Post Production

Prior to the start of principal photography or animation, please schedule a 60-minute kick off meeting with the assigned Post Executive. The Post Executive will introduce Amazon Studios/Freevee personnel, discuss general plans, lay out the required deliverables due prior to the start of production, and address questions regarding the information contained in this document. Please thoroughly read the Global Manual and have questions prepared to discuss.

During the Post Kick Off meeting, please provide the Post Executive with contact information for the Prod Co’s Post team so that approved credentials may be created.

Each Content Type also has its own individual standard meetings during the run of Post Production. Please reach out to the Post Executive to discuss the meetings they have planned for the project.

Prior to the start of production, a 4-digit show code will have been assigned to the project. If a show code was not already provided, please request the code during the kick off meeting. All material submitted to Amazon and Freevee must include the four-letter assigned show code and season. All emails to Amazon and Freevee must include the 4-digit show code in the subject line. Amazon uses this unique code to track all files and communications. Example Subject Line: XXXX - Title/Season# - Email Subject

A Post Production Contact Sheet (contact template) with all editorial crew members, vendors, and key stakeholders must be uploaded ahead of principal photography to the AS/FV approved platform (see Delivery Checklists) and distributed via email to the AS/FV Distribution List.

The Post Vendor Sheet lists all anticipated and active vendors the production is planning to use during the course of Post Production. This document also captures all of the camera and delivery specifications that are unique to the production. If any specification changes during the course of production please alert the Post Executive in writing and update the Post Vendor Sheet.

If new vendors are added (i.e., additional VFX houses, ADR stages, etc.), this form must be updated and submitted as a revision for renewed approval by the AS/FV post executive.

A final version, reconciled with all vendors and personnel (past and present), is due with wrap paperwork.

• AS Post Vendor Sheet Template
• FV Post Vendor Sheet Template

AS/FV strives for productions to work with post vendors best suited for each show. We advise all titles to get multiple bids from 2 or more vendors to assure competitive rates. All creative vendors must be approved in writing by the Post Executive prior to engaging in work. Consult with the Post Executive regarding creative post vendors and obtain express approval from the Post Executive prior to engaging vendors.

All Quality Control reviews must be conducted by an Amazon and Freevee approved vendor. 

For an approved QC and Preferred Accessibility Vendor List click here.

To use other service providers, Prod Co must consult and receive approval from the AS/FV Post Executive in advance.

Procurement requirements for unlisted QC and Accessibility Vendors: Prod Co must get three (3) bids for vendors. Once all bids are in, production company must send them along with a business justification to the Post Executive.

AS requires a Post Milestone Calendar ("PMC") be created for all titles at the start of production and all dates should match the Post Production Schedule ("PPS"). The PMC is a list of key milestones and turnovers to AS. Different departments use the PMC to track deliverables and make key scheduling decisions that affect downstream teams including Legal, Marketing, VFX, Delivery, and Localization. Not meeting these dates can have major implication on these teams or launch.

AS uses Airtable to collect and distribute these dates to internal stakeholders. We use Airtable to hold real-time post milestone dates, and it is our source of truth. Once the Post Milestone Calendar is approved by the Post Executive, any changes to the turnover dates or final delivery dates must be approved in writing by the Post Executive.

The PMC is a living Airtable document and must be kept up to date as the schedule changes. The PMC must also reflect the actual dates as each milestone is completed.

If additional AS Cuts are required and agreed upon by the producers and creative executives, they must also be tracked on the PMC. Each cut turn over to Amazon should be accounted for on the PMC as a unique turnover.

Airtable Tips:

• If unsure how a specific date is defined (ex: Physical Essential Delivery), hover over the “i” info-bubble in the column header to see a short date description.
• Once changes are made to any dates, the Post Supervisor or Post Producer MUST communicate via email to the AS Post Executive the list of changes reflected in Airtable.
• No need to keep track of old dates if you’re using Airtable, as they are saved automatically.

A copy of the PMC must be downloaded from Airtable and distributed to the following recipients. More recipients may be added to the Post Milestone Calendar distribution list but at minimum include:

• AS Post Executive
• AS Post Production team email list
• AS Originals Localization
• Localization Vendor
• QC Vendor (Please reach out to the AS Post Executive to confirm)
• The AS Development Coordinator assigned to the series
• The AS Production Coordinator assigned to the series

A detailed Post Production Schedule (PPS) must be created ahead of the start of production. This schedule should be a daily accounting of all post production activities. The PPS must be emailed to the AS Post Executive as well as shared via the link in the on the Deliverables Outline. The PPS is a living document and should be kept up to date and provided on a regular cadence to be determined by the Post Executive. Once the schedule is approved by the Post Executive, any changes to final delivery dates must be approved in writing by the Post Executive.

