |
| French | fr |
Armenian | hy |
| French-Canadian | fr-CA |
Bambara | bm |
| Gaelic | ga |
Bashkir | ba |
| Georgian | ka |
Bengali | bn |
| German | de |
Bosnian | bs |
| Greek | el |
Bulbovian | XA |
| Gujarati | gu |
Bulgarian | bg |
| Hawaiian | haw |
Burmese | my |
| Hebrew | he |
Catalan | ca |
| Hindi | hi |
Chechen | ce |
| Hokkien | nan |
Cheyenne | chy |
| Hungarian | hu |
Chinese Cantonese | yue |
| Icelandic | is |
Chinese Mandarin | zh |
| Indonesian | id |
Chinese Simplified | zh-Hans |
| Inuktitut | iu |
Chinese Traditional | zh-Hant |
| Italian | it |
Croatian | hr |
| Jamaican Patois | jam |
Czech | cs |
| Japanese | ja |
Danish | da |
| Javanese | jv |
Dari | fa-AF |
| Kannada | kn |
Dinka | din |
| Kazakh | kk |
Dutch | nl |
| Khmer | khm |
Dzongkha | dz |
| Kikuyu | ki |
Efik | efi |
| Kinyarwanda | rw |
Elamite | elx |
| Kirghiz | ky |
English | en |
| Korean | ko |
English (UK) | en-GB |
| Kurdish | ku |
Esperanto | eo |
| Lango | laj |
Estonian | et |
| Latin | la |
Latvian | lv |
| Spanish (Neutral) | es |
Lebanese | ar-LB |
| Swedish | sv |
Lingala | ln |
| Swiss-German | gsw |
Lithuanian | lt |
| Tagalog | tl |
Maasai | mas |
| Tamashek | tmh |
Macedonian | mk |
| Tamil | ta |
Malagasy | mg |
| Telugu | te |
Malay | ms |
| Thai | th |
Malayalam | ml |
| Tibetan | bo |
Maltese | mt |
| Tonga | to |
Marathi | mr |
| Turkish | tr |
Maya | myn |
| Tuvan | tyv |
Mende | men |
| Ugaritic | uga |
Mongolian | mn |
| Ukrainian | uk |
Nepali | ne |
| Urdu | ur |
Newari | new |
| Vietnamese | vi |
None | zxx |
| Welsh | cy |
Norwegian (Bokmål) | nb |
| Wolof | wo |
Norwegian (Nynorsk) | nn |
| Xhosa | xh |
Pashtu | ps |
| Yiddish | yi |
Persian | fa |
| Zapotec | zap |
Polish | pl |
| Zulu | zu |
Portuguese (Brazilian) | pt-BR |
|
|
|
Portuguese | pt |
|
|
|
Punjabi | pa |
|
|
|
Romanian | ro |
|
|
|
Romansh | rm |
|
|
|
Romany | rom |
|
|
|
Russian | ru |
|
|
|
Sami | smi |
|
|
|
Sanskrit | sa |
|
|
|
Scottish Gaelic | gd |
|
|
|
Serbian | sr |
|
|
|
Sinhala | si |
|
|
|
Slovak | sk |
|
|
|
Slovenian | sl |
|
|
|
Somali | so |
|
|
|
Songhai | son |
|
|
|
Spanish (Castilian) | es-ES |
|
|
|
v1.5 to v1.6 - 2017, July 17
Netflix Originals: Content Hub & Physical Archival Media Delivery Specifications v1.6
• Removed interleaved audio as an acceptable format for archival audio mixes. All archival audio mixes must be delivered as discrete files. Section 3.1.2.6, Final Audio Deliverables and Archival Assets and Section 3.1.2.7, Musical Archival Assets
• Added technical requirements and file naming requirements for ProRes Servicing Elements, Section 3.1.2.5
• Added examples for DCDM naming, provided clarity around textless naming and explicitly stated that no special naming is required for end credits Picture Archival Assets, Section 3.1.2.3
• Updated screen grab of sample folder structure for Picture Archival Assets, Section 3.1.2.3 to include transfer function
• Revised Final Picture Assets, Section 4.2.3.1.2 to explicitly state acceptable file formats for NAM, GAM, and VDM
• Updated some of the file naming properties of different elements for consistency.
• Added general info about the “Netflix Packager” to help with MD5 checksumming and ZIP archiving.