Technical Specifications & Best Practices
a workflow guide to delivering your assets
When content is going to be color graded and finalized for Broadcast, OTT, Theater or Social Media; we want to start our image manipulations with a well-prepared baseline, a (mathematically) correct starting point that comes with the least amount of digital (pre)processing and as much of the native resolution, color gamut and dynamic range of the content retained at the time of its origination (capture). Digital source input files come in different formats and can vary in quality and size. When sharing source files, it is important to clarify exactly how the data is represented in the file, by supplying metadata and using industry standard naming conventions*.
*Naming Conventions
- Lower-case characters
- Substitute ‘spaces’ with underscores
- Legal characters: [ a-z ], [ A-Z ], [ 0-9 ], [ . ], [ _ ], [ - ]
- ILLEGAL: spaces or any other symbols/characters than above.
Conform
Conform is the process of preparing a timeline for color grading or online edit.
This preparation involves a level of quality control (QC) and time management.
All source files, assets and metadata should be delivered according to delivery specifications, and at least 1 working day prior to the day we start our session (before 14.00pm).Disclaimer: when assets are not being delivered in time (1 working day before session start and prior to 14.00pm), conforming preparations will be delayed and additional costs may apply.
Metadata
Please collect and supply as much metadata as possible (if applicable), as this information gives context for correct interpretation of source material and will benefit the overall post production workflow.- Onset data: color chart, gray chart, lens grid, test charts, slates.
- Camera details: model, firmware.
- Lens details: brand, model, focal length, aperture range.
- Lighting details: (key) light source, filters.
- Source capture metadata: resolution, frame rate, codec, bit rate, aspect ratio, color temperature, exposure, t/f-stop, ISO, shutter speed, recording color space (gamut) and transfer function (EOTF or “gamma”).
- Shot List and Reel Names from Data Handler or Digital Intermediate Technician (DIT).
- Timeline Markers from Editor: speed ramps, image stabilization, visual effects shots, placeholders and other important information that is not visible in XML or metadata.
- LUT (Look Up Table), ASC-CDL* (Color Decision List), LMT (Look Modification Transform), please define working color space and transfer function.
- Access to VFX Shot List by VFX Supervisor, with up-to-date status of pull- and comp versions.
- Audio Mix metadata (channel order, bit rate, sampling rate).
- Deliverables’ sheet for Broadcast/Social from Media Agency.
-
Treatment (synopsis) from Director or Creatives with storyline and reference images.
-
Style Guide with Color Codes and Brand Identity guidelines.
-
Decryption Certificate (.pem), including
Cinema/Screen and Screening dates for making Encrypted DCP and (D)KDM.
- Contact details of relevant stakeholders (Producer, Director (DoP), Cinematographer, DIT,Editor, VFX Supervisor,Sound Engineer, Design Studio, Media Agency, Distributor).
*ASC-CDL has limits in interoperability and functionality and will be used solely as a reference point.
Folder & File Name structure
Episodic:
[project-title]_[season-episode]_[asset-type*]_[bit-depth]_[dynamic-range]_[color-space]_[transfer-function]_[frame-rate]_[aspect-ratio]_[resolution]_[date].[frame-number].[file-extension]
Non-Episodic:
[project-title]_[segment]_[asset-type]_[bit-depth]_[dynamic-range]_[color-space]_[transfer-function]_[frame-rate]_[aspect-ratio]_[resolution]_[date].[frame-number].[file-extension]
Commercial:
[advertiser]_[product]_[asset-type]_[length]_[bit-depth]_[color-space]_[transfer-function]_[frame-rate]_[aspect-ratio]_[resolution]_[date]_[version].[frame-number].[file-extension]
Visual Effects Shots:
plates: [scene]_[vfx-shot]_[pull]_[plate]_[color-space]_[transfer-function]_[frame-rate].[frame-number].[extension]
comps: [scene]_[vfx-shot]_[pull]_[comp]_[color-space]_[transfer-function]_[frame-rate]_[comp-version].[frame-number].[extension]
Note: please see APPENDIX below for a list of abbreviations regarding File Name Structure, Asset Type, Color Spaces and Transfer Functions.
*[Asset Types]
- Non-Graded Generic Master (textless): “gen”
- Non-Graded Archival Master (texted): “nam”
- Non-Graded Archival Master; Textless Insert: “nam-txtls”
- Motion Graphics overlay with Alpha: “graph-rgba”
- Graded Archival Master (textless): “gam”
- Graded Digital Cinema Distribution Master (texted): “dcdm”
- Graded Digital Cinema Distribution Master; Textless Insert: “dcdm-txtls”
Textless notes:
- Textless assets should include a textless background for any shot/sequence of the content that contains on-screen graphic text
-
Textless shots/sequences should 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).
