PRODUCTION ARCHIVE SPECIFICATIONS

The production archive is not formally specified insofar as it is comprised of diverse and not entirely standardized data forms. The production archive consists of all the product of the workflow from camera tests to final delivery, with the exception of the conformed deliverables described above. This is an all-encompassing and variable deliverable, which will be different for every workflow and production. The data in the production archive is not constrained by the specifications for the conformed deliverables.

Camera files, dailies and visual effects (VFX) materials.

1. Typically, the largest part of the production archive would include any raw camera files, camera exports (deBayered camera file exports, in camera color space such as s-log and Arri log-c), dailies and daily proxies. This body of material represents the original camera data and the transcodes used to view that data. A production might use several cameras - a principle cinematic camera, a DSLR, a drone camera or even a phone camera – all of which will have their own file types which need to be captured in the camera file section of the archive. Reference implements such as framing, focus and color charts should be included.
2. Image materials acquired or produced other than principle photography. The most significant of these are visual effects units. These must be captured as delivered, uncolored and accompanied by all plates, layers, implements and metadata used to composite the effects. All stock footage, titles, text, opticals, graphics, logos and other pictorial material created for the production must also be included.

Editorial drives and related process metadata.

These are the drives that contain editorial decisions, various assemblies and versions of the work, including the finished work, lifts and alternate scenes, temporary edits, annotations, etc. Typically, these will be Avid drives. All Baselight scenes (or Resolve sessions or process records produced by other editorial software environments), all EDLs, CDLs, LUTs, transforms, HDR information and any other process metadata used to create the production must also be included. Color science and LUT stack with all related items must be included.

All script material

Production tracking and related information.

Wrap Drive

The omnibus collection of all textual components of the production history, correspondence, logs, reports, etc. This comprehensive resource is normally delivered on a USB drive or as a part of the editorial drive.

Picture Editorial Delivery Methodology

The production archive should be delivered on LTO-7 or LTO-8 in LTFS 2.2 (or later). The editorial drives may be delivered as HDD
or RAID, or on LTO. The material must not be formatted in a proprietary container (i.e., Retrospect, BRU, Cache-A, etc.). The data must not be encrypted or compressed (except where it is natively compressed, such as the camera files or editorial drives).

Audio archive:

This includes the Sound Editorial Turnover with production audio and post-production audio and the Collated Archive of all master audio. The Sound Editorial Turnover is generally delivered on one or more HDD’s formatted for macOS compatibility. It may also be delivered on LTO-7 or LTO-8 in LTFS 2.2 (or later). It is to be delivered no later than two weeks after the end of the final mix. The Collated Archive is delivered on LTO-7 or LTO-8 in LTFS 2.2 (or later) and is to be delivered within six months of the first release.

1. Sound Editorial Turnover

• Production sound recordings (“sound rolls”), recorded during principle photography (“sync sound”)
• Production sound recordings (“sound rolls”), recorded during any pickups, retakes, reshoots, B-rolls and additional photography (“sync sound”)
• Any audio recorded “wild” (not in sync with action) on location or set. Wild sounds may include such items as nature backgrounds, room tone, effects performed and recorded off camera at location.
• Any other audio recorded specifically for the show
• All production sound logs with circled master takes for the above
• Lined script with production sound notes
• All ADR recorded for the show. This includes Principle ADR and TV/Airline “coverage” ADR
• ADR logs with circled master takes with special callouts for TV/Airline ADR
• OMF files (generally cut production dialog from picture editorial as given to sound editorial)
• LFOA (Last Frame of Action) list
• All Sound Editorial sessions: Dialog, ADR, Effects, Backgrounds, Foley. The session type and version must be clearly noted e.g., ProTools v12.6
• “Skeleton Sessions”-sessions with automation and plug-ins and no media. These are often created from the dialog mix sessions to aid in dubbed dialog mixes.
• Mixing stage equipment: Long-form console used, list of all plug-ins (name and version) and outboard processors used for the mix
• Mixing stage data. This may include such items as voice processing settings, reverb settings and automation files

2. Collated Archive of master audio (conformed to final picture)

• Original mixing stage outputs of all audio elements in all audio formats in the native language (OV). This includes everything that the mix stage created. The mix stage deliverables are detailed in SPE’s delivery specifications for each content type.
• Conformed OV master audio to final home master (IMF or Video Master)
• All dubbed language mixing stage outputs and deliveries from territory. For each language, this is typically the dubbed dialog stem and all printmaster(s) in each audio format
• Conformed dubbed language audio to final home master (IMF or Video Master)

PHYSICAL ARCHIVE SPECIFICATIONS

LTFS Archive

• Physical Archive Medium: LTO-7 or LTO-8
• Tape Format: LTFS Version 2.2.0 or later
• File compression: None
• Data Structure: only 3 folders at the root level of each tape
• ‘metadata’ – used for storing Archive Metadata
• ‘archive’ – used to store the Archive Contents
• ‘checksum’ – used to store the MD5 Hash Manifests 

