Asset Technical Specifications

Video

Production Masters

• Production Masters:
  • Do not include Color Bars, Leader, Slates, or Tones.
  • Contains 8 discrete Near Field audio channels.
    • 2 discrete channels are acceptable if 5.1 mix is not created.
  • 2.0 mixes must be provided as true stereo Left Only/Right Only (Lo/Ro) audio.
  • Start of File (SOF) and First Frame of Program (FFOP) both start at hour 0.
  • Last Frame of Program (LFOP) and End of File (EOF) will be the last frame of video and/or audio.
  • Safe Action: Follow SMPTE ST 2046-1:2009 - Specifications for Safe Action & Safe Title Areas for Television.
  • On some programs you will be required to provide an additional version. See Edits instructions for more info.
  • ProRes files encoded as full range YCbCr will be rejected during QC because it generates clipped code values.
    • Resolve: Use Auto data levels
    • Transkoder: Use default range
• Types of Production Masters:
  • Texted
  • Non-Subtitled
  • Textless - Created only when 30% or more of the program is texted.
• Program Layout for all files unless specified otherwise:

Documentary Style/Unscripted Content

• For Documentary Style/Unscripted content where on-screen graphics/chyron are present throughout the program, the preference is to provide a Textless Production Master.

UHD HDR Production Masters

UHD SDR Production Masters

HD SDR Production Masters

UHD Dolby Vision Production Masters

• Nearfield 5.1 and 2.0 audio to be sent as separate MXF files.
• Dolby Vision Metadata is embedded in the .mxf file and also provided as a sidecar asset.

Near Field Printmaster 5.1 MXF

Near Field Printmaster 2.0 MXF

Textless Element Reels

• Do not include Color Bars, Leader, or Tones.
• Textless Element Reels do not include any audio.
• Slate at SOF to include:
  • Label: [UHD or HD] [HDR or SDR] Textless Element Reel
  • Show Title:
  • Show Code:
  • Episode Title: [If applicable]
  • Episode #: [If applicable]
  • Run Time: Measure from FFOP to LFOP. Do not include slate and black.
  • Date Created:
  • Audio Config: Not Applicable
• Textless Elements to be provided in sequential order, as they pertain to the program.
• Textless Elements must be frame accurate to Production Master.
  • Example: If the Production Master first Textless Element is at 00:02:36:12, provide textless shot at 00:00:10:12 on the Textless Element Reel.
  • The timecodes will not be the same but the frame numbers will be.
  • Black between textless shots will be between 2-3 seconds due to the frame requirement.
• In/out points to be set on hard cuts, where no dissolves or transitions are present.
• Program Layout:

Documentary Style/Unscripted Content

• For Documentary Style/Unscripted content where on-screen graphics/chyron are present throughout program, the preference is to provide a Textless Production Master. A Textless Element Reel is not required when a Textless Production Master is created.

UHD HDR Textless Element Reel

UHD SDR Textless Element Reel

HD SDR Textless Element Reel

Dolby Vision Textless Element Reel

• Dolby Vision Metadata is embedded in the .mxf file and also provided as a sidecar asset.

Studio Cut

Studio Cuts

• Types of Studio Cuts:
  • Texted
  • With ECR Subtitles (English Subtitled): Includes English Creative Review subtitles for non-English content. Primary language Forced Narrative subtitles must be burned-in to video (if applicable).
• Audio must be interleaved.

Audience Testing

• Consult with your Post Executive to determine if branding should be removed/hidden and if watermarks are required.
• Program Layout:

Theatrical Screeners

• Each Reel must start with unique Reel TC (R1 = 01:00:00:00, R2 = 02:00:00:00, etc.)
• Program Layout (24fps Example):

Theatrical Locked Cut

Theatrical Scripting Screener

Scripting Vendor also requires:

• Production/Line Scripts
• Cast List

Locked Cut

Locked Cut

• Types of Locked Cuts:
  • Texted
  • With ECR Subtitles (English Subtitled): Includes English Creative Review subtitles for non-English content. Primary language Forced Narrative subtitles must be burned-in to video (if applicable).
• Audio must be interleaved.
• Locked Cut Split Track Audio must be delivered with Locked Cut screener.

