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1.0  What’s Different About Netflix Dailies?

Traditional labs expect chaos and fix it overnight. You can hand over partial rolls, send LUTs later, provide additional verbal direction and rely on operators to patch things up.

Netflix Dailies however is a system

  • The system starts processing as soon as camera files upload.
  • It does not wait for you to clean things up later.
  • It expects clean, complete, standardized inputs:
    • Camera rolls with ASC‑MHL
    • Matching sound rolls with ASC‑MHL
    • AMFs (if you want per‑shot looks)
    • FDLs (if you want custom framing)
    • Reference stills (if you want color validation)
    • Script Notes Top Sheets (if production wants circle takes marked)

If these are there and correctly organized, Dailies will be processed without any additional communication, intervention or concern. 

The DIT is key to making the automation shine: by delivering clean, complete inputs, you enable the system to run smoothly without needing manual patch‑ups later.

 

 

2.0  Core Responsibilities for DIT / Data Manager / Upload Manager

2.1 ASC‑MHL for Camera & Sound Rolls

All camera and sound rolls must have ASC‑MHL checksums.

  • Generate ASC‑MHL at the time of copy.
  • Ensure the MHL files are present alongside each roll.
  • Do not change directory structures after MHL creation.

The system uses MHLs as part of its integrity and roll identification. Therefore missing checksums could result in camera rolls not being processed by the Dailies system.

2.2 Folder Structure & Naming Convention

Every upload via Footage Ingest may contain four fields - which make up our “Transfer Date” for Dailies:

  • Calendar Date
  • Day
  • Unit
  • Block

Netflix Dailies groups dailies by the exact combination of these four values. This is what we refer to as a ‘Transfer Date’; a grouping of media that will all be processed together, as one batch.

Behavior:

  • Two uploads with the same:
    • Date
    • Day
    • Unit
    • Block
  • → will be merged into one dailies batch (“Transfer Date”)

     
  • Two uploads with different Date, Day, Unit or Block fields
    → will be treated as separate Dailies Transfer Dates.

The only mandatory field in the footage in the Netflix Footage Ingest application is the Date.  If as an example you:

  • Begin an upload:
  • Date: May 1, 2026
  • Day: blank
  • Unit: blank
  • Block: blank
  • You then upload a second upload using the following fields:
    • Date: May 1, 2026
    • Day: blank
    • Unit: blank
    • Block: blank

Because any blank fields will be considered a match, these two uploads would be merged into one Dailies batch (Transfer Date)



 

Rules

  • All files required for dailies processing should be uploaded together within self contained Footage Ingest submissions. 
  • Splitting uploads into batches is fine, as long as you: 
    Keep related material together.
    For each OCF roll:
    • Put in the same upload:
      • The matching sound rolls
      • The AMFs for those clips
      • FDLs for that format/shot
      • Reference stills
      • Script Notes Top Sheets (if applicable)

 

2.4 Color: AMFs and CLFs

The Netflix Dailies system can be configured in two ways for color management:

  • Apply a single look across all media
    (for shows using a single show LUT on set)
  • Apply per shot color
    (for shows color grading each shot on set)

Apply a single look across all media

The Netflix Dailies system utilizes an ACES framework for applying color.  If your show is looking to just use one standard look, this look should be input as an AMF into Content Hub. To do this:

  • Navigate to Content Hub
  • Open the Settings page, and within the General tab you will see a section for Color Pipeline
  • Enable ‘Upload AMF’
  • Upload your sample AMF and CLF 

The Netflix Dailies system will then make use of this AMF to configure the color pipeline for the show.

  

Applying per shot color

Netflix Dailies uses an ACES pipeline and for any titles that require per shot color applied, the system will expect an AMF to be uploaded for each shot. 

  • AMFs are the only way to attach per‑shot looks to shots in this dailies system.
  • AMF must:
    • Contain the shot’s identifying information (e.g., ClipID matching the OCF filename).
    • Embed CDLs (if CDL's were used)
    • Reference CLFs (LUTs) where needed.

CLFs:

  • CLFs only need to be uploaded once.
  • Once in the system, they can be referenced by AMFs for all future days.

What you must do:

  1. Export one AMF per clip (as designed by your on‑set grading workflow).
  2. Ensure the AMF’s ClipID field matches the OCF naming/metadata.
  3. Upload AMFs together with the matching OCF in the same batch.

Projects can be configured to either start processing immediately when OCF is received, or to hold all processing until color (AMFs) are delivered.

