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Version 5.0

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Welcome

Below partners will find delivery specifications required by Netflix; however, some of these specifications may not apply to your production. Please refer to your Netflix Delivery Requirements List or your Netflix Representative to verify which assets apply to your delivery.

 


 

Table of Contents


 

1. General Asset Requirements

There are no exceptions to the following requirements, unless previously approved by your Netflix Representative.

  • Source material must be uncensored.
  • Content must be delivered as long-play and cannot be split into multiple deliveries, e.g., if the content is 90 minutes in duration, a single asset with a 90-minute duration must be delivered. Two (2) deliverables with 45-minute durations will not be accepted.

 


 

2. IMF Specifications

2.1 Packaging

All deliveries to Netflix must be compliant to either SMPTE ST 2067-21:2016 or SMPTE ST

2067-21:2020 Interoperable Master Format (IMF) Application #2E. Packages containing immersive sound must additionally comply with SMPTE ST 2067-201:2019 Immersive Audio Bitstream (IAB) Level 0 Plug-in.

IMF packages must be created from the Video Display Master (VDM), or directly out of a capable color grading tool, and must be delivered in the highest quality and resolution, including High Definition (HD) and Ultra High Definition (UHD). Netflix may explicitly request other resolutions.

The final IMF package must contain the following:

  • 1 Asset Map XML file
  • 1 Packing List XML file
  • 1 or more Composition Playlist (CPL) XML file(s), representing a single audio language each, containing
    • For titles mixed in Dolby Atmos®
      • 1 image virtual track
      • 1 IAB virtual track
      • 0 or 1 surround audio virtual track (6 channels)
      • 0 or 1 stereo audio virtual track (2 channels)
    • For titles mixed in 5.1 surround
      • 1 image virtual track
      • 1 surround audio virtual track (6 channels)
      • 0 or 1 stereo audio virtual track (2 channels)
  • All MXF Track Files referenced from the ingested CPL, that have not previously been delivered
  • Volume Index and Output Profile List XML files may be present, but are not required

For titles mixed in Dolby Atmos® and delivered in IAB in IMF, 5.1 and 2.0 (channel-based) audio tracks are optional within the IMF. 5.1 audio is required as a separate Content Hub delivery for dubbing reference only. Deliveries containing only image and IAB tracks, i.e. no channel-based stereo/surround audio track(s), must be compliant to SMPTE ST 2067-21:2020 (since the absence of channel based audio tracks is not supported by the 2016 edition of the standard).

Special consideration must be taken for 29.97 or 59.94 IMF deliverables. The total number of frames contained within a 29.97 or 59.94 IMF CPL Segment must be divisible by 5 to preserve integer value audio samples. If necessary, trim the picture and audio by the required number of frames (1, 2, 3, or 4) before wrapping IMF to ensure total frames per Segment are divisible by 5.

Note: Track files containing timed text essence are not currently supported.

2.2 VIDEO

2.2.1 GENERAL

  • Netflix requires video to be delivered in their native frame rates. Netflix defines this to mean the original capture and editing frame rate. If it was originally a film, Netflix requires the native film frame rate (23.976p, 24p or 25p). This is often different from the frame rate that is used for tape, archival storage, and delivery to broadcasters (typically 29.97i df, or 25i). No 3:2 Pulldown flags allowed.
  • Netflix requires video to be delivered in the original aspect ratio (e.g. Netflix will not accept a 4x3 version when a 16x9 version was originally created).
  • Video must consist of the feature program with one (1) second of black and silence at the head and tail of the program.
  • Video must not contain commercial blacks.
  • Video must not contain color bars, bumpers, segment recaps or previews, advertisements, slates, ratings cards, FBI warning cards, VITC time code, placards, overlay branding or website link callouts before, during and/or after the program. URLs present during end credits are permissible.
  • Video must be non-subtitled. Netflix defines “non-subtitled” as the presence of main titles, end credits, narrative text, location call-outs, and other supportive/creative text, but no burned-in subtitled dialog, regardless of the language in the primary video. This does not apply to textless IMF deliveries (see Section 2.4).
  • Track files containing image essence mastered in Dolby VisionTM must embed dynamic metadata for color volume transform within a single track file. At a minimum, L1 Dolby VisionTM metadata must be present for every frame in the track file. Note: We do not support material mastered only for HDR-10 distribution.