Screeners

• Types of Visible Timecode and Clean Screeners:
  • Texted
  • With English Creative Review (ECR) Subtitles, only for non-English content. Forced Narrative subtitles must also be burned-in (if applicable).
• Audio must be interleaved.

Visible Timecode Screeners

Clean Screeners

Dailies Proxy

Split Track Masters

• Slate at SOF to include:
  • Label: [UHD or HD] SDR Split Track Master
  • Show Code:
  • Episode Title: [If applicable]
  • Episode #: [If applicable]
  • Run Time: Measure from FFOP to LFOP. Do not include slate and black.
  • Date Created:
  • Audio Config:
• Loudness Target only applies to Ch.1-8 audio.
• Forced Narrative subtitles must be burned into picture (when applicable).
• Textless at tail must include ELMT reel sequences and coverage for Forced Narrative (FN) events in program, where applicable.
• For content where 30% or more of the program is texted, Production Company should provide a Texted Split Track Master in addition to a Fully Textless Split Track Master.
• Program Layout:

• When delivering Texted Split Track Master and Fully Textless Split Track Master the Textless Element Reel does not need to be included.

Documentary Style/Unscripted

• For Documentary Style/Unscripted content where on-screen graphics/chyron are present throughout program, the preference is to provide a Textless Split Track Master.
• Documentary Style/Unscripted Split Track Masters require a different audio configuration which allows for up to 16 channels of audio.
• If narration doesn't exist for channels 10, 15, and 16 then the channel must include MOS audio.

UHD Split Track Masters - 14ch

HD Split Track Masters - 14ch

HD Split Track Masters - 8ch

Documentary Style/Unscripted Split Track Masters

UHD Split Track Masters - 16ch

HD Split Track Masters - 16ch

Theatrical

Digital Cinema Package (DCP)

• All video, audio, and subtitles must be in sync.
• DCP's must be encrypted and a DKDM must be created for each DCP.
• Follow Deluxe - Recommended Guidelines for Digital Cinema Source and DCP Content Delivery.
• Follow InterSociety Digital Cinema Forum Naming Convention.
• Logos
  • Logos must match benchmark logos and may not be altered.
• DCP Formats:
  • Interop (IOP)
    • If the native frame rate is not 24 fps then it must be converted to 24 fps.
  • SMPTE
    • 24 fps is the standard requirement. Please contact your Amazon Post/Delivery Exec if the DI frame rate is different than 24 fps. Utilized for Dolby Vision DCP’s and/or titles with Dolby Atmos.
• Consult with your Delivery Exec to determine which DCP format is required and how it should be packaged.
• DCI Container Aspect Ratios:
  • Flat (1.85) containers are for titles with an aspect ratio less than 2.30:1.
  • Scope (2.39) containers are for titles with an aspect ratio greater than or equal to 2.30:1.
• Package Types:
  • Original Version (OV) always contains an entire program/package.
  • Version File (VF) usually contains a partial feature (e.g.: subtitles, alternate languages, hold cards...) and must be loaded together with the OV track files in order to play the program correctly.
• 7.1/Dolby Atmos audio must be delivered as a VF. Dolby Atmos Audio VF package will contain a backup 5.1 or 7.1 audio configuration.
• Composition Playlist (CPL) in and out points are to be set to play a continuous longplay program. Slate, leader, and 2 pops should not play.
• Program Layout (24fps Example):

Series

• Head logo must be tied to the head of the episode in longplay format.
• Tail logo must be tied to the tail of the episode in longplay format.

Amazon Original Movies (AOM)

• Please check with your AMS Post Exec if head logo should be on Reel 0 by itself.
• Please check with your AMS Post Exec if tail logo should be on last Reel by itself
• Interop DCP’s with image based Forced Narrative subtitle .xml’s need to be included in both OV and 7.1 VF packages (if applicable). Subtitles will not link between Interop OV and VF packages.
• Each Reel must start with unique Reel TC (R1 = 01:00:00:00, R2 = 02:00:00:00, etc.)