If your show’s normal workflow is that the DP approves color the following morning, Netflix can enable a “Hold processing until color is received” setting at the project level. In that mode:

  • When OCF is uploaded, no automated dailies processing starts yet.
  • When the looks/AMFs are delivered (for example, the next morning), the system then begins processing that day’s material.

This is a project‑wide, always‑on/off setting—it is not something that can be switched on and off day‑by‑day depending on circumstances.

If you do not provide AMFs 
(or if AMFs are incorrect / missing for some shots, or if ‘hold processing if color is missing’ has been enabled):

The system will fall back to a show‑level choice that editorial / production makes during pre-production. There are three possible behaviors, configured per project:

  1. Option 1 – Deliver everything, even if color might be wrong or is unknown.
    • All shots are delivered in dailies, including clips:
      • With no AMF (default ACES 709 applied), or
      • Where the applied color does not match the on‑set intent.
    • Editorial gets all media quickly, but some shots will be visibly wrong until looks are fixed and material is reprocessed.
    • As soon as the issue is recognized by the system an email will be sent to you letting you know this issue occurred, along with a link to re deliver the files.  
      • 6 hours after the OCF has been uploaded, and the files have not been re-delivered, a second email will be sent letting you know that we'll be moving ahead with delivering the dailies.  (with the known issues). Once the correct files are received a reprint will be issued to editorial and the review platform.
  2. Option 2 – Hold all dailies until color is fixed
    • If required color files are missing or incorrect:
      • The system holds the entire dailies delivery.
      • An email is sent to the DIT (and Post potentially CC'd - as configured) requesting updated look files.
      • Dailies are not delivered until valid AMFs are received and processing completes.
    • This protects against wrong color going out, but delays dailies if looks are late.
  3. Option 3 – Deliver only what’s known to be correct
    • Shots that pass color checks (AMF present and, where applicable, matching stills) are delivered.
    • Shots with missing or suspect color are held back:
      • The system waits for updated AMFs.
      • Once updated look files are received, those shots are automatically reprocessed and then delivered to editorial.
    • Editorial sees partial but correct coverage immediately, with problem shots arriving later as they’re fixed. They will also be notified that this has happened.

Regardless of which option your show chooses, consistent delivery of correct AMFs from set is the only way to avoid delays, partial coverage, or wrong‑looking dailies. The DIT is key to making the automation shine: by delivering clean, complete inputs, you enable the system to run smoothly without needing manual patch‑ups later.

 

How to Deliver Missing or Corrected Look Files

When the system detects missing, invalid, or mismatched AMFs, it will:

  1. Send you an email notification
    • The email will identify the affected Transfer Date (Date/Day/Unit/Block) and/or rolls.
    • It will include a secure upload link specifically for supplying the missing or corrected look files.
  2. You upload the AMFs (and any referenced stills/CLFs) via that link
    • Gather the corrected look files for the affected shots.
    • Use the upload link in the email to deliver these files; they will be automatically associated with the correct transfer date.
  3. The system automatically reprocesses the affected media
    • Once the upload is complete and the files are detected:
      • The Dailies system re-runs color processing for the impacted shots.
      • Any shots that were held (Option 2 or 3) will move forward.
      • Any already-delivered shots that need updated color will be re-rendered and made available per the show’s configuration.

You do not need to open a support ticket or manually trigger reprocessing—you can simply respond promptly to the email, upload the correct AMFs/Stills/CLFs via the provided link, and ensure those files are accurate and complete.

 

 

 

2.5 Framing: ASC‑FDL

If the show expects custom framing in dailies (e.g., extraction from larger sensor, anamorphic vs spherical changes, non‑standard aspect), FDL’s must be provided and assigned in MPS as either

  1. Per‑camera‑format FDL:
    • If framing is constant, one FDL per camera format should be created
      (Camera formats are made up from the following attributes: Camera, Codec, Resolution, Lens Squeeze Factor & an additional optional field of Camera Letter)
    • These FDLs should be uploaded into the camera format page within Content Hub.  This camera format page can be found in two different places within Content Hub:
      • The Settings page
        Or within the Footage Management page, Camera Formats tab.

         
  2. Per‑shot FDL:
    • If framing changes shot‑to‑shot (e.g., switching lenses or different framing decisions within the same Camera Format ), an FDL per clip must be provided with the `clipID` field matching the Tape Name.
    • These FDL’s should be uploaded along side the OCF during upload.  
      • Similar to AMF files, these FDL’s can be placed anywhere outside of the camera roll directory. As an example, you could create a folder titled 'Framing_Files' and place all FDLs within this directory.