2.2.2 UHD

UHD Image Track

Image Frame Width

3840

Image Frame Height

2160

Color Encoding

RGB / 4:4:4 / Full Range

Frame Rates

23.976 / 24 / 25 / 29.97 / 30 / 50 / 59.94 / 60

Frame Structure

Progressive

Stereoscopy

Monoscopic

JPEG 2000 Profile

Frame rates up to 30 fps use:

  • 4k IMF Single Tile Lossy Profile Mainlevel 6 Sublevel 3 (max 800 Mbit/s)

Frame rates above 30 fps use:

  • 4k IMF Single Tile Lossy Profile Mainlevel 7 Sublevel 4 (max 1600

Mbit/s)

Dynamic Range

Dolby VisionTM HDR

SDR

Colorimetry

P3 D65 / SMPTE ST 2084 (PQ)

ITU-R BT.709 / D65 / ITU-R BT.1886

(Gamma 2.4)

Pixel Bit Depth

12-bit

10-bit

Mastering Display

Color Volume

Metadata

SMPTE ST-2086

n/a

Dynamic Metadata for Color Volume

Transformation

Dolby VisionTM CM 2.9 or CM 4.0 mastering metadata.

n/a

 

2.2.3 HD

HD Image Track

Image Frame Width

1920

Image Frame Height

1080

Color Encoding

RGB / 4:4:4 / Full Range

Frame Rates

23.976 / 24 / 25 / 29.97 / 30 / 50 / 59.94 / 60

Frame Structure

Progressive

Stereoscopy

Monoscopic

JPEG 2000 Profile

Frame rates up to 30 fps use:

  • 2k IMF Single Tile Lossy Profile Mainlevel 4 Sublevel 2 (max 400 Mbit/s)

Frame rates above 30 fps use:

  • 2k IMF Single Tile Lossy Profile Mainlevel 5 Sublevel 3 (max 800

Mbit/s)

Dynamic Range

Dolby VisionTM HDR

SDR

Colorimetry

P3 D65 / SMPTE ST 2084 (PQ)

ITU-R BT.709 / D65 / ITU-R BT.1886

(Gamma 2.4)

Pixel Bit Depth

12-bit

10-bit

Mastering Display Color Volume

Metadata

SMPTE ST-2086

n/a

Dynamic Metadata for Color Volume

Transformation

Dolby VisionTM CM 2.9 or CM 4.0 mastering metadata.

n/a

 

2.3 AUDIO

2.3.1 IMMERSIVE AUDIO

Audio Track (Atmos®)

Sample Rate

48 kHz

Bit Depth

24-bit

Channel Mapping

  • All bed configurations are acceptable
  • 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

 

2.3.2 SURROUND AUDIO

Audio Track (5.1 Surround)

Sample Rate

48 kHz

Bit Depth

24-bit

Channel Mapping

  • Channel 1 – Left
  • Channel 2 – Right
  • Channel 3 – Center
  • Channel 4 – LFE
  • Channel 5 – Left Surround
  • Channel 6 – Right Surround

 

2.3.3 STEREO AUDIO

Audio Track (2.0 Stereo)

Sample Rate

48 KHz

Bit Depth

24-bit

Channel Mapping

  • Channel 1 – Stereo Left
  • Channel 2 – Stereo Right

 

2.4 TEXTLESS VERSION IMF PACKAGING

Netflix may request the delivery of a textless version IMF package in addition to the texted IMF delivery. Such a textless version IMF package must be created and delivered after the texted IMF package is approved by Netflix. Additionally, the following requirements apply:

  • The textless version IMF package should be created as a supplemental IMF package. That supplemental IMF package must be based on the last approved texted IMF package.
  • A textless background/backplate must be included for any shot/sequence of the content that contains on-screen graphic text. Replacing the entire video track with a full-length textless version is acceptable if the content includes a significant amount of texted shots throughout.
  • The textless version IMF composition must not change or replace the audio/IAB track(s) of the approved texted IMF delivery.
  • Textless inserts must have image properties identical to those of the texted IMF package, e.g. no changes in image resolution, color space etc.
  • Dolby VisionTM mastering metadata trim values for textless inserts must be identical to the associated values in the texted IMF package, i.e. any changes in image characteristics due to removal of on-screen text must not be accounted for.
  • Textless inserts must be provided cut-to-cut (i.e., the textless insert should not begin or end in the middle of a shot; instead, the entire shot should be provided).
  • Graphic overlays such as emojis or text balloons should be considered texted elements.

