Thailand Film Dubbing -Content Hub & Physical Archive Media Delivery Specifications Requirements v1.6
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
2. Overview of Archival Assets
3.1 Folder Structure & Naming Conventions
3.1.1 Production Digital Media Assets
3.1.2.2 Editorial Media for Archive
3.1.2.3 Picture Archival Assets
3.1.2.5.1 ProRes Servicing Elements
3.1.2.6 Final Audio Deliverables and Archival Assets
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
4.2.3.1.1 Production & Dailies Assets
4.2.3.1.2 Final Picture Assets
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:
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.
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
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.