         

If you do not provide FDLs:

  • The system assumes a fit all, scaled into the delivery container, while maintaining the source lens squeeze ratio (e.g., full sensor → Fit All → HD 16:9).
  • Any creative extraction/framing you expected will not be represented in dailies.
  • Downstream renders through MPS VFX Pulls will be limited to export as Full Source Resolution or Scaled to UHD.

 

 

2.6 Reference Stills for Color / Framing Validation

The Netflix Dailies system can use on‑set still references to validate both color and framing by comparing what was rendered in dailies against the stills you provide.

At the project level, Netflix can configure Dailies to:

  • Validate color only, or
  • Validate both color and framing against the stills.

 

Requirements for Reference Stills

  • 1 still per shot.
  • File format: JPEG , PNG, or TIFF.
  • Resolution: 1920×1080 
  • Color:
    • All color transforms baked in (this is the “final on‑set look”).
  • Framing:
    • Fit the intended composition inside a 16×9 container.
    • No additional cropping/scaling beyond the creative intent you want in dailies.
    • If FDLs are provided, the still’s framing should match the FDL intent for that shot.
  • Filename: must match the OCF filename exactly:
    • Correct: A001C001.jpg
    • Not: A001C001.1001.jpg
  • Timing: The still should be taken from the first frame of the shot.
  • Clean Stills:
    • No framelines, watermarks, logos, burn‑in text, record indicators, etc.
    • Overlays break color matching and complicate QC algorithms.
  • Location:
    • Stills need to be placed in a separate folder outside of the Camera Media folder.
    • Do not create checksums for this media, otherwise the Netflix Dailies system will interpret them as additional Camera Media

 

If You Don’t Provide Stills (or They Don’t Match)

Stills are treated as part of the look/framing input package for a shot when validation is enabled on either color and or framing. That means they're handled under the same three project‑level behaviors the show chooses for missing or incorrect color:

  1. Option 1 – Deliver all media, even if there are known issues
    If a still is missing or does not match the rendered dailies (color and/or framing):
    • The system still delivers those clips.
    • Editorial gets full coverage quickly, but some shots may have unverified or visibly wrong color/framing until the stills/looks are corrected and reprocessing is done.
    • As soon as the issue is recognized by the system an email will be sent to you letting you know this issue occurred, along with a link to re deliver the files.  
      • 6 hours after the OCF has been uploaded, and the files have not been re-delivered, a second email will be sent letting you know that we'll be moving ahead with delivering the dailies.  (with the known issues). Once the correct files are received a reprint will be issued to editorial and the review platform.
  2. Option 2 – Hold all dailies until issues are resolved
    If a still is missing or mismatched for any shot in the batch, and the show is configured to hold for look validation:
    • The entire dailies batch can be held.
    • The system notifies you (DIT) by email, identifying the affected shots.
    • Dailies are not released until the missing/corrected stills (and/or AMFs) are uploaded and the batch is reprocessed.
  3. Option 3 – Deliver only what’s known to be correct
    With this configuration:
    • Shots where AMFs/FDLs and stills all align (within the project’s validation rules) are delivered normally.
    • Shots with missing or mismatched stills are held back.
    • Once you upload the correct stills (and/or looks), the system automatically reprocesses and then releases those held shots to editorial.

In all three cases, stills are part of what defines a “correct” shot when validation is enabled:

  • If the project is configured to only validate color, the system compares dailies color against the still.
  • If the project is configured to validate both color and framing, the system checks both the grade and the framing against the still.

Key takeaway:
If your show is relying on stills for validation, missing or mismatched stills will be treated just like missing or incorrect look files—they can cause shots (or entire batches) to be flagged, delayed, or held until you upload the correct references.

 

 

3. Sound Files

Sound files are critical inputs to the Netflix Dailies system. When sound rolls are missing, incomplete, or mis‑organized for a batch, the project will follow one of the same three behaviors configured at show setup:

  1. Option 1 – Deliver all media, even if there are known sound issues
  2. Option 2 – Hold all dailies until sound issues are resolved
  3. Option 3 – Deliver only what’s known to be correct

 

How You (DIT / Data manager) Provide Missing Sound

Although the Production Sound Mixer is responsible for recording and labeling rolls, in practice the DIT/Data team is often the one physically moving files into the Netflix pipeline. When sound is missing or mis‑uploaded:

  • The system will:
    • Email the DIT (and other configured contacts) describing the issue as soon as the issue is recognized.
  • The DIT will:
    • Upload those missing or corrected sound files/rolls via the link provided in the email, or via the Netflix Footage Ingest application using the same Shoot Date / Day / Unit / Block as the original upload.
  • Once the system detects the new sound files:
    • It will automatically re‑run sound sync for the impacted shots.
  • If within 6 hours of the upload, new sound files have not been received, the Dailies system will move ahead based on the shows configuration (Options 1–3), and once the new sound files are received, the media will be re-printed and delivered to editorial/the review platform.