Standard Metadata Block

The standard metadata block is descriptive metadata which applies to the structure and content of the LTO. The standard metadata block has two parts, (1) the (singular) container part (refers to the LTO) and (2) the (plural) content part (refers to the e ssence data). There will be only one “container” data block per LTO, but there may be several essences on the LTO. The “standard metadata block” contains standard information that is also found on the LTO label, the archival delivery statement when the data is turned over to Sony, the LTO itself (in the metadata root), the GOLD record (Sony’s inventory database), file paths and wrappers. This fictitious example, illustrates metadata for an LTO containing three episodes of THE SHOW:

LABEL: For each LTO label, please include:

Show: THE SHOW S3 Ep 305, 306, 307 (Must include name of production, season and show number)
Media Class: CTM or VAM
Tape: 1 of 1 (as per the tape configuration)
Reel Number: per reel configuration or n/a
Blocking Factor: variable
Data Org: LTFS 2.2
Read Method: n/a
Total Files: 167,481
Total Size: 5.253 TB
Post House: The Post House
Date of LTO Manufacture: 8/21/2020
File type: DPX
Resolution: 3840x2160

If there is space (in most cases, there may not be), please also include the following data:

SHOW_s3_ep305/show_rnd/show_305_4K_20131015_co3_grd03_exr/3840x2160/show_305_4K_20131015_co3_grd03.[0085680- 0110852].dpx SHOW_s3_ep306/show_rnd/show_306_4K_20131015_co3_grd03_exr/3840x2160/show_306_4K_20131015_co3_grd03.[0085680- 0110852].dpx SHOW_s3_ep307/show_rnd/show_307_4K_20131015_co3_grd03_exr/3840x2160/show_307_4K_20131015_co3_grd03.[0085680- 0110852].dpx

LTO On-board Metadata

For each LTO, please provide the following standard metadata block information on the LTO in a folder and in an electronic form (e- mail, ASCII text) accompanying your pre-invoice:

Part 1 - Media metadata: this set of data points describes the physical object and method of data storage. [television example]

Show: THE SHOW S3 Ep 305, Ep 306, Ep307 Barcode: PJ1594
Tape: 1 of 1
Date (production date): 20180315
Tape Type: LTO-7 or LTO-8
Blocking Factor: variable
Data Org: tar per shot
Read Method: LTFS 2.2
Written by: datalinux1: /dev/lto7-1nst
Software used to create: Linux
Total Files: 215,174
Total Size: 5.253 TB
Tar Files: n/a
Post House: The Post House
Date of LTO Manufacture: 20200815

Part 2 - Content Metadata: this section describes each essence data on the LTO – so there should be one for Ep 305, one for Ep306 and one for Ep307. Also note that our standard delivery includes the conformed audio (LtRt stereo, 5.1 and DME).

Show Title: THE SHOW S3 Ep305
Version Info: Broadcast, Uncensored, other as appropriate
Media Class: FPDC (CTM) or IPDC (VAM)
Reel Numbers: n/a
Content Type: full show, graded, with textless (CTM) or full show with textless (VAM).
Source material: raw scans, Baselight conforms (as appropriate)
File type: DPX
Resolution: 3840x2160
Bit Depth: 16bit (or 12bit or 10bit as appropriate)
Color space: Rec709 (or as appropriate)
EOTF: [applicable for HDR deliveries only]
Reference Luminance: [applicable for HDR deliveries only]
Reference White: [as applicable]
Frame range: [0085680-0110852]
Processing: IR channel automated restoration; conformed, titled, color timed (this is used to describe the various processes to which the data has been submitted)

Note: HDR deliveries require metadata augmentation corresponding to SMPTE 2084 (in the form of a CSV file): MAXCLL (CSV) and MAXFALL (CSV) expressing maximum luminance values. This metadata should be included in the metadata root file along with the standard metadata blocks.

Show Title: THE SHOW S3 Ep305
Version Info: Broadcast, Uncensored, other as appropriate
Media Class: conformed audio
Reel Numbers: n/a
Content Type: full show audio as LtRt stereo, 5.1 and DME
Source material: audio source as appropriate
File type: .wav
Resolution: n/a
Bit Depth: n/a
Color space: n/a
EOTF: n/a Reference Luminance: n/a
Reference White: n/a
Frame range: n/a
Processing: n/a

STANDARD METADATA DATA BLOCK on LTFS 2.2 LTO-7 or LTO-8:

(container data)
(SHOW CTM Episode 305 picture)
(SHOW CTM Episode 306 picture)
(SHOW CTM Episode 307 picture)
(SHOW CTM Episode 305 audio)
(SHOW CTM Episode 306 audio)
(SHOW CTM Episode 307 audio)