In the weeks leading up to production, AS will turn over a distribution list defining which staff members receive access to dailies, each Amazon Cut, Locked and Final Assets. All show post teams are required to keep a distribution list of all crew members who are to receive each element. This distribution list must be approved by AS/FV ahead of any assets being distributed. Current version of the distribution list must be uploaded to the AS/FV-approved platform.

If any staff changes occur over the course of the production, please update the distribution lists, upload a new working version to the AS/FV approved platform, and share with the AS/FV post executive for approval.

Please see here for a Dailies Distribution List Template.

Please see here for an example of a Dailies Procedure Memo.

Dailies must be distributed via Flow Capture Originals Access as Amazon/Freevee’s pre-approved dailies and cuts distribution tool.

To use other service providers, Production must consult the AS/FV Post Executive in advance.

For dailies all LUTs must be applied and all takes be delivered as single clips. Long string-outs are not permitted for online viewing due to varying streaming bandwidths and the inability to jump to specific clips or scenes.

Amazon Content Security specifically prohibits the use of all image, video, and audio uploading to any tool other than Flow Capture. Pre-approval is required for any other tool. Email is never approved.

The AS/FV Post will set up and manage the dailies platform, including granting project manager access for requested and approved editorial crew members

The Director of Photography (DP), Director, Production Designer, Executive Producers, Line Producer, and Editorial staff are the only crew-members guaranteed viewing access, and must access dailies from a dedicated secure production site or office only. Please provide business justification if you reach out to the AS Post Executive for approval for crew access to dailies.

Dailies must never be downloaded to personal devices.

Directors and DPs can be given “take home” access to dailies provided on an individually-coded, password-secure tablet provided by production, managed according to Content Security protocols, loaded by the production’s Digital Image Technician (DIT), and delivered to the director and DP at the conclusion of each shooting day. If a production utilizes a dailies vendor or system that does not provide this option, discuss alternate options with the AS Post Executive.

On Flow Capture, those with Editorial Administration access will see a top-level folder titled “PRIVATE-EDITORIAL.” This folder is a private folder that AS Post does not have visibility into. Feel free to use this folder throughout production and post to share content within the production without AS/FV oversight.

All cameras must be pre-approved by Amazon Studios/Freevee. Please see the Airtable link below to review approved primary and secondary cameras. Note that all cameras and codecs listed within Airtable still need approval by the Post Executive, Production Executive, and Creative Executive. This Airtable should be used as a starting point to the camera discussion with the AS/FV teams.

In rare exceptions, with pre-approval from a Post Executive and studio leadership, individuals may be granted the ability to use a camera not listed.

Approved Cameras List

Use this code to access: ASCAMERAS

Before and throughout production, each project needs to provide informational documentation regarding the planned/actual production and post media pipeline (from capture to delivery/archive).

The AS/FV Post Executive will create and provide access to the approved platform for the post team to share documents outlined below. Please also include a short narrative that helps to describe the workflow and handoffs in the workflow ahead of production start.

Technical setup should be done in consultation with the Media and Delivery teams.

The production should distribute its intended capture workflow (via the Media Transfer & Workflow Document) to all pertinent production departments and facilities via a memorandum or document. This document should cover the capture resolution, recording format, aspect ratio, and color pipeline for all cameras used. Productions must finalize this workflow document before principal photography. Camera tests should be used to test the workflow, and the workflow document should be amended as needed. The production should send the capture workflow document and any subsequent amendments to the AS/FV Post Executive for review and approval as soon as possible.

For security purposes, do not use a personal instance to warehouse or convey Amazon Studios/Freevee files or documents, and do not provide access to any files, documents, folders on the approved platform to anyone who does not have authorization to view them. The AS/FV Post Coordinator will set up all credentials no later than one week before Principal Photography begins. Production should email requested users to the Post Coordinator.

