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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.
  • PSE (Photo-Sensitive Epilepsy) Compliance testing (e.g. Harding, Tektronix, or any other algorithm that complies with ITU-R BT.1702-1 guidelines) must be performed for all animated content.

 

2. IMF Specifications

2.1 Packaging

All deliveries to Netflix must be compliant to either SMPTE ST 2067-21:2016, SMPTE ST
2067-21:2020 or SMPTE ST 2067-21:2023 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.

Netflix IMF Packages should be created directly from the color timeline out of a capable color grading tool OR from an intermediate mezzanine asset. IMF Packages must be delivered in the highest quality and resolution, including High Definition (HD) and Ultra High Definition (UHD). Netflix may explicitly request other resolutions.

If you are creating your IMF package from an intermediate mezzanine asset,  Netflix recommends:

HDR Delivery: 

  • Uncompressed 16-bit TIFF (.tiff)
  • Resolution and aspect ratio must match that of the delivered IMF: UHD (3840x2160) or HD (1920x1080).

SDR Delivery

  • 10-bit or 16-bit DPX (.dpx)
  • Resolution and aspect ratio must match that of the delivered IMF: UHD (3840x2160) or HD (1920x1080).

If creating a mezzanine asset is necessary for your IMF packaging workflow and you need additional guidance, please reach out to your Netflix representative.

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 at 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 Drop Frame, 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 full feature or episodic program with one (1) second of format black and silence at the head and tail of the program.
    • For redeliveries, supplemental IMPs may include video inserts only OR a full video track replacement + any combination of full audio track replacements as applicable.
    • Supplemental IMPs must reference all MXF track files which have not been previously successfully delivered and ingested.
    • Please confirm with your Netflix representative before proceeding with a full video track replacement supplemental IMP OR a new complete IMP for any redelivery.
  • Video must not contain commercial blacks.
  • Video must not contain color bars, bumpers, 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 the video 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 Transformation1


 

For CM v4:

  • Dolby Vision XML Version must be 4.0.2 or 5.1.0
  • Level254 CMVersion must be “4 1” or “4 2”. 
  • Example Level254 XML element:

<Level254 level="254">

  <DMMode>0</DMMode>

  <DMVersion>2</DMVersion>

  <CMVersion>4 1</CMVersion>

</Level254>

n/a


 

For CM v2.9:

  • Dolby Vision XML Version must be 2.0.5.

 

1To validate the XML version or CMVersion, use the metafier —validate command.

 

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 Transformation2


 

For CM v4:

  • Dolby Vision XML Version must be 4.0.2 or 5.1.0
  • Level254 CMVersion must be “4 1” or “4 2”. 
  • Example Level254 XML element:

<Level254 level="254">

  <DMMode>0</DMMode>

  <DMVersion>2</DMVersion>

  <CMVersion>4 1</CMVersion>

</Level254>

n/a


 

For CM v2.9:

  • Dolby Vision XML Version must be 2.0.5.

 

2To validate the XML version or CMVersion, use the metafier —validate command.

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 and groups labeled as “Dialog”, “Narration”, “Group ADR”, “Music”, “Backgrounds”, “Foley”, and “Effects”.See BWAV ADM Creation Guidelines for a full list of acceptable group labels.
  • 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 successfully delivered to Netflix.
  • 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.
    • Please confirm with your Netflix Representative before proceeding with a full-length textless version video supplemental.
  • The textless version IMF composition must not change or replace the audio/IAB track(s) of the approved texted IMF delivery. This applies even if a full-length textless version with an entire video track replacement is approved by Netflix.
  • 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, fade, dissolve, or other transition; instead, the entire shot(s) 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 in the following circumstances:

  • When muxed audio is inherent to the source, such as audio in an IMF, Quicktime or Atmos® BWAV ADM container.
  • Interleaved Secondary Audio .wav deliveries.

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:

  • Mix in a 7.1.4 room at minimum.
  • 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 SPL.
  • Must conform to Netflix loudness spec (-27LKFS +/- 2 LU 1770-1 dialog-gated).
  • We recommend setting True-Peak limiters on all beds and objects at -2.3 or lower. Loudness should be checked via a 5.1 rerender.
  • For Atmos® mixes, delivering 5.1 and 2.0 audio is optional. 5.1 and 2.0 must conform to the Netflix peak specification only if they are delivered separately for streaming. We suggest achieving this by limiting the rerender outputs from the renderer, rather than lowering beds and objects.
    • Atmos® - Delivered to picture finishing facility for IMF creation and streaming.
    • 5.1 and 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 and groups labeled as “Dialog”, “Narration”, “Group ADR”, “Music”, “Effects”, “Backgrounds”, or “Foley”. For film content, DME separation must be maintained whenever possible. See BWAV ADM Creation Guidelines for a full list of acceptable group labels. For large mixes, use all 128 ADM audio channels before summing Dialogue, Music and Effects material.
  • 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:
    • Dolby Atmos® BWAV ADM File.
      • All bed channel configurations are acceptable.
      • 48 kHz sample rate, 24-bit.

 

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

  • Set the standard reference level for mixing to 79 dB SPL or 82 dB SPL.
  • Meet a -27 LKFS (+/- 2 LU) dialogue loudness using ITU-R BS.1770-1 measured over entire program.
  • Do not exceed +18dBu (-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 Lo/Ro or LT/RT mix with -27 LKFS (+/- 2 LU) dialogue loudness using ITU-R BS.1770-1 measured over entire program.
    • Lo/Ro mix is preferred.
  • Lo/Ro or LT/RT mix to be mono compatible.
  • Do not exceed +18dBu (-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.
  • We recommend setting true-peak limiters on all beds and objects at -2.3 or lower.
  • 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
    • Dolby Atmos® BWAV ADM File or Pro Tools Recorder Session.
      • 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.

