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Content Hub - Delivery Methods

 


 

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.

 


 

Prepare Assets for API Upload

TO BE USED FOR CAMERA FOOTAGE AND PRODUCTION ASSETS

Deliver via LTO and HDD to a partner with access to a Content Hub API-integrated system. Coordinate shipping of assets with your Netflix Post Production representative. Must follow naming and folder structure outlined in Content Hub - Preparing Original Capture Media

 


 

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 Prodicle, please contact your Netflix Post Production or Distribution representative.

 


 

HDD Specification

  • 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.

HDD Labeling

Label drive and accompanying packaging with the following information:

  • Production Name or Alias
  • Unique Drive/Volume Name
  • Asset type of content

 


 

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 placed on the next successive LTO tape.

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:

 

lto_barcode.png

Note: "LTO" should be replaced with three-letter show code, chosen by production

 

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 #

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 (eg. 3840x2160)
  • Color Space (eg. Rec. 709, P3-D65, DragonColor2, ACES)
  • Transfer Function (eg. Gamma 2.4, PQ, RedLogFilm, Linear)
  • Frame Range (if applicable)

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
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