PRODUCTION & POST
SVOD REQUIREMENTS
specified up, as well as down,” says Ian Lowe, senior sales manager of Dolby Laboratories. “Both Dolby Atmos and Dolby Vision offer automated, metadata-controlled conversions ensuring close creative consistency across versions. “The delivery specification from
“making use of dolby atmos as the companion premium
deliverable is a very easy win”
the distributor outlines how the image should be delivered, options could be in an IMF, MXF, ProRes or Tiff files,” he adds. Paul Govey says it’s key for
producers to provide an audio mix suitable for playback through a TV or home cinema monitoring system, with a reduced dynamic range compared to a Theatrical mix. “These mixes would usually but not always need to comply with loudness normalisation and maximum level specifications,” he says. “Audio deliveries are usually
supplied as time-stamped WAV files at 48Khz 24bit in specific item folders with associated ProTools sessions. In the case of master mixes, they will be consolidated to the exact length of the master picture file, starting on the first frame of picture and down
to the sample. Dolby Atmos Home Entertainment (HE) mixes will be delivered either as ProTools master sessions including object metadata, ADM BWAV files or both. Most streaming clients will require a Mix, M&E and Split Stems in 5.1 and 2.0.” “Compared to the additional
HDR considerations, making use of Dolby Atmos as the companion premium deliverable is a very easy win,” says Richard Addis, staff content services engineer at Dolby Europe. “As opposed to physically building the world to be captured in-camera, you’re assembling your kit-of-parts to world-build in post “Your post sound team will
almost certainly have some additional requests, so start those conversations early,” he adds. “Early discussions can inform both script and/or the edit, for example, holding a cut longer to enjoy a sound entering or leaving the frame.”
The long tail The Look was responsible for post on The Innocents, the first UK-produced Netflix original series to be delivered
in Dolby Atmos and Dolby Vision. Senior colourist and CEO Thomas Urbye is another to warn about knock-on costs/time at the back end. “If you’re just delivering to Netflix, it’s easy, but a lot of the work we do seems to have three distributors: one for the UK, an American, and then the rest of the world, so you end up with HDR, SDR, HD, and 4K. You’ve potentially got four different deliverables, plus all your archival masters.” Platforms will have various
specifications for archival masters. For Netflix, the Non-Graded Archival Master (NAM) is a fully texted image sequence of the non-colour graded, fully conformed and locked picture, including final VFX, rendered in a single scene-referred colour space with no output or display transform applied, the minimum archival resolution is 3840x2160 (UHD). The ungraded requirement is to
give the streamer maximum scope to remaster it in the future. “[Streamers] might also want a
graded version with a transform at the end so it can adapt to newer panel technologies in the future,” says Mark Maltby, The Look’s CTO and senior online editor. “They also want the fully graded version as an archival master in the highest format, normally DPX. It’s big data, big transfer times, lots of uploads.” The Look uses ColorFront
Transkoder for IMF packaging and Aspera to deliver the master content straight to Netflix. “As long as your file conforms to spec, it’s IMF all the way,” says Maltby. “When Netflix do their localisations and remove sections for local sensibilities, they can modify that IMF, they can extract content, add subtitles, add different titles, add different shots if need be. If you need to replace something further down the line you just send them a patch to that IMF and they QC that section, ingest it into their system and it goes on the platform. “The great thing about Netflix is
they derive all of their deliverables from 78
televisual.com Spring 2021
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