Workflow diagrams must include:

• On Set
  • All Cameras
  • All Lenses
  • Color Space
  • Aspect Ratio
  • Frame Rate
  • Capture Resolution
  • Compression Ratio
  • Codec
  • Dailies Platform
  • Hard Drive specifications
  • Media Management Pipeline
• Post
  • Finishing Pipeline
  • Editorial Format
  • Mezzanine Format(s)
  • Editorial Platform
  • Record Mechanism
  • Hard Drive specs

Capture Resolutions

Dailies Checksums

Amazon Studios/Freevee require checksum reports for dailies. These are delivered for archival of media for long term preservation and to validate the integrity of captured footage. MD5 checksum reports are strongly preferred, with XXhash acceptable if MD5 reports cannot be supplied. Checksum reports should be included in the upload for archive for dailies to the AS/FV approved platform. In any capture workflow, two camera source file copies should be made, one of which should be archived. Please refer to the archive section.

The Checksum software product name and version number should be included in the capture workflow document.

Frame Rate

It is required to shoot natively progressive at 23.976p, 24p, 25p, 29.976p, or 30p. Any deviation from those options requires AS/FV Post Executive approval.

AS/FV requires a continuous frame rate within a program. We do not recommend deviating from the original capture frame rate in any deliverable. Final deliverables cannot have mixed frame rates. If either approach is required, AS/FV requires proper conversion techniques (Alchemist, Episode, Teranex, etc.) and recommends testing in advance of delivery.

Aspect Ratio

All titles must receive creative and post approval in writing before shooting or changing aspect ratios.

Production must provide framing charts during testing at the start of production as part of the dailies turn over.

Not all cameras can capture theatrical aspect ratios in UHD resolution. Some aspect ratios will also need the approval of Prime Video Encoding to confirm that a non-standard aspect ratio can be managed.

To ensure that the images captured maintain the highest dynamic range with the widest color gamut, and to optimize color preservation and workflow, AS/FV highly recommends using camera native color space or ACES.

Amazon Studios advises that all images be captured with enough luminance latitude to avoid crushed blacks and camera noise from under exposure. Reshoots may be requested for scenes under exposed or shot/colored too dark that an audience will have difficulty seeing the action. If you see any problematic sequences in dailies please flag to the Post Executive immediately.

Please refer to the Asset Technical Specifications section for Image Sequences for dailies specification details.

AS Series

Each episode must have a 3-digit production number that is assigned at production and carried through to delivery (e.g., [Showcode] 101, [Showcode] 102).

During production or after production, if the episode air order is non-sequential, an episode is added or removed, please communicate with AS Post Executive. The production number should always stay the same.

Program time includes end credits and tail logos, main titles, and does not include the Prime Video Logo or International Dubbing Cards (both inserted after delivery by AS Mastering).

All Titles must confirm run time(s) and other key details with your Post Production Executive.

Each content type has its own cuts and distribution policies below please find the content type for your specific title. Please contact the Post Executive for additional clarity on cuts required for your content type.

Amazon refers to all cuts turned over the studio as AC or Amazon Cut. All cuts should be number in sequential order starting with 1.

Forced Narrative Subtitles are required to be burned into picture for All Amazon Cut reviews and the Locked Cut.

Forced Narratives (FN) are timed text elements on screen that automatically appear, often describing a foreign language being spoken by a character, or other specific event(s)/dialog where the show/movie creator desires the viewer to understand dialog or events not readily understood in the Audio (Dub) track, whether it is the Original (OV) language, or any Dub, if Dubs are available for the particular content. Examples of Forced Narrative events are when a character is speaking in another language than the Original Language, or the speakers dialogue is not discernable without a Forced Narrative event, which is a common situation for unscripted content.

Continuity Sheet

With each cut delivery, in addition to any automatic notifications from the platform, an email must be sent to the AS Post Executive and Coordinator notifying that a cut has been posted. The email subject line should include the show code, cut version, and date. The email should include a continuity file as an attachment which should also be uploaded to the CONTINUITY folder on Box. A Continuity Template is found here and must be used for all continuities.

Amazon Cuts

Cut Distribution

An AS Post representative will set up each Production with access to the approved dailies and cuts platform (see dailies section).

With each cut delivery, Production must send an email notification to the Post Executive, Post Coordinator, and all Distribution recipients. The email subject line should include show code, code name, episode number (if applicable), cut version, and date.

Amazon Studios require rough cut audience testing on all titles. Audience testing is generally done online. Please reach out to your Creative Executive or Post Executive for specific timing on when a pre-locked cut will be turned over for audience testing. Amazon Studios does not require final color or audio mixing for rough cuts.

