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

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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.

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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

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:

Table 2:

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.

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.

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.

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.

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:

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.

Asset Type

Mix Masters of Original Score, Original Songs, and Licensed Cues Used in Final Program

Multi-track of Original Score - Stems (frozen/consolidated tracks)

Abbreviation

MASTER

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:

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