 

3. AUDIO MASTERING & ARCHIVE SPECIFICATIONS

3.1 Audio Prerequisites

Discrete audio is required, except when muxed audio is inherent to the source, such as when audio is delivered via IMF, Quicktime or Atmos® BWAV ADM. 

48k/24bit sample rate and bit depth for Original Language Mix or M&E Mix - applies to Stems and Mix Masters.

All audio must sync to the final picture, including 1 second of black before the program start FFOA, and 1 second of black after LFOA.

Printmasters, M&Es and stems may include standard 8 second Academy leader and 2-pops.

For all titles, 5.1 audio is required and 2.0 is optional.

Mono audio is acceptable if the program’s original source is mono and no stereo and/or 5.1 mix exists. Mono audio must be duplicated on channels 1 & 2 and delivered as 2-channel.

3.2 Audio Mix Requirements

3.2.1 Near Field Atmos® Mix - Mastering and Archive - Original Language Version

The Dolby Atmos® Original Language 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
  • Atmos® delivered in IMF (IAB) supports 23.976, 24, 25 and 30 frames per second.
  • This is a near field mix. The most common monitoring levels for near field are 79db or 82db
  • Must conform to Netflix loudness spec (-27db LKFS +/- 2 LU 1770-1 dialog-gated)
  • Peaks should generally not exceed -2dBFS true-peak. To achieve this, we recommend setting true-peak limiters on all beds and objects at -2.3 or lower. Loudness and peaks should be measured via a 5.1 rerender.
  • For Atmos® mixes, delivering 5.1 is required and 2.0 audio is optional. The 5.1 and 2.0 rerender outputs must conform to Netflix loudness specification. 5.1 and 2.0 must conform to the Netflix peak specification only if they are delivered for streaming. We suggest achieving this by limiting the output from the renderer, rather than lowering beds and objects.
    • Atmos® - Delivered to picture finishing facility for IMF creation and streaming.
    • 5.1 - Delivered to Content Hub for dubbing reference. Optional to deliver for streaming.
    • 2.0 - Optional.
  • 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 and must be labeled only as either “Dialog”, “Music”, “Effects” or “Narration”. For film content, DME separation should be maintained whenever possible.
  • If an 85 db reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for near field
  • Leader and sync pop are preferred but not required. The IMF vendor will sync Atmos® in the IMF.
  • Final Home Theater Print Master
    • All bed channel configurations are acceptable
    • 48 kHz sample rate, 24-bit
    • Dolby Atmos® BWAV ADM File

 

3.2.2 Near Field 5.1 Surround Mix - Mastering and Archive - Original Language Version

  • Use 79dB spl or 82dB spl as your standard reference level for mixing
  • Meet a -27 LKFS (+/- 2 LU) dialog-gated using ITU-R BS.1770-1 measured over entire program
  • Do not exceed +18db (-2 dBFS) maximum level (true-peak) over reference of -20 dBFS, achieved by peak limiting and not lowering the mix level
  • For Original Version: Provide 5.1 Dialog, Music and Effects stems that equal the 5.1 mix when combined.