On the LTO, this would translate to 20 files in LTFS:

Root file: metadata (ASCII):
Container metadata
SHOW CTM Ep 305 metadata (picture)
SHOW CTM Ep 306 metadata (picture)
SHOW CTM Ep 307 metadata (picture)
SHOW CTM Ep 305 metadata (audio)
SHOW CTM Ep 306 metadata (audio)
SHOW CTM Ep 307 metadata (audio)

Root file: Essence
SHOW CTM EP 305 essence (picture)
SHOW CTM EP 306 essence (picture)
SHOW CTM EP 307 essence (picture)
SHOW CTM EP 305 essence (audio)
SHOW CTM EP 306 essence (audio)
SHOW CTM EP 307 essence (audio)

Root file: Checksum:
Container checksum
SHOW CTM EP 305 checksum (picture)
SHOW CTM EP 306 checksum (picture)
SHOW CTM EP 307 checksum (picture)
SHOW CTM EP 305 checksum (audio)
SHOW CTM EP 306 checksum (audio)
SHOW CTM EP 307 checksum (audio)

Normally our television is delivered as longplay, but if data comes by reel, then each reel becomes an essence, and the metadata and checksum files would be created as per the data configuration.

Note that the title used for labels and file paths must be the correct formal title of the show. i.e., THE SHOW or the authorized abbreviation, SHOW. The GPMS name (authorized abbreviation) is preferred for file paths because it is shorter than the natural language name. Please consult the Sony Digital Archive personnel to get the abbreviated name for any show.

APPENDIX A –CONTENT FORMATTING GUIDELINES Overall Content Formatting (For All Content Types)

• Master image elements must be accompanied by audio that matches their frame rate and will sync with the image when clocked at 48.00 kHz.
• Video Frame Rate to be 23.976 fps. Any other frame rates such as 25.00 fps (for example), must be discussed and agreed to by Sony Pictures in writing prior to delivery.
• Aspect Ratio must remain fixed and consistent for the length of the program.
• SDR Video content to fall within Rec.709 legal video signal specifications, including the horizontal and vertical blanking.
• HDR Video content to adhere to Rec.2020 / ST-2084 (PQ) video signal specifications.
• Video content shall contain no crushed black levels, clipped white levels, dropouts, glitches and/or other technical flaws.
• No Time Compression, Time Expansion, Enhancement, Noise Reduction or Electronic Dirt Concealment Processing shall be applied.
• Audio reference level is -20dBFS and the program content shall fall within AES/EBU specifications. No clipping or distortion of the audio content shall be present. A 1kHz tone at -20dBFS is to be placed over the bars in the head leader on all channels.
• Audio files shall be contiguous from the beginning of the head leader to the end of the tail leader. Files must be consolidat ed this way prior to delivery and must conform to the proper spec.
• The beginning of the picture file and the beginning of the audio files must be aligned at 00:59:30:00 and play in perfect sync.
• First Frame Of Picture (FFOP) and First Frame Of Audio (FFOA) must align to the Start of Program, program audio must not precede FFOP.
• Last Frame Of Picture (LFOP) and Last Frame Of Audio (LFOA) must take into consideration any audio ring-out. The LFOP/LFOA is the last frame of visible picture (including logos) OR the last frame of audio ring-out, whichever comes later. Make sure that the 20 seconds of tail leader black begins AFTER the LFOP/LFOA as described here.
  
  

Scaling Requirements

SPE considers their UHD content a premium experience to clients and customers, therefore SPE doesn’t allow upscaling of content to meet higher resolution targets. In instances where upscaling may be necessary, it must be approved in writing by SPE prior to implementation.

In instances where a production records principle photography with a camera that is sub-4K resolution (such as Arri Mini) but with expanded color space, upscaling may be permitted if the scaling occurs from the original camera resolution, original color space (or better) and using a high-quality scaler (available in most professional color grading systems). In comparison, upscaling from constrained SDR Rec.709 color space falls outside of the Sony allowed parameters as it would result in a suboptimal experience.

Directory & File Naming

General:

• File and directory names shall be case-sensitive.
• File and directory names shall consist only of the following 8-bit ASCII characters:
  • Letters A-Z and a-z
  • Numerals 0-9
  • Underscore “_”
  • Period “.”
  • Dash “-”
• Filenames will not contain whitespace and will begin with alphanumeric characters (a-z, A-Z, 0-9)
• All frames shall be regular files and directories (no symbolic references to other files, directories or devices).
• All file and directory paths will be relative paths (no absolutes)

Directory structure:

The directory structure delivered should meet the following specifications:

1. 1)  The project GMDM title should be included in the directory naming.
2. 2)  The GMDM title abbreviation should be included as part of the file and/or sequence directory name.
3. 3)  The aspect ratio should be included in the file or sequence directory name to differentiate between versions.
4. 4)  The directory that contains the image files should be labeled by the pixel resolution (X x Y) of the images.