Digital Cinema Package - 4K Flat

Digital Cinema Package - 4K Scope

Digital Cinema Package - 2K Flat

Digital Cinema Package - 2K Scope

Dolby Cinema Digital Cinema Package

• Must be created in SMPTE DCP format.

Dolby Cinema Digital Cinema Package - 4K Flat

Dolby Cinema Digital Cinema Package - 4K Scope

Theatrical Dolby Atmos Printmaster

Theatrical Forced Narrative Subtitle - XML & Full Subtitle - XML

• Interop DCP subtitles must conform to the Texas Instruments DCinema Subtitle Specification V1.1.
• SMPTE DCP subtitles must conform to the SMPTE ST 428-7:2014 DCDM Subtitle specification.

Distribution Key Delivery Message (DKDM)

• A DKDM with an open 5 year window must be provided with each DCP. The leaf certificate must be targeted to the to the distribution vendor.

Digital Cinema Package (DCP) Reel Screener

• Screeners are reel based and must match DCP. The number of DCP Reel screeners will match the total number of reels in the DCP.

Culver Theater HDR Digital Cinema Package - 4K Full

• Preference is to deliver as a single reel.
• Theatrical Dolby Atmos Printmaster must be delivered as a VF package (if applicable).

Disclaimer Cards

• Disclaimer Cards require 8 channels of MOS audio to facilitate AS Distribution workflows.
• 1/2 Second fade-in
• 1/2 Second fade-out
• White text over black background.
• Please consult with your AS Post Executive to determine length.
• A disclaimer card is required for every type of dynamic range applicable (HDR, SDR, and Dolby Vision).

UHD HDR Disclaimer Card

UHD SDR Disclaimer Card

HD SDR Disclaimer Cards

Dolby Vision Disclaimer Cards

Audio

Audio Asset Specs

• Audio must conform to final picture.
• Each .wav file must be flattened.
• Discrete .wav files required per channel. Interleaved audio is not acceptable.
• 2.0 mixes must be provided as true stereo Left Only/Right Only (Lo/Ro) audio.
• Do not include leader, slate, 2-pop, or post roll.
• All Dialogue, Music, and Effects stems must be delivered as “True D/M/E” files. When played back together a True D/M/E will result in an OV Printmaster experience with matching mix levels. The “True” stems will include all associated subtype audio mixed together in a single stem.
  • Example: The True Effects stem will include all subtype audio such as foley and backgrounds.

Dolby Atmos

• A Dolby standard 7.1.4 configuration is the minimum requirement for mix environment.
• Printmasters can have up to 128 input channels of beds and objects. The first 10 tracks are reserved for bed audio.
• All bed channel configurations are acceptable.

Pro Tools Session

• Pro Tools session SMPTE timecode setting must match video frame rate.
• Provide all applicable stems that correspond to the content. Not all stems may apply.
• If Surround Sound does not include an LFE channel then provide a 5.0 track layout.
• Include all applicable bed and objects in their respective Dolby Atmos sessions.
• AS requires a list of plugins, external hardware, and general treatments used in the mix to create any story specific special dialogue effects.
• Include the Domestic Mix Pro Tools session file (.ptx) in the audio package prior to delivering to QC vendor (audio files are not necessary). The Domestic Mix session will be referenced by dubbing mixers to recreate the OV creative intent as accurately as possible.

Track Layouts

Audio - Locked Cut Split Track Audio

Locked Cut Split Track Audio

• Temp audio may be exported from edit or mix stage.
• Files must be provided as discrete .wav files.