3.2.3 Near Field 2.0 Stereo Mix - Mastering and Archive - Original Language Version

  • Use 79dB spl or 82dB spl as your standard reference level for mixing
  • Provide a separate Lo/Ro or LT/RT mix with -27 LKFS (+/- 2 LU) dialog-gated using ITU-R BS.1770-1 measured over entire program

o Lo/Ro mix is preferred

  • Lo/Ro or LT/RT mix to be mono compatible
  • Do not exceed +18db (-2 dBFS) maximum level (true-peak) over reference of -20 dBFS, achieved by peak limiting and not lowering the mix level
  • When down-mixing from 5.1 to create Lo/Ro or LT/RT 2.0 mix:
  • Lower Center channel content by -3db
  • Center channel content should be included in both the LEFT and RIGHT CHANNELS
  • Lower Surround channel content by a minimum of -3db
  • Fold Left and Right Surround content into the corresponding LEFT and RIGHT CHANNELS
  • Optionally include the Low Frequency Effects (LFE) channel between -8db and -12db
    • Fold Low Frequency Effects (LFE) into both the LEFT and RIGHT CHANNELS
    • Low Pass Filter LFE at 200Hz or lower
  • All adjustments must be made to the individual 5.1 channels prior to folding down

Note: The resulting 2.0 mix must be checked prior to delivery to ensure it is free of any audio artifacts and if necessary, as determined by Netflix, further adjustments shall be made to prevent them. Any 2.0 delivery must meet the specification prescribed in this section.

3. 3 Music & Effects (M&E) Mix

3.3.1 Near Field Atmos® M&E Mix

The Dolby Atmos® Home M&E 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 near field mix. The most common monitoring levels for near field are 79db or 82db.
  • Peaks should generally not exceed -2dBFS true-peak. To achieve this, we recommend setting true-peak limiters on all beds and objects at -2.3 or lower. Peaks should be measured via a 5.1 rerender.
  • The 5.1 M&E rerender is required and must conform to Netflix Peak specification.
  • Optional tracks are required in addition to the Atmos® M&E when necessary.

  • 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.
  • M&E bed and object configuration should match the Atmos® printmaster. Dialog beds and objects should contain only production effects and no discernable language.
  • If a 85db reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for near field.
  • Leader and sync pop are preferred but not required.
  • M&E Mix
    • All bed channel configurations are acceptable.
    • 48 kHz, 24-bit.
    • Single or multiple M&E Options stems as separate WAV file(s) or marked clearly as Optional or OPT within the Pro Tools session, along with any other content-specific labels.
      • Channel format should be determined by the re-recording mixer to match the intent of the original mix.
    • Dolby Atmos® BWAV ADM File or Pro Tools Recorder Session

3.3.2 Near Field 5.1 Surround M&E Mix

  • Provide a separate fully filled 5.1 surround submix containing only Music & Effects (no dialog).
  • Ambiences and foley fill should be included to correctly match the original mix. Any non-dialog sound present in the main mix must also be represented in the M&E mix.
  • All levels should mirror what was used for final Mastering and Archive so that any newly added dubbed dialog can be mixed in easily later.
  • Optional tracks are required in addition to the 5.1 M&E when necessary.

  • For mixers creating the M&E, Netflix has an M&E Creation Guidelines document available here.
  • For mixers creating the M&E for Nonfiction content, Netflix has a Nonfiction M&E Creation Guidelines document available here.

3.3.3 Near Field 2.0 Stereo M&E Mix

  • Provide a separate fully filled 2.0 stereo submix containing only Music & Effects (no dialog).
  • Ambiences and foley fill should be included to correctly match the original mix. Any non-dialog sound present in the main mix must also be represented in M&E mix.
  • Maintain +18db (-2 dBFS) maximum level (true-peak) over reference of -20 dbfs, achieved by peak limiting and not lowering the M&E volume.
  • When creating Lo/Ro or LT/RT 2.0 mix, follow Near Field 2.0 Stereo Mix spec in section 3.2.3.
  • All levels should mirror what was used for final Mastering and Archive so that any newly added dubbed dialog can be mixed in easily later
  • For mixers creating the M&E, Netflix has an M&E Creation Guidelines document available here.
  • For mixers creating the M&E for Nonfiction content, Netflix has a Nonfiction M&E Creation Guidelines document available here.