Artwork
- Graphics should be delivered in high resolution (at least 4K/UHD) and, if applicable, in vector format (outlined).
- Photography should be delivered in high resolution (at least 12MP) and cleared for use in respect to copyright.
- Fonts should be included.
Disclaimer: Artwork should be cleared for use in respect to copyright, before handing over.
Audio
Audio should be mixed and normalized to delivery specifications:
- TV Commercials: EBU R128 (-23 LUFS, −1 dBTP);
24-bit @ 48kHz sample rate- Online (social media): -14 LUFS, −1 dBTP (based on best practice)
- Near Field: -27db LKFS +/- 2 LU 1770-1 dialogue loudness (Theater); 24-bit @ 48kHz sample rate
Disclaimer: the Sound Studio is responsible for mastering audio to correct specifications. Audio and Music should be cleared for use in respect to copyright with correct licence, before handing over.
Edit or Picture Lock
Below is a set of Best Practices for the editor to deliver a Picture Lock to Color Grading. While Method 1 (XML + Source Clips) is generally preferred, as it has better interoperability; in some cases it may be more efficient to deliver according to Method 2 (Pre-Conformed EDL + Non-Graded Master).Method 1: XML + Consolidated Source Clips
- Include Timeline Markers and add Captions or Overlays for clips with: speed ramps, image stabilization, visual effects shots and placeholders.
- Enable Overlays for “Timecode” and “Clip Source File Names”.
-
Export an “Offline Reference”, with preview LUT enabled.
- Duplicate Timeline and Trim down Timeline Clips to the least amount of Video Layers as possible, preferably only Video Layer 1 (V1).
- Disable Graphic Overlays, Captions, Adjustment Layers, Grain and remove Clip Attributes that interfere with Color Grading.
-
Shots with non-linear speed ramps are not always correctly interpreted, please mark these shots with timeline markers and copy shots with speed ramps to end of timeline at 100% speed with correct IN- and OUT-point.
-
Collect and Consolidate Digital Source Files (Clips/Rushes)
-
Export an XML of Picture Lock Timeline.
Method 2: Pre-Conformed EDL + Non-Graded Master
A textless Non-Graded Master (‘Flat Pass’) is accepted, please consult in advance before making this decision.
-
Export an “Offline Reference” of your Picture Lock, with preview LUT enabled; add Overlays for “Timecode” and “Clip Source File Names”.
- Duplicate Timeline and Trim down Timeline Clips to the least amount of Video Layers as possible, preferrably only Video Layer 1 (V1).
-
Export an EDL of Video Layer 1 (V1).
When exporting a “textless” Non-Graded Generic Master (GEN):
- Disable Graphic Overlays, Adjustment Layers, LUT, Grain and Remove Clip Attributes that interfere with Color Grading.
- Provide Graphic Overlays with Alpha-channel (“graph-rgba”)
When exporting a “texted” Non-Graded Archival Master (NAM):
- Keep Graphic Overlays (Supers, Titles, Motion Graphics, Logo’s, End Credits) enabled.
- Disable: Adjustment Layers, LUT, Grain and Remove Clip Attributes that interfere with Color Grading.
- Provide textless inserts (”nam-txless”) for every graphic overlay background in the timeline.
-
Provide Graphic Overlays with Alpha-channel (“graph-rgba”)
Offline Reference
Please supply an Offline Reference of the Picture Lock as a Video File.
- Codec: DNxHD36, ProresLT, DNxHR LB or H.264.
- Overlay: Timecode + Source Clip File Names
- Enable Show LUT and/or ASC-CDL if applicable; or deliver Show LUT (.cube) and ASC-CDL seperately.
Digital Source Files
Digital source input files come in different formats and can vary in quality and size.
When sharing source files, it is important to clarify exactly how the data is represented in the file.
The following technical specifications are prefered, and considered good quality:
Resolution
Compression
Quantization/Bit Depth
Sampling Rate/Color Depth
Transfer Function (oetf)
Color Space (gamut)
RAW Image Format
Image Sequence (linear)
Image Sequence (logarithmic)
Video File Format (container)
Video Codec
Compression
Quantization/Bit Depth
Sampling Rate/Color Depth
Transfer Function (oetf)
Color Space (gamut)
RAW Image Format
Image Sequence (linear)
Image Sequence (logarithmic)
Video File Format (container)
Video Codec
- At least HD, 4K-6K is recommended.
- Uncompressed or Lossless Compressed
-
At least 10-bit log, but preferrably 12-/16-bit log or 16-bit lin (half-float)
- 4:4:4
- Scene-linear light encoded as Logarithmic (log) or Linear (lin) to maximize dynamic range.
- Scene-referred color space mapped to a (camera-native) gamut volume of at least DCI-P3.