Audience Testing screeners are used by the Amazon Studios Consumer Insights team for screening tests, find the specs here.

All content is rated 4 weeks prior to launch.

For questions or concerns about Amazon Ratings, please reach out to your AS Executive.

All titles and episodes are reviewed by the Amazon Compliance team prior to launch. Amazon Compliance reviews all content to ensure that all laws are being followed for each special global compliance territory a title is being launched in. Amazon Compliance may require edits or blurs and, in rare cases, a separate Compliance Master be created for those territories. Please contact the Post Executive with any concerns or additional information.

MPA stands for Motion Picture Association of America.

Amazon Originals Movies or releasing in the US Market

AS Post Production will handle all rating submission paperwork to the MPA. The paperwork will be submitted to the MPA the first week of Post Production for screening date assignment. The AS Post Team and Post Supervisor will discuss a desired screening date to request (around picture lock).

MPA screeners are to be delivered via Flow Capture Originals Access. The AS Post Coordinator will provide instructions for upload.

A Delivery Kick Off meeting is to be scheduled prior to the delivery of any cuts. The purpose of the meeting is to review title tech specs, asset specs, file naming conventions, upload destinations, QC procedures, and related workflows.

Delivery Contacts

Available here if you are logged in.

Delivery Checklist/Schedule

Delivery Checklist/Schedule will be provided by AMS contact and it contains the complete list of deliverables a production is required to turn over. The checklist/schedule will be determined ahead of budget lock to ensure all deliverables are accounted for in the budget. Production is to use this as a guide to confirm that all deliverables have been submitted for delivery. Once all deliverables are received, a title can be considered wrapped. Contact the AMS Post/Delivery Executive if you have any additional questions.

Production Masters

Production Masters are the sources used to create streaming files for Prime Video distribution. AMS requires delivery of Production Masters in both HDR and SDR dynamic ranges. If a title is delivering in HD, then only SDR is required (Animation).

There are three different types of Production Masters:

Texted: Contains main titles, end credits, and any other instance of text. Forced Narrative subtitles may or may not be present for events where characters are speaking a non-OV language.

Non-Subtitled: Do not include burned-in Forced Narrative subtitles. Utilized for platform distribution which will ultimately be seen by customers.

Textless: Required when 30% or more of the program is texted; in these cases, a Texted Production Master must also be delivered.

Textless Elements must be frame accurate to Production Master. Utilized for platform distribution which will ultimately be seen by customers.

An HDR Report must be provided to the QC vendor at the time of HDR delivery to ensure the color and luminance values are to spec. HDR Reports can be generated from a Colorfront system from your finishing vendor.

Textless Element Reels

A Textless Element Reel is required for each movie/episode and must be delivered as a separate file. A textless element needs to be provided for every instance of text over picture, graphics elements with text, and animated text. Examples include but are not limited to:

• Animated Text
• Cards
  • Disclaimers
• Chyrons
• Credits
• End Titles
• Forced Narrative Subtitles
• Graphic Elements with Text
  • Cell phone messages
  • Infographics
• Locations
• Main Titles
• Intertitles
  • A word or group of words that appear on-screen during a movie/show but are not part of a scene.
• Time/Date
• Visual Effects

AMS recommends that textless elements are built from a final online sequence to ensure accuracy. Textless elements are not required for backgrounds that are solid black or white.

A Textless Production Master is required when 30% or more of the program is texted, in these cases a Textless Element Reel is not required.

Dolby Vision

For titles finished in Dolby Vision, Amazon Studios recommends that each production reference the Best Practices Guide: Dolby Vision Color Grading. When starting a project select the best available files to preserve the dynamic range and color information. Dolby Vision deliverables should be created using Full Range Video/Data levels. Please confirm with your Post Executive if Dolby Vision is required.

1. Camera RAW - Best
2. Uncompressed 16-bit, RGB, 444 - Good
3. Uncompressed 12-bit, RGB, 444 - Acceptable

Legal Range deliverables, like a UHD SDR Production Master are to derive from the Full Range Master, taking care to scale the image correctly during the conversion and avoid any clipping or loss of detail in the highlights and shadows. 

Dolby Vision Metadata is a sidecar XML file that is frame-synced to the TIFF image sequence that is used to create Dolby Vision Master.

If a title contains Forced Narrative subtitles, then a UHD Dolby Vision Production Master - Non-Subtitled must be created. Forced Narratives are not to be included in any Dolby Vision Production Masters.