 

4. Non-Graded Archival Master (NAM)

The Non-Graded Archival Master (NAM) is a fully texted image sequence of the non-color graded, fully conformed and locked picture, including final VFX, rendered in a single scene-referred color space with no output or display transform applied. The archival resolution will be specific to the project and will be communicated by Netflix. At minimum, the archival resolution will be no less than 3840x2160 (UHD) and must include the final delivery active picture area with no cropping, matting or masking applied over the image. If your primary capture format was less than 3840x2160 (UHD) please reach out to your Post Production Management or Creative Technologies Workflow contacts at Netflix to discuss your best options.

The file format of the Non-Graded Archival Master (NAM) will depend on the transfer function of the scene-referred color space as well as the bit-depth of the source files:

 

Color Space

Transfer Function

Source File

Format





Scene-Referred Color Space

(i.e. camera native color space, CF color, T-CAM or ACES*)


Logarithmic

RAW or

Compressed in More Than 10-Bits

16-bit DPX (.dpx)

Compressed in 10-Bits

10-bit DPX (.dpx)**





Linear




RAW or

Compressed in More Than 10-Bits

Uncompressed 16-bit Half-Float OpenEXR (.exr)

ZIP Losslessly Compressed

16-Bit Half-Float OpenEXR (.exr)

PIZ Losslessly Compressed

16-Bit Half-Float OpenEXR (.exr)

*ACES projects must be Linear / AP0, per SMPTE ST 2065-1. ACEScct encoded files will not be accepted.

**10-bit DPX (.dpx) will be accepted only if 50% or greater of the primary capture footage was 10-bit or lower.

Frame Numbering
  • Frame numbering must be continuous within each delivered asset and must always be consistent across all picture archival assets.
  • For feature films working in reels the frame number must be continuous within each reel. The initial frame number for each reel/segment is at the discretion of the finishing partner.
Textless
  • Textless inserts must be delivered with image properties identical to the corresponding texted asset.
  • Textless inserts must include a textless background/backplate for any shot/sequence of the content that contains on-screen graphic text. If the content includes a significant amount of on-screen graphic text throughout, it is acceptable to create a full-length textless asset rather than providing segmented frame ranges.
  • Textless inserts must be provided cut-to-cut (i.e., the textless insert should not begin or end in the middle of a shot, the entire shot should be provided).
  • Textless main titles or credits do not require a distinct naming convention from other textless inserts.
  • Textless inserts must be numbered to match the numbering of the corresponding texted shot/sequence.
  • Graphic overlays such as emojis or text balloons should be considered texted elements.
Quicktime Wrapped Non-Graded Archival Master Exceptions

Quicktime wrapped compressed formats may be acceptable under limited circumstances, particularly in Animation workflows where source media is entirely compressed. Please consult Netflix to determine if QuickTime delivery is acceptable for your project.

Minimum acceptable compressed formats:

HDR: 12-bit, DNxHR 444 or ProRes 4444 XQ 

SDR: 10-bit, DNxHR 444, or ProRes 444

 

 


 

5. VFX Archival Asset Specifications

This document covers the final assets delivered as part of the VFX Archive. The VFX Archive should include assets used in the creation of the final image frames delivered to the finishing facility. This will involve the final shot directory, and all the direct dependencies from which the final images and relevant assets were created.

 

5.1 VFX Production Assets

5.1.1 Scanning Data

VFX scanning data should be provided using the following guideline:

  • Lidar & photogrammetry for any custom-built/key environments (cleaned/processed where available).  No raw point cloud data.
  • Cyberscans of actors (where contractually applicable), creatures and props must be named in a manner that clearly describes what they are and organized in a folder structure with any accompanying elements.
  • Include scan processing facility information.
  • Zipped files/directories will not be accepted.

For Imaging and Object file type list see section 5.5.2

5.2 VFX Post Production Assets

5.2.1 VFX Plates

VFX plates must be in one of the following file formats: 

 

  • 16-bit EXR (.exr) if color pipeline is ACES, or if the pull color pipeline is set to a Camera Linear color space (such as Linear AWG / Alexa Wide Gamut).
  • EXR can be uncompressed or use lossless compression (i.e. ZIP or PIZ).
  • 16-bit DPX (.dpx) when the pull color pipeline is set to a Camera Log color space (such as LogC).
  • 10-bit DPX (.dpx) ONLY when the primary capture format was 10-bit Log.
  • LOG EXRs will not be accepted.
  • Zipped files/directories will not be accepted.
  • For more information on VFX plates/pulls please review VFX Best Practices and VFX Plate Naming Best Practices.

