Thailand Film Dubbing -Content Hub & Physical Archive Media Delivery Specifications Requirements v1.6

thailand film production post production services film dubbing

We follow what we consider to be the world leader in cutting-edge film production techniques. Netflix. This is because Netflix techniques were designed from the ground up as a digital-technology without any of the legacy that traditional film technology and production houses grew up with. A completely fresh & fully digital approach with a full understanding of current technology provides what we consider the pinnacle of global dubbing processes.

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      

• Spanish (Español)

• Japanese (日本語)

• Korean (한국어)


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

2.1 Production 

  • Original Camera Footage
  • Production Sound
  • On-Set Color Information (CDLs, LUTs, etc.)

2.2 Dailies & Editorial 

  • Editorial Media (Proxies, EDLs, ALEs/Bins, etc.)
  • Dailies Transfer Reports

2.2 Post Production 

  • 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
Picture1.png

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

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


FolderStructureExample.png

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.

3.1.2.4 LUTs

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 Servicing Elements

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

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:

protools_1.png

protools_2.png

3.1.2.7 Music 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 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 Delivery Methods

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.

4.2.2 HDD Specification

  • 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.

4.2.2.1 HDD Labeling

Label drive and accompanying packaging with the following information:

  • Production Name or Alias
  • Unique Drive/Volume Name
  • Asset type of content.

4.2.3 LTO Specification

  • 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:
  1. Load reels of a single deliverable-type successively onto tapes.
    • EXAMPLE: Reel 1 NAM > Reel 2 NAM > Reel 3 NAM
  2. 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.

4.2.3.1 LTO Labeling

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:


LTOLabel.png
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
  • Resolution (3840 x 2160)
  • Color Space (Rec. 709, P3-D65, DragonColor2, ACES)
  • Transfer Function (Gamma 2.4, PQ, RedLogFilm, Linear)
  • Frame Range (if applicable)

4.2.3.1.3 Final Audio Assets

  • 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

4.2.3.1.4 Example

  • 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

 

5 Appendix

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

 

 

 

 



Change Log:

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.