Split Track Masters

Split Track Masters are utilized for marketing purposes. Master will include the program with textless element reel at tail, Printmaster audio, and Dialogue/Music/Effects audio stems. Refer to section Post – Asset Technical Specification - Split Track Master for asset specifications.

Near Field Loudness Levels

Follow the Loudness guidelines noted below for Near Field 5.1/2.0 mixes only. Does not apply to Dolby Atmos audio. Refer to the Post – Asset Technical Specifications - Audio section for asset specifications.

Amazon Studios recommends that the 1770-1 (with Dialogue Gating exclusion algorithm/Dolby Dialogue Intelligence) loudness scales is measured throughout the mixing process.

The Loudness specifications provide parameters to ensure consistent audio levels and optimize customer experience when streaming content.

Amazon Studios reference measurement model is Nugen Audio VisLM2. VisLM2 Amazon Studios preset files are available here.

QC Guidelines for Loudness

QC Facilities should measure loudness with the following scale:

• BS 1770-1 loudness scale with dialogue gating exclusion algorithm/Dolby Dialogue Intelligence 

Include the values for the loudness scale for 5.1 and Stereo within the QC Report.

• If the 1770-1 loudness scale with dialogue gating exclusion algorithm/Dolby Dialogue Intelligence is not within -27 +/- 2 LU range, please flag as a rejection on the QC report.

Dolby Atmos

When creating a Dolby Atmos mix for a title AMS prefers that all channel-based audio to be derived from the Dolby Atmos Printmaster or Recorder Session. A Near Field Dolby Atmos Printmaster ADM WBF file is required for Prime Video Distribution and must be put through a QC and receive a passing QC report. Dolby Atmos audio does not have a loudness standard requirement.

M&E

All M&E tracks should be fully-filled and include all music (Source, Score, etc.), sound effects (SFX), room tone (Ambience/Backgrounds) and Foley as they occur in the domestic mix. Any production effects (PFX) that overlap with dialogue must be replaced/covered with cut SFX or Foley.
Note: Non-fully-filled M&E files will automatically be rejected for fixes.

Please see additional Unscripted, Documentary, and Animated Program requirements below.

Elements to Include in the M&E

• Kissing, grunting, groaning, coughing, sneezing, breathing, reactions, or other noises / vocal intonations not discernible as specific language made by principal or ancillary characters who do not speak / have no adjacent dialogue lines.
  • Note: These elements above should only be placed in the M&E if they are sourced from an SFX library or are “in the clear” and do not have any vocal tone attached to them.
• Generic crowd noises, walla, groups, cheers, or reactions with no discernible language or dialogue of any kind.
• Background/ambience and room tone beds.
• Baby crying if the baby has no discernible dialogue or is from an SFX library.
• Sourced (licensed footage) clips with audio (e.g., movies, TV shows, radio broadcasts, commercials) without discernible language or dialogue (see below if dialogue is present).
• Instrumental music separated from any performance/cast vocals. Live “on set” instrumental performances must be re-recorded clean of vocals.
  • Note: If performances are recorded live, and vocals are married to the accompanying music, the instrumentals need to be re-scored/re-recorded free of vocals and included in the M&E. These instrumentals must match the domestic mix(es) levels, treatments, fades, and tone. The original married performance should also be supplied “as-is” in an Optional stem (See Optional Stems).

Elements Not to Be Included in the M&E

• Discernible dialogue of any kind. This includes foreign language and discernible dialogue in groups or walla. Unless approved by Localization due to creative reasons, discernible dialogue lines should always be removed, replaced, and/or obscured with generic “clean versions” in the M&E. Please place the elements with distinct dialogue in the optional tracks.
• Vocals or non-verbal sounds made by main or ancillary characters adjacent to, or overlapping, dialogue lines (e.g., kissing, grunting, groaning, coughing, sneezing, breathing). These elements will likely be re-recorded by foreign language voice talent (See Optional Stems).
• Dialogue from licensed media (sourced for movies, TV shows, radio broadcasts, commercials, etc.) when possible.
• Dialogue that has been scripted/created for playback as a movie, TV show, radio broadcast, commercial, etc.
• Discernible futzed dialogue (Intercoms, PA announcements, radio “chatter”, TV, phones).
• Reverb sounds or dialogue “treatments”.

Optional Stems

Optional stems should be delivered along with the M&Es and can be provided across multiple sets of stems when the events overlap or occur simultaneously.