5.2.2 VFX Shots

VFX final shot deliveries must be in one of the following file formats:

  • 16-bit EXR (.exr) if color pipeline is ACES, or if the pull color pipeline is set to a Camera Linear color space (such as Linear AWG / Alexa Wide Gamut).
  • EXR can be uncompressed or use lossless compression (i.e. ZIP or PIZ).
  • 16-bit DPX (.dpx) when the pull color pipeline is set to a Camera Log color space (such as LogC).
  • 10-bit DPX (.dpx) ONLY when the primary capture format was 10-bit Log.
  • LOG EXRs will not be accepted.
  • VFX Shot names should adhere to Netflix’s VFX Shot and Version Naming Recommendations
  • Provide a proxy reference for each final shot (i.e. a QT with color baked in).
  • Include any already-rendered mattes generated for final shots, either embedded or as separate elements.

For Proxy Video Format requirements see section 5.5.1.

5.3 VFX Wrap Assets

5.3.1 Final Models

VFX models and supporting files should be provided using the following guideline:

  • Include 3D models and CG asset project files for final hero characters, creatures, props and environments only.
  • Provide a proxy video reference for each asset (i.e. a turntable QT for each model).
  • Assets must be named in a manner that clearly describes what they are and should be organized in a folder structure with accompanying elements (e.g. base model geo (hull), texture maps, paint, shaders (with maps), rigging/chaining (non-evaluated skeleton rigging), scene files and geo topologies where applicable).
  • Zipped files will not be accepted.

For Proxy Video Format requirements see section 5.5.1. For Imaging and Object file type list see section 5.5.2.

5.3.2 Promo Materials

VFX Promo Materials should be provided using the following guideline:

  • Material that can be leveraged for BTS Footage/Stills should be provided in their native capture format or at the best available quality/resolution.
  • Before and After, WIP or test reels should be included along with their vendor/facility information.
  • Marketing/trailer finals or awards submissions should be archived in the deliverable format requested by the Marketing/PR/Awards teams.

5.3.3 Background Plates

VFX background plates should be provided using the following guideline:

  • Footage/Stills should be provided in their native capture format or at the best available quality/resolution.
  • Include generic driving, helicopter/drone and environment plates only.
  • HDRI Lighting Reference files should be named in a manner that clearly describes what they are and should be organized in a folder structure with accompanying elements (e.g. skies/aerial plates)
  • See VFX Plates (section 5.2.1) for further format requirements.

5.3.4 2D Elements

VFX 2D elements should be provided using the following guideline:

  • Footage/Stills should be provided in their native capture format or at the best available quality/resolution.
  • Include generic real world elements that are filmed, not computer generated.

5.4 VFX Document Specifications

VFX Shot and Asset Status Report

A VFX Shot and Asset status report must be submitted with status and cost summary data per shot and asset. This will be provided to you as a template by your Netflix Representative for completion.

VFX Wrap Report

For all projects, a VFX Wrap report must be submitted with overall project summary data and summary data per vendor used. This will be provided to you as a template by your Netflix Representative for completion.

VFX Production Reports

VFX Supervisor Onset Reports / VFX Exposure Reports, detailing potential cost exposure identified during principal and additional photography if specified by your Netflix VFX Representative.

VFX Breakdown (Budgeted)

Supporting material for locked VFX Budget. VFX cost breakdown with context on approach assumptions and associated VFX bids if specified by your Netflix VFX Representative. 

5.5 VFX Appendix

5.5.1 Proxy Video Formats

When delivering VFX shot & asset references for final archive, please use a proxy video format as below:

Proxy Video Format Requirements

Container

MP4, MOV

Video Codec

H.264 (Closed GOP only) ProRes 422 (HQ)

ProRes 4444 (XQ NOT supported)

DNxHD

(ProRes 422 (HQ) ProRes 4444, DNxHD supported in MOV container only)

Resolution

640x480 to 4096x2160

(W and H pixel counts must be integers evenly divisible by 4. It is recommended to encode content at its native aspect ratio, padding with black to the nearest integer evenly divisible by 4.)