3.3.2 Near Field 5.1 Surround M&E Mix

  • Provide a 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 Dolby Atmos® mixes, the 5.1 M&E should be rendered from the Dolby Atmos® M&E.
  • M&E Creation Guidelines documents:

 

4. 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.

4.1 VFX Production Assets

4.1.1 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 4.5.2

4.2 VFX Post Production Assets

4.2.1 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.

4.2.2 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 4.5.1.

4.3 VFX Wrap Assets

4.3.1 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.

Note: Some productions may require additional VFX Wrap assets to be delivered beyond the core assets outlined in this specification document.  If you’re unsure if your production requires these assets for delivery, please reference your production’s Delivery List and reach out to your Netflix Representative. Guidelines for additional assets can be found in Situational VFX Delivery Specifications.

4.4 VFX Document Specifications

VFX Shot and Asset Status Report

A VFX Shot and Asset status report must be submitted with status, scope of work, methodologies, and cost summary data per shot and asset. A template will be provided to you by your Netflix Representative for completion. Please notify your Netflix Representative once the data is submitted.

VFX Financial Report

For all projects, the  VFX Financial Report must be submitted with final costs per vendor and episode. Please reach out to your Netflix Representative for access to the financial reporting page.

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. 

 

4.5 VFX Appendix

4.5.1 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 for H.264

HE-AACv1, HE-AACv2, AAC-LC (44.1kHz or 48kHz Sample Rate)

Audio Codec for ProRes, DNxHD

PCM (48kHz Sample Rate)

Bit Depth

16

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

 

4.5.2 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 (Kenya) en-KE √ √
English (Nigeria) en-NG √ √
English (Philippines) en-PH √ √
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 √ √
Gogo gog √ √
Greek el √ √
Gujarati gu √ √
Hausa ha √ √
Hawaiian haw √ √
Hebrew he √ √
Hindi hi √ √
Hindi (Latin) hi-Latn   √
Hokkien nan √ √
Hungarian hu √ √
Icelandic is √ √
Igbo ig √ √
Ijaw ijo √ √
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 √ √
Lao lo √ √
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 √ √
Navajo nv   √
Nepali ne √ √
Newari new √ √
Nigerian Pidgin pcm √ √
No linguistic content zxx √ √
North Ndebele nd √ √
Northern Sami se √ √
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 (Colombia) es-CO √ √
Spanish (Mexico) es-MX √ √
Spanish (Spain) es-ES √ √
Swahili sw √ √
Swati ss √ √
Swedish sv √ √
Swiss German gsw √ √
Min Nan Chinese 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 √ √
Tulu tcy √ √
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

10/21/2024

  • Section 2.1: Added SMPTE ST 2067-21:2023
  • Section 2.3.1: Added more acceptable group labelings: “Narration”, “Group ADR”, “Backgrounds”, “Foley”. Added link to BWAV ADM Creation guidelines for full list of acceptable group labels.
  • Section 3.2.1:
    • Updated peak specification to setting true-peak limiters on all beds and objects at -2.3 or lower. Loudness should be checked via a 5.1 rerender.
    • Added more acceptable group labelings: “Narration”, “Group ADR”, ”Backgrounds”, or “Foley”. Added link to BWAV ADM Creation guidelines for full list of acceptable group labels.
    • For film, noted that DME separation must be maintained whenever possible, and for large mixes to use all 128 ADM audio channels before summing Dialogue, Music and Effects material.
  • Section 3.3.1: Updated peak specification to setting true-peak limiters on all beds and objects at -2.3 or lower.
  • Appendix: Added language codes for Tulu, Taiwanese, and Navajo.

 

09/12/2023

  • Section 1: Moved Photo-Sensitive Epilepsy compliance testing requirements from the Localization, Accessibility, and Dubbing Branded Delivery Specifications v5.1 into this spec.
  • Section 2.1: Added recommended file specifications when generating an IMF from an intermediate mezzanine file.
  • Section 2.2.1: Added additional guidance for supplemental IMPs and full track replacement redeliveries.
  • Section 2.2.2 & 2.2.3: Added requirements for delivering Dolby Vision Dynamic Metadata for CMv4 and CM v2.9
  • Section 2.4: Additional clarifying language added for Textless Version IMF packaging
  • Section 3: Clarified language and removed redundancies in wording.
  • Section 3.3.2: Added “For Dolby Atmos® mixes, the 5.1 M&E should be rendered from the Dolby Atmos® M&E.”
  • Removed NAM Specifications and created a separate reference document: Non Graded Archival Master (NAM) Specifications 
  • Section 3.3: Removed what was previously section 3.3.3 Near Field 2.0 Stereo M&E Mix.
  • Section 5.3.1: Removed Promo Materials, Background Plates, and 2D Elements from VFX wrap assets and created a separate document for these deliverables: Situational VFX Delivery Specifications.
  • Appendix: Added updated localization codes for English (Kenya), English (Nigeria), English (Philippines), Spanish (Colombia), Galician, Gogo, Ijaw, Lao, Nigerian Pidgin, Northern Sami.

06/24/2022

  • 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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