Audio File naming

Audio sessions and audio files must be named and include their channel assignment as a suffix to the name per the SPE Audio File Naming Convention, available at https://tekzone.spe.sony.com/tekzone. (Click “new user” at the log in screen and fill in the form to gain access.) The GMDM title abbreviation for file naming is also available on Tekzone.

Picture File naming

ProRes file naming shall include a basename prefix that matches the sequence directory name with additional audio and video configuration of the content separated by underscores “_” examples:

/InterviewThe/InterviewThe_DomTxt_IMF9755002_EngLtRt_MELtRt_Eng51_OPME_16x9_240_2398_ProResHD_Archival.mov /CrossingLines/CrossingLines_EP301_DomTxt_EngLtRt_MELtRt_16x9_178_2398.mov

Image file/sequence should meet the following specifications:

1. 1)  Image sequences should include a basename prefix that matches the sequence directory name
2. 2)  Image sequences should have 7-digit number padding

See specification example here:

GMDMname/GMDMabbrev_uhd_185_master/3840x2160/GMDMabbrev_uhd_185_master.[0085680-0216745].dpx GMDMname/GMDMabbrev_hd_178_master/1920x1080/GMDMabbrev_hd_178_master.[0085680-0216745].dpx GMDMname/GMDMabbrev_hdr_185_master/3840x2160/GMDMabbrev_hdr_185_master.[0085680-0216745].tiff GMDMname/ep_301/GMDMabbrev_ep_301_uhd_178_master/3840x2160/GMDMabbrev_ep_301_uhd_178_master.[0085680-0149822].dpx

Actual example for the GMDM feature title “Chappie” and GMDM abbreviation “CHAPP0”:

chappie/chapp0_uhd_185_master/3840x2160/chapp0_uhd_185_master.[0085680-0216745].dpx chappie/chapp0_hd_178_master/1920x1080/chapp0_hd_178_master.[0085680-0216745].dpx chappie/chapp0_hdr_185_master/3840x2160/chapp0_ hdr_185_master.[0085680-0216745].tiff

Actual example for the GMDM television title “The Blacklist” and GMDM abbreviation “BLACKL”: blacklist_the/ep_301/blackl_ep_301_uhd_178_master/3840x2160/ blackl_ep_301_uhd_178_master.[0085680-0149822].dpx

Formatting For Long-Form Content

Head Format:

All files should have embedded record TC into the file container (where supported). Image sequence files should be numbered according to TC frame numbering (included in example below). Formatting for all audio/video files should be as follows. Plea se note the first sequenced frame number is 85680 which is equivalent to 00:59:30:00 in 24 frame-based timecode.

Head Leader (TC)	Head Leader (Frames)
00:59:30:00 - 00:59:33:23	85680 – 85775	Slate
00:59:34:00 - 00:59:36:23	85776 – 85847	Black
00:59:37:00 - 00:59:46:23	85848 – 86087	Test Pattern (Bars) and 1kHz tone at -20dBFS
00:59:47:00 - 00:59:49:23	86088 – 86159	Black
00:59:50:00 - 00:59:50:01	86160	10-pop (picture and audio)
00:59:50:01 - 00:59:59:23	86161 – 86399	Black
01:00:00:00 - 01:00:00:01	86400	First Frame of Picture (FFOP)

Tail Format:

All files should contain 20 seconds of black after the last frame of picture (LFOP), followed by a tail pop and an additional 5 seconds of black:

• The LFOP/LFOA must take into consideration any audio ring-out. The LFOP/LFOA is the last frame of visible picture (including logos) OR the last frame of audio ring-out, whichever comes later. Make sure that the 20 seconds of tail leader black begins AFTER the LFOP/LFOA as described here.

Each texted main picture element requires a corresponding textless replacement. A textless slate (4 seconds), followed by black (3 seconds), should precede all the textless inserts.

In the case where image sequences are delivered, these shall be formatted as non-continuous sequences with accurate TC numbering that matches the appropriate insert TC. Textless image sequences are to only contain the exact frames matching the main progr am, textless image sequences shall not contain handles.

An example is provided below, which includes textless slate and black (continuous sequence 85680-85847), and three textless picture inserts (non-continuous sequences):

chapp0_uhd_185_master_txtls.[0085680-0085775]DPX	Textless Slate
chapp0_uhd_185_master_txtls.[0085776-0085847]DPX	Black
chapp0_uhd_185_master_txtls.[0087378-0087431]DPX	Textless Insert 1
chapp0_uhd_185_master_txtls.[0087846-0088245]DPX	Textless Insert 2
chapp0_uhd_185_master_txtls.[0088517-0089128]DPX	Textless Insert 3
chapp0_uhd_185_master_txtls.[0089139-0089258]DPX	Black

In the case where ProRes is delivered, textless shall be continuous without breaks in timecode and be delivered as part of the main program file also known as “textless at tail”. An EDL must be provided that accurately replaces the program content with the textless.