- RAW Image Format, scene-referred (meta)data from imaging sensor. Examples:
- Sony X-OCN: 16-bit linear data (compressed) with a Discrete Wavelet Transform (DWT)
- R3DCODE RAW: 16-bit linear data (compressed) with a Discrete Cosine Transform (DCT).
- OpenEXR
- PiZ, Zip1 or DWAB (lossless compression)
- ACES 2065-1 (AP0) or ACEScg (AP1)
- DPX (Digital Picture Exchange)
- DPX was originally derived from Kodak Cineon (cineon log), but it can hold any logarithmic transfer function, please specify in file naming of the image sequence, e.g. logc3, slog3, log3g10 etc.
-
MXF OP1a or Quicktime
- DNxHR444 or ProRes4444(XQ)
- Note: Color Corrections (WB, Curves, Levels, Looks, LUTs etc.) and additional Grain or Texture effects should NOT be baked into a non-graded archival master.
- Please provide metadata of scene-referred color space, transfer function, resolution, frame rate, codec, color temperature, exposure, ISO, shutter speed etc.
- See APPENDIX below for a list of abbreviations regarding Color Space and Transfer Function.
Visual Effects
Visual Effect Shots should be delivered in a scene-referred color space, preferrably linear ACES 2065-1 (AP0) or ACEScg (AP1), Half-Float OpenEXR (16-bit .exr),
with PiZ, Zip1 or DWAA losless compression. Shots in a scene-referred log color space, encoded in Digital Picture Exchange (DPX) format (10/12/16-bit .dpx) are also accepted.
Please specify color space and transfer function in file name and use industry standard naming conventions. Plates
VFX plate names should be consistent, with a format that allows them to be identified as VFX plates and also allows them to be versioned up if re-pulls are required.
[scene]_[vfx-shot]_[pull]_[plate]_[color-space]_[transfer-function]_[frame-rate].[frame-number].[extension]
Example: “sc0001_fx0010_001_pl030c_ap1_lin_25fps.00080001.exr”
Comps
VFX composites should be consistent, with a format that allows them to be identified as VFX comps and also allows them to be versioned up if re-pulls are required.
[scene]_[vfx-shot]_[pull]_[comp]_[color-space]_[transfer-function]_[frame-rate]_[comp-version].[frame-number].[extension]
Example: “sc0001_fx0010_001_comp_ap1_lin_25fps_v002.00080001.exr”
VFX Notes:
- Plates are named by adding a plate number (pl###) and a version number (a,b,c,d,...) to the end of the associated shot’s name.
- Please provide access to updated shot list or shot management software (Shotgrid, Prism, Kitsu, Ftrack etc.), for correct overview of scene-, shot-, pull- and comp versions.
APPENDIX
Naming Conventions
- Lower-case characters
- Substitute ‘spaces’ with underscores
- Legal characters: [ a-z ], [ A-Z ], [ 0-9 ], [ . ], [ _ ], [ - ]
- ILLEGAL: spaces or any other symbols/characters than above.
Folder & File Name structure
Episodic:
[project-title]_[season-episode]_[asset-type]_[bit-depth]_[dynamic-range]_[color-space]_[transfer-function]_[frame-rate]_[aspect-ratio]_[resolution]_[date].[frame-number].[file-extension]
Non-Episodic:
[project-title]_[segment]_[asset-type]_[bit-depth]_[dynamic-range]_[color-space]_[transfer-function]_[frame-rate]_[aspect-ratio]_[resolution]_[date].[frame-number].[file-extension]
Commercial:
[advertiser]_[product]_[asset-type]_[length]_[bit-depth]_[color-space]_[transfer-function]_[frame-rate]_[aspect-ratio]_[resolution]_[date]_[version].[frame-number].[file-extension]
Visual Effects Shots:
plates: [scene]_[vfx-shot]_[pull]_[plate]_[color-space]_[transfer-function]_[frame-rate].[frame-number].[extension]
comps: [scene]_[vfx-shot]_[pull]_[comp]_[color-space]_[transfer-function]_[frame-rate]_[comp-version].[frame-number].[extension]
Note: Image Sequences should include [frame-rate] and [frame-number], when supplying in a Video File Format, these abbreviations do not apply.
Asset Type
Please include an abbreviation in the file name for the asset type:
- Non-Graded Generic Master (textless): “gen”
- Non-Graded Archival Master (texted): “nam”
- Non-Graded Archival Master Textless Insert: “nam-txtls”
- Motion Graphics overlay with Alpha: “graph-rgba”
- Graded Archival Master (textless): “gam”
- Graded Digital Cinema Distribution Master (texted): “dcdm”
- Graded Digital Cinema Distribution Master Textless Insert: “dcdm-txtls”
Textless notes:
- Textless assets should include a textless background for any shot/sequence of the content that contains on-screen graphic text
-
Textless shots/sequences should 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).