Audio - Near Field

• Mono and 2.0 audio assets do not require LFE Channel Filtering, as they do not include an LFE channel.
• Program Layout:

Nearfield WAV

Near Field Pro Tools Session

Near Field Asset Specs

Near Field Dolby Atmos Printmaster

Near Field Audio Description 2.0

Near Field Audio Description 5.1 and 2.0

Audio - Theatrical

• If 7.1 mix is being made for the title then the applicable mixes and stems should be included in the respective Pro Tools session.
• LFE Channel Filter not required Mono or 2.0 audio.
• Program Layout (24fps Example):

Theatrical WAV

Theatrical Pro Tools Session

Theatrical Asset Specs

Theatrical Dolby Atmos Printmaster

Theatrical Audio Description

Subtitles

• Link to: SDH and CC Style Guide
• Find Language Specific Time Text Guidelines here.

Forced Narrative, Full SDH, Sans Forced Narrative SDH Subtitle, and Full Subtitles - ITT

• Specification also applies to asset spec Full Subtitle - English Creative Review - ITT.

Forced Narrative, Full SDH, Sans Forced Narrative SDH, and Full Subtitle - CAP

• Only required for Japanese language titles.

Metadata

HDR Metadata

• Required per episode.
• Any white on-screen text or graphics should not exceed peak luminance of 1000 nits.
• In/out points for calculation set to include picture only. Do not include logos or credits.

HDR Metadata Report

• Generated by tools like Colorfront Trankoder, MTI Cortex, etc.
• Match image aspect ratio, resolution, and frame rate of program.
  • If the image aspect ratio changes from letterbox to full frame, use the framing value "full frame".
• Include values for:
  • Max Fall
  • Max CLL
  • Max Luminance

HDR-10 Metadata

• Whole numbers can only be used.
• Needs to be calculated from the image sequence as specified by Consumer Technology Association (CTA) 861-H (2020).

Dolby Vision Metadata

Dolby Vision Metadata Example

<DolbyLabsMDF xmlns="http://www.dolby.com/schemas/dvmd/4_0_2"> <Version>4.0.2</Version>

<CanvasAspectRatio>1.77778</CanvasAspectRatio> <ImageAspectRatio>2.4</ImageAspectRatio>

<Rate> <n>24000</n> <d>1001</d> </Rate>

<ColorEncoding> <Primaries> <Red>0.708 0.292</Red> <Green>0.17 0.797</Green> <Blue>0.131 0.046</Blue> </Primaries> <WhitePoint>0.3127 0.329</WhitePoint> <PeakBrightness>10000</PeakBrightness> <MinimumBrightness>0</MinimumBrightness> <Encoding>pq</Encoding> <ColorSpace>rgb</ColorSpace> <SignalRange>computer</SignalRange> </ColorEncoding>

<MasteringDisplay> <ID>20</ID> <Name>1000-nit, P3, D65, ST.2084 (PQ), Full</Name> <Primaries> <Red>0.68 0.32</Red> <Green>0.265 0.69</Green> <Blue>0.15 0.06</Blue> </Primaries> <WhitePoint>0.3127 0.329</WhitePoint> <PeakBrightness>1000</PeakBrightness> <MinimumBrightness>0.0001</MinimumBrightness> <DiagonalSize>42</DiagonalSize> </MasteringDisplay>

<Level254 level="254"> <DMMode>0</DMMode> <DMVersion>2</DMVersion> <CMVersion>4 1</CMVersion> </Level254>

Script Deliverables

• Acceptable file formats are .docx, .fdx, and .pdf.

Production Scripts

Production Script

Script provided by production team prior to completing post production. Not a representation of the final program. Final Draft (.fdx) files are preferred for Production Scripts.

Production Script (Pivot)

This is a translation from the original version (OV) language production script to a pivot language for localization purposes. Script provided by production team prior to completing post production. Not a representation of the final program. Final Draft (.fdx) files are preferred for Production Scripts.

Scripts

As Broadcast Script

Script that matches final program. Timecode will match longplay files.

As Broadcast Script - Theatrical

Script that matches final program. Timecode will match DCP which is in reels.

Audio Description Script

Audio Description Script

Transcript of Audio Description voice over track.