Formatting For Reel-Based Audio Content

• Audio files must start at exactly at zero feet (i.e., aligned exactly to the left edge of the picture start frame). Typically, this is at an even hour time code location (e.g., 03:00:00:00 for reel 3), but the spec is referred to the picture start frame independent of time code.
• There must be exactly 8 seconds (which is 12 film feet or 192 frames at 24 fps) from the start of the audio file to the FFOA.
• There must be a head pop at exactly 6 seconds (9 film feet) from the start of the audio file, one frame in duration. This pop therefore begins exactly 2 seconds before FFOA. All master tracks must contain this pop.
  
• There is to be a tail pop exactly 2 seconds from the beginning of the LFOA, one frame in duration. All master tracks must contain this pop.
  
• Tones are to be included at the end of the reel ONLY, starting at approximately 30 seconds (45 film feet) after the tail pop.
• Tones for each reel are to be consolidated into the audio files for that reel and are not to be in a separate session (i.e., “Tone Reels” are not permitted).
  
• Audio files should be contiguous from 0’ to end of tones for each reel.
• In order to attain this if not recorded this way on the stage, select this duration and then consolidate. The resultant file will have the proper spec. This must be done prior to delivery.
• Reel changeovers must be sample accurate between the LFOA of the outgoing reel and the FFOA of the incoming reel. This must be tested prior to delivery.
• Track audio files must include their channel assignment as a suffix to the name.
• Each stem type is in its own session, one per reel. No combined stem sessions.
• Audio file start = 0ʼ
  
• Alignment tones at tail, 30 seconds after tail pop.

Reel-Based Audio File Formatting

APPENDIX B –EPISODIC / MOW /MFT MASTER CONTENT FORMATTING

CONTACTS:

Primary Contact: DCS_TITLESTEWARDSHIP@spe.sony.com
Episodic Mastering Contact: TV_Mastering@spe.sony.com

EPISODIC SPECIFIC FORMATTING

• Production logos must be at the tail of the episode, followed by the appropriate Sony Pictures Entertainment logo (see contract for correct logo).

• All commercial blacks are to be pulled between :01 and :02 seconds in length.

• No in-show bumpers (i.e., commercial in or out bumpers).

• Rapid detailed motion credits should be kept to a minimum and within 16x9 (4x3 preferred) center picture safe area. Static

  credit cards are preferable to crawls for reasons of standards conversion.

• Consolidated episodes (i.e., special 1 hour of Seinfeld) must be delivered in original length format (i.e., Two 30 minute

  episodes).

• No Network TV Ratings, Closed Captioning or In-Stereo logos are permitted.

• No voiceovers for bumpers (i.e., "We’ll Be Right Back") in program.

• No address, telephone number or URL references in program.

• Audio sessions and audio files must be named and include their channel assignment as a suffix to the name per the SPE

  Audio File Naming Convention, available at https://tekzone.spe.sony.com/tekzone.

• Home Theater content should be 23.976 fps at 48.00 OR 96.00 kHz. 24.00 fps is accepted. (25.00 fps home theater content

  accepted only with prior arrangement with SPE.)

• For Episodic, Movie of the Week (MOW) and Made For Television (MFT) content; the audio should be monitored through

  standard television speakers or soundbar to ensure it plays well in a home environment, and as such is considered home

  theater audio for the purposes of this document.

• Labeling & Slating:

  o Episode labeling must comply with SPE labeling procedures: the first digit equates to the season of production, followed by the episode number production has assigned. For example, episode #101 is the first episode of the firstseason,episode#210isthetenth episodeofthesecondseason,etc.

o Material must be labeled and slated as follows:

Show Title (English/Native Language) Episode #/Version Production #
Episode Title
Ch1- audio / Ch2- audio / Ch3- audio / Ch4- audio Standard, Version - Runtime: XX:XX
First / Last Frame of Picture (FFOP / LFOP)

APPENDIX C – AUDIO TRACK LAYOUTS Track Layouts by Audio Configuration

Below are the required ProTools session track layouts for each audio configuration. Alternate layouts permitted only with permission of Sony Pictures.

The layouts depict track 1 first and then subsequent tracks follow e.g., track 1, track 2, track 3.......