Length
For commercials, include length in seconds (example: “15”, “20”, “30”, “60”).
Bit Depth
An abbreviation describing the bit depth of the image files, this should be a two-digit number followed by a “b” (example: 16-bit image files would be “16b”).
Dynamic Range
An abbreviation describing the Dynamic Range: “sdr” or “hdr”.
Date
The date the asset was created in year/month/day format (example: “241201” for December 1st, 2024).
Aspect Ratio
The aspect ratio of the active image, derived by dividing the active resolution of the width by the active resolution of the height, rounded to two decimal points. The notation of the aspect ratio should not include a decimal point places (example: 1.78 aspect ratio would be notated as “178”).
Resolution
The resolution of the image notated as [width]x[height]. The resolution should detail the full resolution of the file, not just the active image (example: “4448x3096”).
Color Space & Transfer Function
Please provide specific information about the Scene-referred Color Space (Gamut) and the Opto-Electrical Transfer Function (OETF) that has been applied, use the table below as a reference for correct naming conventions and corresponding abbreviations (example: ‘Arri Wide Gamut 4’ in ‘Log C4’ should be notated as “awg_logc4”).
Color Spaces
| ACES 2065-1 (AP0) |
| ACEScg (AP1) |
| ACEScc (AP1) |
| ACEScct (AP1) |
| ADX |
| ARRI Wide Gamut 3 |
| ARRI Wide Gamut 4 |
| BMD Film |
| BMD Film Wide Gamut Gen4/5 |
| BMD Film 4K |
| BMD Film 4.6K |
| Canon DCI-P3+ |
| CanonCineGamut |
| CFColor |
| Cineon (printin density) |
| DaVinci Wide Gamut |
| DCI P3 |
| DJI D-Gamut |
| DRAGONcolor |
| DRAGONcolor2 |
| Filmlight E-Gamut |
| Fuji F-Gamut (Rec.2020) |
| ITU-R BT.2020 (Rec.2020) |
| ITU-R BT.709 (Rec.709) |
| P3 D65 |
| Panasonic VGamut |
| REDcolor |
| REDcolor2 |
| REDcolor3 |
| REDcolor4 |
| REDspace |
| REDWideGamutRGB |
| Sony SGamut |
| Sony SGamut3 |
| Sony SGamut3.cine |
| sRGB |
| XYZ |
| ap0 |
| ap1 |
| ap1 |
| ap1 |
| adx |
| awg |
| awg |
| bmdfilm |
| bmdfilmwg |
| bmdfilm4k |
| bmdfilm46k |
| canonp3dci |
| canoncine |
| cfcolor |
| cineonpd |
| dwg |
| p3dci |
| dgamut |
| dragonc |
| dragonc2 |
| egamut |
| rec2020 |
| rec2020 |
| rec709 |
| p3d65 |
| vgamut |
| redc |
| redc2 |
| redc3 |
| redc4 |
| redspace |
| rwg |
| sgamut |
| sgamut3 |
| sgamut3-cine |
| srgb |
| xyz |
Transfer Functions
| ACES 2065-1 (AP0) |
| ACEScg (AP1) |
| ACEScc (AP1) |
| ACEScct (AP1) |
| ADX |
| Arri Log C3 |
| Arri Log C4 |
| BMD Log |
| BMD Log 4.6K |
| Canon Log2 |
| Canon Log3 |
| CFLog |
| Cineon Log |
| DaVinci Intermediate |
| DCI (2.6 Gamma) |
| Filmlight T-Log |
| Fuji F-Log |
| Fuji F-Log 2 |
| ITU-R BT.1886 (2.4 Gamma) |
| Leica L-log |
| Linear (1.0 Gamma) |
| Nikon N-Log |
| Panasonic V-Log |
| Phantom Log |
| RedLog3G10 |
| RedLogFilm |
| S-Log2 |
| S-Log3 |
| SMPTE ST-2084 (PQ) |
| sRGB (2.2 Gamma) |
| ZCAM Z-Log |
| lin |
| lin |
| cc |
| cct |
| adx |
| logc3 |
| logc4 |
| bmdlog |
| bmdlog46k |
| canonlog2 |
| canonlog3 |
| cflog |
| cineon |
| dint |
| g26 |
| tlog |
| flog |
| flog2 |
| g24 |
| lclog |
| lin |
| nlog |
| vlog |
| phlog |
| log3g10 |
| redlogfilm |
| slog2 |
| slog3 |
| pq |
| g22 |
| zlog |
Questions?
If you have any questions regarding the technical specifications and how to deliver your assets in the best possible way, please contact me!©2025 Rik Mahieu C.S.I.