We will also communicate these expectations directly to the Sound Mixer, but it’s important for the DIT to understand:

When sound isn’t delivered with camera, or is delivered to the wrong Transfer Date, it can delay dailies, cause partial deliveries, or send clips to editorial with missing or incorrect audio. Your handling of sound rolls in Footage Ingest is just as critical as your handling of OCF, AMFs, FDLs, and Reference Stills.

 

 

4. Script Notes (Top Sheets)

Script Notes Top Sheets are not strictly the DIT’s responsibility, but how and when they’re delivered has a direct impact on dailies, so it’s important you understand how the system treats them.

 

4.1 What the System Actually Needs

Script Supervisors are often still finishing lined pages at wrap, which can make it feel unrealistic to “have notes ready” at the time of production wrap when you are finalizing your hard drive for upload.  

Netflix Dailies does not need the full lined script package.

The system only needs the Top Sheet:

  • A summary of all shots recorded for that day/unit.
  • Which takes are selects / circle takes.

That’s it.

Knowing this distinction can make a big difference in whether Script Supervisors feel they can realistically deliver something directly at wrap, to be uploaded along side the OCF:

  • Full lined script → often not ready at wrap.
  • Top Sheet summary → potentially more achievable by, or shortly after, wrap.

Whenever possible, it is ideal if the Top Sheet is included with the OCF in the Footage Ingest upload. That gives the system everything it needs in one pass and allows selects to be marked automatically as part of the initial dailies processing.

Where to place the script notes in your upload drive:
There is no specific directory you need to place the script notes in, as long as they:

  • Are outside of the camera media directory 
  • The files are in the format of a PDF
  • And the filename has the word ‘script’ within it

If each of the criteria above are followed, the Netflix Dailies system will automatically regonize the script notes and be able ot utilize them within the Dailies process.. 

 

4.2 If the DIT Can’t Get the Top Sheet on the Drive

If you’re unable to get a copy of the Top Sheet into the Footage Ingest submission (for example, Script Supervisor is still working, or it’s being generated remotely):

  • That’s okay—the system will not block dailies because you didn’t have the notes.
  • Netflix Dailies will:
    • Detect that Script Notes are missing
    • And automatically email the Script Supervisor directly with instructions and a link to upload the Top Sheet into the system.

In other words:

  • You are not required to chase down the Script Supervisor every time before you can upload OCF.
  • We will communicate with them directly about missing notes and how to deliver them.

4.3 Why It Still Matters to You

Even though Script Notes are not your deliverable, your awareness can make the whole process smoother:

  • If you can practically include the Top Sheet PDF in the same upload as the OCF, that is the best‑case scenario:
    • Dailies processing can use Script Notes immediately.
    • Selects are marked automatically in the first pass.
  • If that’s not possible:
    • Upload OCF as usual; don’t hold the media waiting on full lined notes.
    • Encourage the Script Supervisor (when you’re in communication) to provide just the Top Sheet summary, not the entire lined script, as soon as they can.

Key point for the DIT:
You don’t own Script Notes, but understanding that Netflix Dailies only needs the Top Sheet summary (not the full lined pages) can help you and the Script Supervisor coordinate more effectively. Receiving those notes with the OCF is ideal for automation, but if that’s not realistic on a given day, the system will reach out to the Script Supervisor directly and continue from there.

 

 

 

5. Daily Checklist for DIT / Data Manager

Before you validate and prep your drive to be uploaded, verify:

  • Correct Shoot Date / Day / Unit / Block set
  • Camera and sound rolls organized  per unit
  • For every camera roll in a batch, the corresponding sound, AMFs, FDLs, and stills are either:
    • included in the same upload, or
    • have already been uploaded earlier with the exact same Date / Day / Unit / Block
  • ASC‑MHL present and valid for all rolls
  • AMFs exist for all graded shots and are in the upload
  • FDLs present for all formats/shots needing custom framing (if they haven't already been delivered on a previous day)
  • Reference stills present, correctly named, no overlays
  • Script Notes Top Sheet(s) included (if available)
  • No stray sound files for other units/days in this upload directory

 

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