Frame Rates

23.976, 24, 25, 29.97, 30, 50, 59.94, 60

Color Space

Rec. 709

Audio Codec (H.264)

HE-AACv1, HE-AACv2, AAC-LC (44.1kHz or

48kHz Sample Rate)

Audio Codec (ProRes, DNxHD)

PCM (48kHz Sample Rate)

Bit Depth

16

Channel Mapping

  • Channel 1 – Stereo Left
  • Channel 2 – Stereo Right

 

5.5.2 Imaging and Object File Types

Note:  Imaging and Object File Types are constantly evolving. Formats may be added or removed from the list as standards and applications change in the dynamic VFX industry.

 

Imaging and Object File Types

Image File Types

JPEG, PNG, TIFF, PSD, PDF, EPS, AI, RAW, HDR, EXR, DPX, OBJ, PIC

Production Scene/DCC Files

.mb, .ma, .hip, .hda, .nk, .unity, .unity3d,

.uproject, BLEND

Geometry, CG Formats

.abc, .usd, .fbx, .pts, .las, .dxf, .obj, .ztl

For any specific questions or concerns related to any VFX asset or document requirements listed, please reach out to your Netflix Representative.

 


 

Appendix

Language Codes

If the desired language code is not found in the table below please contact your Netflix Representative.

 

Language Name

Language Code

Audio

Text

Acoli

ach

Afrikaans

af

Albanian

sq

Amharic

am

Arabic

ar

Arabic (Algeria)

ar-DZ

Arabic (Bahrain)

ar-BH

Arabic (Chad)

ar-TD

Arabic (Comoros)

ar-KM

Arabic (Djibouti)

ar-DJ

Arabic (Egypt)

ar-EG

Arabic (Eritrea)

ar-ER

Arabic (Iraq)

ar-IQ

Arabic (Israel)

ar-IL

Arabic (Jordan)

ar-JO

Arabic (Kuwait)

ar-KW

Arabic (Lebanon)

ar-LB

Arabic (Libya)

ar-LY

Arabic (Mauritania)

ar-MR

Arabic (Morocco)

ar-MA

Arabic (Oman)

ar-OM

Arabic (Palestine)

ar-PS

Arabic (Qatar)

ar-QA

Arabic (Saudi Arabia)

ar-SA

Arabic (Somalia)

ar-SO

Arabic (South Sudan)

ar-SS

Arabic (Sudan)

ar-SD

Arabic (Syria)

ar-SY

Arabic (Tunisia)

ar-TN

Arabic (United Arab Emirates)


ar-AE

Arabic (Western Sahara)


ar-EH

Arabic (Yemen)

ar-YE

Aramaic

arc

Armenian

hy

Assamese

as

Aymara

ay

 

Bambara

bm

Bangla

bn

Bantu

bnt

 

Bashkir

ba

Basque

eu

Belarusian

be

Berber

ber

 

Bodo

brx

Bosnian

bs

Bulbovian

xa

Bulgarian

bg

Burmese

my

Cantonese

yue

Catalan

ca

Cebuano

ceb

 

Chechen

ce

Cheyenne

chy

Croatian

hr

Czech

cs

Danish

da

Dari

fa-AF

Dinka

din

Dogri

doi

 

Dutch

nl

Dzongkha

dz

Efik

efi

Elamite

elx

English

en

English (Australia)

en-AU

English (Britain)

en-GB

English (India)

en-IN

English (South Africa)

en-ZA

Esperanto

eo

Estonian

et

Faroese

fo

Filipino

fil

Finnish

fi

Flemish

nl-BE

French

fr

French (Canada)

fr-CA

Fulah

ff

 

Galician

gl

 

Georgian

ka

German

de

Greek

el

Gujarati

gu

Hausa

ha

Hawaiian

haw

Hebrew

he

Hindi

hi

Hindi (Latin)

hi-Latn

 