Commonly Used Audio Configurations

Monaural (M) for home use: dual mono pair. M, M

Standard Stereo (ST) a.k.a. LoRo Note, do NOT use the moniker 2.0--this audio configuration name is not permitted L, R

LtRt surround (DS) Note, do NOT use the moniker 2.0--this audio configuration name is not permitted

Lt, Rt

5.1 (51)

L, R, C, LFE, Ls, Rs
(L, C, R, Ls, Rs, LFE permitted only with prior permission)

5.0 (50) Note, this configuration does not have a LFE channel, silence (MOS) must be used in its stead L, R, C, MOS, Ls, Rs
(L, C, R, Ls, Rs, MOS permitted only with prior permission

7.1 (71) This is the 7.1 Discrete Surround (71DS) SMPTE MCA configuration in common use L, R, C, LFE, Lss, Rss, Lrs, Rrs
L, C, R, Lss, Rss, Lrs, Rrs, LFE permitted only with prior permission)

7.0 (70) Note, this configuration does not have a LFE channel, silence (MOS) must be used in its stead. SMPTE MCA label is 70DS L, R, C, MOS, Lss, Rss, Lrs, Rrs
(L, C, R, Lss, Rss, Lrs, Rrs, MOS permitted only with prior permission)

ATMOS (ATM) (DTSX has the same layout) Note that Dolby and ProTools may have different channel abbreviations for rear surrounds and top surrounds. The SMPTE MCA abbreviations are used here:

Bed(s) L, R, C, LFE, Lss, Rss, Lrs, Rrs, Lts, Rts. If Lts and Rts are not used, MOS is used instead for each. Beds are in 7.1.2 tracks Objects OBJ11-128. Objects are numbered starting from the first slot open after the beds up to 128

IMAX (IX) This is the standard theatrical IMAX configuration, often called IMAX 5.0 or IMAX 5. Ls, Rs, C, L, R,

IMAX (IX60) This is the original IMAX configuration, often called IMAX 6.0 or IMAX 6, which includes a center height for very tall screens. The SMPTE MCA label is 60CH
Ls, Rs, C, L, R, Ch

IMAX 12.0 (IX12) This is the theatrical IMAX immersive audio configuration. The SMPTE MCA label is 120CH L, R, C, Ch, Lrs, Rrs, Lss, Rss, Ltfs, Rtfs, Ltrs, Rtrs

IMAX-E 5.1 (IX51) This is the IMAX 5.1 enhanced configuration for the home, which includes an LFE channel Ls, Rs, C, L, R, LFE

IMAX-E 12.1 (IX121) This is the IMAX 12.1 enhanced configuration for the home, which includes an LFE channel 

L, R, C, Ch, Lrs, Rrs, Lss, Rss, Ltfs, Rtfs, Ltrs, Rtrs, LFE

Legacy Audio Configurations for ProTools Sessions

LCR (3.0) (Legacy content only) L, R, C

LCRS (4.0) (Legacy content only) L, R, C, S

6.1 (6D) (This is discrete Dolby EX and is legacy content only) L, R, C, LFE, Ls, Rs, Cs
(L, C, R, Ls, Rs, Cs, LFE permitted only with prior permission)

“SDDS” (SDS) This is the 7.1 SDDS (71SDS) SMPTE MCA configuration that is legacy and not in common use today L, R, C, LFE, Ls, Rs, Lc, Rc
(L, Lc, C, Rc, R, Ls, Rs, LFE is permitted)

Legacy Audio Configurations for standard DCP

The only legal audio configurations for standard DCP in SMPTE ST 429-2 that are in practical use are Configuration 1 (5.1 with HI and VI) and Configuration 5 (7.1 with HI and VI). There are others for SDDS and 6.1 but these are not widely implemented.

To convey legacy audio configurations in DCP, 5.1 or 7.1 is used, and MOS channels (silence channels with all digital zeros) are used for channels that are not part of the legacy audio configuration

Monaural (M) for DCP: single monaural channel to play from center speaker. MOS, MOS, C, MOS, MOS, MOS

Standard Stereo for DCP: Use 5.1 as follows: L, R, MOS, MOS, MOS, MOS

LCR for DCP: Use 5,1 as follows: L, R, C, MOS, MOS, MOS

Use 5.1 as follows:

Dolby Surround (Dolby A or SR) for DCP: There is no surround decoding in D-Cinema, so this is conveyed as LCRS. Use 5.1 as follows:
L, R, C, MOS, S, S The “S” mono surround should be reduced by 3dB

Dolby EX (6.1) for DCP: Decode the Lst and Rst channels into Ls, Rs, and Cs. Then use 7.1 as follows (Do not use Configuration 2, it is not widely implemented):
L, R, C, MOS, Ls, Rs, Cs, Cs (The rear center surround (Cs) should be reduced by 3dB

SDDS in DCP: (for special screenings only in known SDDS-compatible auditoriums), use Configuration 3 L, R, C, LFE, Ls, Rs, Lc, Rc

Session Layouts for Stems, M&E Stems and M&E with Optional Supersessions:

The below are suggested ProTools session layouts for Stems and M&E with Optional (MESP) supersessions. Track numbers can vary if individual items have more or less tracks

Stems: 5.1:

1-6 Dialog stem
7-12 Group (GP) or Crowd (CD) stem 13-18 Walla (WL) or Group (GP) stem 19-24 Music A (MX_A) stem
25-30 Music B (MX_B) stem
31-36 Effects (FX) stem
37-42 Foley (FL) stem
43-48 Backgrounds (BG) stem

7.1:

1-8 Dialog
9-16 Group (GP) or Crowd (CD) stem 17-24 Walla (WL) or Group (GP) stem 25-32 Music A (MX_A) stem
33-40 Music B (MX_B) stem
41-48 Effects (FX) stem
49-56 Foley (FL) stem
57-64 Backgrounds (BG) stem

Atmos:

For Atmos, put the stem beds (in 7.1.2 tracks) first, and put the objects after the beds in the same order. See figure.

Dialog stem bed
Group (GP) or Crowd (CD) stem bed Walla (WL) or Group (GP) stem bed Music A (MX_A) stem bed
Music B (MX_B) stem bed
Effects (FX) stem bed
Foley (FL) stem bed
Backgrounds (BG) stem bed

Dialog (DX) objects
Group (GP) or Crowd (CD) objects Walla (WL) or Group (GP) objects Music A (MX_A) objects
Music B (MX_B) objects
Effects (FX) objects
Foley (FL) objects
Backgrounds (BG) objects 

Music and Effects Supersessions (MESP): 5.1 MESP:

1-7 6+1 Main M&E (ME) (This is 5.1 plus mono dialog guide (DXG), track 7 has Dialog Guide (DXG) (crash down of dialog stem) 8-14 Optional A (OPME_A)
15-21 Optional B (OPME_B)
22-27 Optional C (OPME C)

28-34 Optional D (OPME_D)

7.1 MESP:

1-8 8+1 Main M&E (ME) (This is 7.1 plus mono dialog guide (DXG), track 9 has Dialog Guide (DXG) (crash down of dialog stem) 10-18 Optional A (OPME_A)
19-27 Optional B (OPME_B)
28-36 Optional C (OPME C)

37-45 Optional D (OPME_D)

LtRt MESP

1-2 LtRt Main M&E (ME) (fold-down through surround encoder of 5.1 Main M&E) 3 Mono Optional 1 (simple crash down of chosen multichannel optionals)
4 Mono Optional 2 (simple crash down of chosen multichannel optionals)
5 Mono Dialog Guide (DXG) (simple crash down of dialog stem)

Atmos MESP:

For Atmos, put the M&E and Optional beds (in 7.1.2 tracks) first, and put the stem objects after the beds in the same order as the stems supersession. See figure.

Main M&E (ME) Dialog Guide (DXG) Optional A (OPME_A) Optional B (OPME_B) Optional C (OPME C) Optional D (OPME_D)

Dialog (DX) objects (muted except for ones intended as optionals) Group (GP) or Crowd (CD) objects
Walla (WL) or Group (GP) objects
Music A (MX_A) objects

Music B (MX_B) objects Effects (FX) objects
Foley (FL) objects Backgrounds (BG) objects 

M&E Stems (MESMSP): 5.1:

1-6 Fill M&E Stem (Dialog stem with dialog muted and fill added)
7-12 Group (GP) or Crowd (CD) M&E Stem (Subtract anything that is put to an optional) 13-18 Walla (WL) or Group (GP) M&E Stem (Subtract anything that is put to an optional) 19-24 Music A (MX_A) M&E Stem (Subtract anything that is put to an optional)
25-30 Music B (MX_B) M&E Stem (Subtract anything that is put to an optional)
31-36 Effects (FX)M&E Stem (usually same as regular FX stem)
37-42 Foley (FL) M&E Stem (usually same as regular FL stem)
43-48 Backgrounds (BG) M&E Stem (usually same as regular BG stem)

7.1:

1-8 Fill M&E Stem (Dialog stem with dialog muted and fill added)
9-16 Group (GP) or Crowd (CD) M&E Stem (Subtract anything that is put to an optional) 17-24 Walla (WL) or Group (GP) M&E Stem (Subtract anything that is put to an optional) 25-32 Music A (MX_A) M&E Stem (Subtract anything that is put to an optional)
33-40 Music B (MX_B) M&E Stem (Subtract anything that is put to an optional)
41-48 Effects (FX) (usually same as regular FX stem)
49-56 Foley (FL) (usually same as regular FL stem)
57-64 Backgrounds (BG) (usually same as regular BG stem)

Atmos:

For Atmos, put the stem beds (in 7.1.2 tracks) first, and put the objects after the beds in the same order. See figure.