Documentation

AMS Post contact will advise which documents are required for each Production. Not all documents may be required.

All Paper Deliverables should be uploaded to Box.com. For access to the titles Box folders please reach out to your AMS Post Executive.

Archival

All original assets used in the title must be delivered to AMS at wrap of Post Production with corresponding checksum report (.MD5 preferred). All archival files must be stored uncompressed in their original format and shall not be packaged as compressed archives (e.g., .zip, .rar, .tar).

Original Capture Files (OCF)

• Consult with your Post Executive/Delivery Manager if you want to deliver a file format not noted below.

Image Sequence

Non-Graded Archival Master (NAM)

• Image sequence of the non-color graded final program.
  • Uncompressed image sequences required.
  • Match bit depth of best original camera source.
  • Match the Production Master from Start of File (SOF) to End of File (EOF).
  • Includes all final visual effects.
  • Must be Textless. Doesn’t include Forced Narrative subtitles, titles, or graphic overlays.
  • A framing chart must be provided with each NAM file.
  • Can be delivered in reels or longplay.
  • Un-matted and in Digital Intermediate (DI) working resolution.
    • If delivering in reels, image sequences must be delivered in individual folders for each reel.
  • Require delivery of 16-bit .exr files when working in Academy Color Encoding System (ACES).
    • Export files following ST 2065-1:2021 - SMPTE Standard - Academy Color Encoding Specification (ACES)
    • AP0 color primaries and white point.
    • Transfer Function is Linear.

Digital Source Masters

• Uncompressed image sequences required.
• Match the Production Master from Start of File (SOF) to End of File (EOF).
• Doesn’t include Forced Narrative subtitles.
• Includes final color correction, visual effects, titles, and graphics overlays.

Movies

• Can be delivered in reels or longplay.
  • If delivering in reels, image sequences must be delivered in individual folders for each reel.

UHD HDR Digital Source Master

UHD SDR Digital Source Master

• If a title is delivering only in Rec.709 deliver as 10-bit .dpx files.

HD SDR Digital Source Master

• If a title is delivering only in Rec.709 deliver as 10-bit .dpx files.

4K Flat DCI-P3 Digital Source Master

4K Scope DCI-P3 Digital Source Master

2K Flat DCI-P3 Digital Source Master

2K Scope DCI-P3 Digital Source Master

Digital Source Master Textless Element Reels

• Match Digital Source Master specs.
• Textless Elements are to be provided in sequential order, as they pertain to the program.
• In/out points to be set on hard cuts, where no dissolves or transitions are present.
• See Textless Element Reels for more info.
• Textless Elements must be frame accurate to Production Master.
  • Example: If the Production Master first Textless Element is at 00:02:36:12, provide textless shot at 00:00:10:12 on the Textless Element Reel.
  • The timecodes will not be the same but the frame numbers will be.
  • Black between textless shots will be between 2-3 seconds due to the frame requirement.

Digital Cinema Distribution Masters (DCDM)

4K Flat Digital Cinema Distribution Master

4K Scope Digital Cinema Distribution Master

2K Flat Digital Cinema Distribution Master

2K Scope Digital Cinema Distribution Master

Dolby Vision Digital Cinema Distribution Masters (DCDM)

4K Flat Dolby Vision Digital Cinema Distribution Master

4K Scope Dolby Vision Digital Cinema Distribution Master

Digital Cinema Distribution Masters Textless Element Reels

• Match Digital Cinema Distribution Masters specs.
• Textless Elements are to be provided in sequential order, as they pertain to the program.
• In/out points to be set on hard cuts, where no dissolves or transitions are present.
• See Textless Element Reels for more info.
• Textless Elements must be frame accurate to Production Master.
  • Example: If the Production Master first Textless Element is at 00:02:36:12, provide a textless shot at 00:00:10:12 on the Textless Element Reel.
  • The timecodes will not be the same, but the frame numbers will be.
  • Black between textless shots will be between 2-3 seconds due to the frame requirement.

Final Graphics Package