Hokkien

nan

Hungarian

hu

Icelandic

is

Igbo

ig

Indonesian

id

Inuktitut

iu

Irish

ga

Italian

it

Jamaican Patois

jam

Japanese

ja

Javanese

jv

Kannada

kn

Kashmiri

ks

Kazakh

kk

Khasi

kha

Khmer

km

Kikuyu

ki

Kinyarwanda

rw

Klingon

tlh

Konkani

kok

Korean

ko

Kurdish

ku

Kyrgyz

ky

Lango (Uganda)

laj

Latin

la

Latvian

lv

Lingala

ln

Lithuanian

lt

Luxembourgish

lb

Macedonian

mk

Maithili

mai

 

Malagasy

mg

Malay

ms

Malayalam

ml

Maltese

mt

Mandarin

zh

 

Mandarin (Mainland China)


zh-CN

 

Mandarin (Taiwan)

zh-TW

 

Mandingo

man

 

Manipuri

mni

Maori

mi

Marathi

mr

Masai

mas

Mayan

myn

Mende

men

Mongolian

mn

Multiple languages

mul

Nepali

ne

Newari

new

No linguistic content

zxx

North Ndebele

nd

Northern Sotho

nso

Norwegian

nb

Nyanja

ny

 

Odia

or

Oromo

om

 

Papiamento

pap

 

Pashto

ps

Persian

fa

Polish

pl

Portuguese (Brazil)

pt-BR

Portuguese (Portugal)

pt

Punjabi

pa

Quechua

qu

Quechua (Bolivia)

qu-BO

Quechua (Ecuador)

qu-EC

Quechua (Peru)

qu-PE

Romanian

ro

Romansh

rm

Romany

rom

Russian

ru

Sami

smi

Samoan

sm

Sanskrit

sa

Santali

sat

 

Scottish Gaelic

gd

Serbian

sr

 

Serbian (Cyrillic)

sr-Cyrl

 

Serbian (Latin)

sr-Latn

 

Sherdukpen

sdp

Shona

sn

 

Simplified Chinese

zh-Hans

 

Sindhi

sd

 

Sinhala

si

Slovak

sk

Slovenian

sl

Somali

so

Songhai

son

South Ndebele

nr

Southern Sotho

st

Spanish (Latam)

es

Spanish (Argentina)

es-AR

Spanish (Mexico)

es-MX

Spanish (Spain)

es-ES

Swahili

sw

Swati

ss

Swedish

sv

Swiss German

gsw

Taiwanese

nan-TW

 

Tamashek

tmh

Tamil

ta

Taroko

trv

 

Telugu

te

Thai

th

Tibetan

bo

Tongan

to

Traditional Chinese

zh-Hant

 

Traditional Chinese (Hong Kong)


zh-Hant-HK

 

Tsonga

ts

Tswana

tn

Turkish

tr

Tuvinian

tyv

Ugaritic

uga

Ukrainian

uk

Urdu

ur

Venda

ve

Vietnamese

vi

Welsh

cy

Wolof

wo

Xhosa

xh

Yiddish

yi

Yoruba

yo

Zapotec

zap

Zulu

zu

 

 


Translations


 

Change Log

  • Netflix Branded Delivery Specifications OC-4-1 has been split into three new specification resources.
    • Post Production Branded Delivery Specifications v1.0
    • Marketing & Promotional Branded Delivery Specifications v1.0
    • Localization, Accessibility, & Dubbing Delivery Specifications v1.0
  • What was previously section 5, “Secondary Asset Specifications,” has been moved to Localization, Accessibility, and Dubbing Delivery Specifications v1.0.
  • What was previously section 6 “Movie Content Metadata” has been removed.
  • What was previously section 8, “Textless Version IMF Package” has been moved into section 2, “IMF specifications.”
  • The dubbing elements previously from Section 4.2 “Audio Mix Requirements,” have been moved to Localization, Accessibility, and Dubbing Delivery Specifications v 1.0
  • What was previously section 7, “Delivery Platforms” has been removed.
  • What was previously section 11, “Promotional Assets and Source Materials” has been moved to Marketing & Promotional Branded Delivery Specifications v1.0
  • What was previously section 12.1 “Language Codes” has been moved to Localization, Accessibility and Dubbing Delivery Specifications  v 1.0
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