AMS requires the delivery of M&E/optional track mapping documentation if available.

Materials should be provided at the same time the event occurs during program, meaning the Optional stem(s) should run the entire duration of the feature.

All program material in the Optionals should play in sample accurate sync with Printmaster and not create any phasing when played with the M&E.

Any program material in the Optionals should include the treatment heard in Printmaster (i.e. futz, reverbs, panning).

Elements to Include in the Optionals (If Applicable to Title):

• All on-screen performances or cast vocals (clean/separated from accompanying music).
• If performances are recorded live, and vocals are married to the accompanying music, the instrumentals must be re-scored/re-recorded free of vocals and supplied in an Optional stem. These instrumentals must match the domestic mix/es level, treatments, fades, and tone. The original married performance should also be supplied as-is in an additional Optional stem.
• If two or more characters are singing at the same time, vocals should be split-out into two optional stems (if recorded separately).
• Non-OV (Foreign) language lines (even if the non-OV language is spoken by a character who speaks the OV language). Overlapping foreign dialogue lines by different characters need to be placed in separate optional tracks, if possible.
• Walla or group recordings with discernible foreign dialogue lines.
  • Note: This should only be done when the foreign dialogue in the walla is “story relevant”. The default approach should be to provide “clean” walla in the M&E whenever possible.
• Kissing, grunting, groaning, breathing, sneezing, coughing, reactions, or vocal intonations from speaking characters that have been omitted from the M&E, provided they do not overlap dialogue.
• Source (licensed footage clips) with audio that includes discernible language should be provided AS-IS in one set of Optional stems.
• An additional Optional stem should also be supplied to replicate the sourced footage, free of any discernible dialogue. Any MX, FX, video ambiance, etc. that was married to dialogue in the source footage (i.e., audience clapping or laughing, doorbells, TV static, commercial jingle music, etc.), should be recreated with suitable sound-alikes.

Final Stems

Stems are to be provided for each audio element (dialogue, music, effects, etc.) in the applicable audio configurations. Refer to section Post – Asset Technical Specifications - Audio for more details. Stems are to be delivered to the Localization vendor as part of the Localization Audio package (Nearfield Printmaster, M&E, and Stems sessions). For archival QC, stems are to be delivered to AMS after Production Master and M&E have both passed QC.

As-Broadcast Scripts (ABS), Closed Captioning (CC), Audio Description (AD), and Quality Control (QC) are the responsibility of the production. ABS are required by the time that production masters are provided to the QC vendor. Quality Control must include in-scope all Original Version Masters, CC and AD files and must not be conducted by the same vendor(s) that creates CC or AD files. Quality Control of the CC files must be a watch down of the entire file for caption accuracy. AD files should be a 5-point check for sync. If timing does not allow for AD and CC quality control by a different vendor (e.g., for live or near-live shows), reach out to the Post Executive for approval to bypass this.

Find Timed Text Guidelines here.

Find Language Specific Time Text Guidelines here.

Forced Narrative Subtitles

Forced Narrative (FN) subtitles translate spoken dialogue and on-screen text that is in a different language from the primary audio content of the program when creative intent requires that the dialogue be understood by the viewer. They are displayed to the customer based on their audio choice, rather than selecting that subtitle language. If a title contains Forced Narrative content, delivery of separate Forced Narrative subtitle assets is required. 

SDH Subtitles

Subtitles for the Deaf and Hard-of-Hearing.

Full SDH Subtitle: Includes Forced Narratives.

Sans Forced Narrative SDH Subtitle: SDH subtitle without Forced Narratives.

Link to: Amazon SDH and CC Style Guide_032024_V1.4.docx 

Audio Description

Audio Description (AD) is the verbal narration of key visual elements in television, movies, and other media to enhance the blind or low-vision consumer’s experience. It is also known as VI (Visually Impaired track), NAD (Narrative Audio Description), and DVS (Descriptive Video Service). AD is inserted in between plot-pertinent dialogue, sound effects and/or music to describe settings, characters and actions that will enable a better understanding of the story. While AD is primarily used by persons who are blind and/or visually impaired, it is also known to benefit a wide range of customers, including auditory learners and neurodiverse audiences. Vendors must be provided with screener, Production Script, and Printmaster audio to create AD.Amazon requires the following AD deliverables to be created:

• Audio Description Script
• Near Field Audio Description 2.0 or 2.0 + 5.1
• Near Field Audio Description Session

Link to: AD_Style_Guide_Amazon_Studios_122023_V1.4.docx

A Digital Cinema Package (DCP) is utilized for Theatrical distribution and exhibition. A DCP is a collection of audio, image, and data files. AMS Post Executive will advise when a DCP is required and provide the format specifications.

