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Netflix Dolby Atmos Home Mix Deliverable Requirements v2.0


The Dolby Atmos Home Mix must meet the following requirements:

  • At a minimum, must be mixed in a 7.1.4 room
  • Dolby Certification is not required for Home Atmos mix rooms
  • This is a nearfield mix. The most common monitoring levels for nearfield are 79db or 82db.
  • Must conform to Netflix loudness spec (-27db LKFS +/- 2 LU 1770-1 dialog-gated).
  • Peaks should generally not exceed -2dBTP. To achieve this, we recommend setting True Peak limiters on all beds and objects at -2.3 or lower. Loudness and peaks may be measured via a 5.1 rerender.
  • For native Atmos mixes, the 5.1 and 2.0 rerenders must conform to Netflix loudness and Peak specification.
  • All beds and objects are encoded and will always be audible. A printmaster may utilize a composite of all bed material OR multiple beds, but not both.
  • For all series/doc/unscripted/comedy content, beds and objects must be separated by Dialog, Music and Effects. For film content, DME separation should be maintained whenever possible.
  • If a 85 db reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for nearfield.
  • Atmos files shall match final IMF picture length exactly as long-play and not separate reels. Leader and sync pop shall be removed.
  • FFOA must be left at default - leave “Add FFOA” box unchecked. For pre-3.0 renderer software, leave red dashes in FFOA value.

For Distribution

  • Final Home Theater Print Master
    • Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)
    • Tracks 11-128 may be used for Objects or beds
    • 48 kHz, 24 bit
    • Dolby Atmos BWAV ADM File
  • Mix Minus Narration (when applicable)
    • Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)
    • Tracks 11-128 may be used for Objects or beds
    • 48 kHz, 24 bit
    • Dolby Atmos BWAV ADM File

For Localization

  • Music & Effects mix
    • Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)
    • Tracks 11-128 may be used for Objects or beds
    • M&E Options stems as separate WAV file(s)
      • Channel mapping must match the bed(s) of the M&E mix
    • 48 kHz, 24 bit
    • Dolby Atmos BWAV ADM or Pro Tools Recorder session

For Archive

  • All deliverables should be conformed and synced to the final picture as long-play
  • Final Home Theater Printmaster DAMF (Dolby Atmos Master File)
    • Components of DAMF are:
      • .atmos file
      • .audio file
      • .metadata file
    • Tracks should be grouped / associated to Dialogue, Music and Effects stems
      Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)
  • Mix Minus Narration DAMF (Dolby Atmos Master File) (when applicable)
    • Components of DAMF are:
      • .atmos file
      • .audio file
      • .metadata file
    • Tracks should be grouped / associated to Dialogue, Music and Effects stems
    • Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)
  • Pro Tools Atmos full mix session (if requested)
  • Theatrical Dolby Atmos MXF used for DCP


Change Log:

2019-09-03

  • Updated "Atmos must adhere to -2.0 dBTP" to "Atmos should generally adhere to -2.0 dBTP".

2019-04-04

  • Removed Atmos Stem requirement
  • Added requirement for series content to maintain DME separation
  • Added requirement that FFOA box remain unchecked & additional context
  • Added Pro Tools option for M&E delivery
  • Removed M&E DAMF Requirement

2018-07-27

  • Clarified that Tracks 11-128 may be used for beds or objects.
  • Recommended measurement via 5.1 rerender rather than 7.1.
  • Removed channel layouts as assignments are determined by renderer.
  • Changed loudness spec to 1770-1 dialog gated -27 LKFS.
  • Advised use of True Peak limiters set to -2.3.
  • Allowance for LCR and 5.0 beds added.
  • Removed requirement to edit metadata to 00:00 start.
  • Removed Pro Tools Atmos recorder file requirement.

2018-02-20

  • Minor typographical corrections 

2018-01-02

  • Specified Atmos as a Nearfield deliverable that must meet average loudness and peak audio requirements.
  • Added language that two full sets of deliverables are required for Theatrical Atmos mixes
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