Distribution Key Delivery Message (DKDM)

A DKDM is a security passcode that allows DCP's to be decrypted within a mastering system. A DKDM must be created for each DCP.

Key Digital Management (KDM)

A KDM unlocks screening encryption so that movie can be shown in theaters. Targets DCP unlocking during a specific window of time for exhibition purposes. If a KDM is not provided the theater will not be able to be shown.

Digital Cinema Package (DCP) Reel Screener

DCP Reel Screener serves as a reference of the Digital Cinema Package (DCP). Any Forced Narratives or subtitles must be burned into picture. Used by accessibility vendor to create theatrical subtitles and audio description.

A Master QC is a 100% QC of all video, audio, and on screen text of the Master file. It ensures the file is technically accurate, follows AMS specs and highlights any production issues needing review and possible fixes.

Technical QC

A Technical QC validates the file is good and the technical specs are accurate throughout, including all video and audio. It does not note production issues.

Spot Check QC

A Spot QC is the minimum-level QC and does not typically involve the generation of a QC report because the scope of technical validations is so narrow. The spot QC is used on assets derived from sources that have already undergone a higher level of QC evaluation.

The Spot QC is intended to surface any significant issues induced through the media transformation process, including incorrectly mapped audio tracks, media corruptions, assembly errors, audio/video sync, video compression or artifacting issues, etc.

Spot checks can be either a Three Point Check or a Five Point Check.

• Three Point Check - 0-30 minute TRT (Total Run Time)
  • First 2 minutes
  • 1 minute at 50% program
  • Last 2 minutes
• Five Point Check - 31+ minutes TRT
  • First 2 minutes
  • 1 minute at Main Title sequence
  • 1 minute at 50% program
  • 1 minute at 75% program
  • Last 2 minutes

Titles may need to pass a qualitative analysis known as the “Harding Test” or “Harding Analysis” to check the program for instances of photo sensitivity that could cause seizures for viewers.

Kids, Animated Series, and All UK Titles

A Harding Test is required for all kids and animated series, and UK titles. For any other content, please consult your AMS Post Exec to determine if a Harding Test is required.

If the title fails the Harding Test then the Post Exec will attempt remediation and run another test. If the content continues to fail after attempts to fix it have been made, then the content will be sent to the platform with a disclaimer card.

• Production Masters:
  • Do not include Color Bars, Leader, Slates, or Tones.
  • Contain 8 discrete 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 and Safe Title Areas for Television.
  • On some programs you will be required to provide an additional version. See Edits instructions for more info.
• 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

• Production Masters:
  • Do not include Color Bars, Leader, Slates, or Tones.
  • Contain 8 discrete 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 and Safe Title Areas
    for Television.
  • On some programs you will be required to provide an additional version. See Edits instructions for more info.
• 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

• 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:
  • 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.

• 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:
  • 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.

Amazon Cut

• Types of Amazon Cuts:
  • Texted
  • Amazon Cuts may include English Creative Review (ECR) subtitles for non-English content. When delivering with ECR subtitles original language Forced Narrative subtitles must also be burned-in (if applicable).

Audience Testing

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

Locked Cut

• Types of Locked Cuts:
  • Texted
  • Locked Cut may include English Creative Review (ECR) subtitles for non-English content. When delivering with ECR subtitles original language Forced Narrative subtitles must also be burned-in (if applicable).
• Locked Cut Split Track Audio must be delivered with Locked Cut screener.

• 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).

Visible Timecode Screeners

Clean Screeners

Dailies Proxy

• Slate at SOF to include:
  • Label: [UHD or HD] SDR Split Track Master
  • 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:
• Loudness Target only applies to Ch.1-8 audio.
• Forced Narrative subtitles must be burned into picture (when applicable).
• Can be provided as a Textless Split Track Master for titles where 30% or more of the program is texted.
• Program Layout:

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

Documentary Style/Unscripted Split Track Masters

UHD Split Track Masters - 16ch

HD Split Track Masters - 16ch

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)

• Head logo must be on Reel 0 by itself.
• Tail Logo must be on the 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.

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 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

• 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

Locked Cut Split Track Audio

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

• 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