Fill M&E Stem bed (Dialog stem with dialog muted and fill added)
Group (GP) or Crowd (CD) M&E Stem bed (Subtract anything that is put to an optional) Walla (WL) or Group (GP) M&E Stem bed (Subtract anything that is put to an optional) Music A (MX_A) M&E Stem bed (Subtract anything that is put to an optional)
Music B (MX_B) M&E Stem bed (Subtract anything that is put to an optional)
Effects (FX) stem bed (usually same as regular FX stem bed)
Foley (FL) stem bed (usually same as regular FL stem bed)
Backgrounds (BG) stem bed (usually same as regular FX stem bed)

Dialog (DX) objects
Group (GP) or Crowd (CD) objects Walla (WL) or Group (GP) objects Music A (MX_A) objects
Music B (MX_B) objects
Effects (FX) objects
Foley (FL) objects
Backgrounds (BG) objects 

Audio Layouts for MOV Containers

Discrete audio must always be delivered. Audio delivered within a MOV file is for reference only and does not substitute for discrete audio delivery.

• Formatting for audio delivered with a ProRes video: .wav in .mov container
• The Frame Rate of audio in a .mov file must match frame rate of the .mov picture.
• If a non-native frame rate .mov picture has been agreed for delivery the audio in the .mov container should be pitch corrected. Note, no pitch correction is necessary between 23.976 and 24.00 fps.

Audio Channel Layout for MOV container for Feature content

• Channel 1 = LtRt Original Language Left Total (Surround encoded)
• Channel 2 = LtRt Original Language Right Total (Surround encoded)

Audio Channel Layouts for MOV container for Episodic content only:

Configuration 1 (Preferred):

• Channel 1 = LtRt Original Language Left Total (Surround encoded)
• Channel 2 = LtRt Original Language Right Total (Surround encoded)
• Channel 3 = LtRt Music & Effects Left Total (Surround encoded)
• Channel 4 = LtRt Music & Effects Right Total (Surround encoded)
• Channel 5 = 5.1 Original Language Left
• Channel 6 = 5.1 Original Language Right
• Channel 7 = 5.1 Original Language Center
• Channel 8 = 5.1 Original Language Subwoofer
• Channel 9 = 5.1 Original Language Left Surround
• Channel 10 = 5.1 Original Language Right Surround
• Channel 11 = 5.1 Music & Effects Left
• Channel 12 = 5.1 Music & Effects Right
• Channel 13 = 5.1 Music & Effects Center
• Channel 14 = 5.1 Music & Effects Subwoofer
• Channel 15 = 5.1 Music & Effects Left Surround
• Channel 16 = 5.1 Music & Effects Right Surround

Configuration 2:

• Channel 1 = LtRt Original Language Left Total (Surround encoded)
• Channel 2 = LtRt Original Language Right Total (Surround encoded)
• Channel 3 = LtRt Music & Effects Left Total (Surround encoded)
• Channel 4 = LtRt Music & Effects Right Total (Surround encoded)

Configuration 3:

• Channel 1 = LtRt Original Language Left Total (Surround encoded)
• Channel 2 = LtRt Original Language Right Total (Surround encoded)

APPENDIX D –MUSIC AND EFFECTS STEMS SPECIFICATIONS

PREFACE:

M&E stems are to be delivered in addition to the mixed fully filled M&E, multichannel optionals and fully filled Effects Stem.
M&E Stem configuration should match the main Stem configuration of the Domestic mix, with the Fill M&E stem taking the place of

the Dialog stem

DESCRIPTION:

M&E Stems are the individual stems that make up the fully-filled music and effects element. The M&E stems are defined as follows:

Fill M&E Stem: This is all of the fill that needs to be added to the music and effects stems to create the filled M&E. It is typically the dialog stem with all dialog muted (leaving only production effects), plus any fill that was created to cover areas where production effects were lost when the dialog was muted.

Group M&E Stem: This is the Group stem with any specifics removed (i.e., discernable callouts, etc.). This is delivered only if a Group stem was created for the title.

Crowd M&E Stem: This is the Crowd stem with any specifics removed (i.e., discernable callouts, etc.) This is delivered only if a Crowd stem was created for the title.

Walla M&E Stem: This is the Walla stem with any specifics removed (i.e., discernable dialog, etc.) This is delivered only if a Walla stem was created for the title.

Foley M&E Stem: This is generally the same as the regular Foley Stem, but may have been updated depending on decisions made during the M&E process. It is renamed and delivered with the M&E stems

Background M&E Stem: This is generally the same as the regular BG Stem, renamed and delivered with the M&E stems Effects M&E stem: This is generally the same as the regular FX Stem, renamed and delivered with the M&E stems

Music M&E stem: This is generally the same as the regular MX Stem, renamed and delivered with the M&E stems. However, in some cases this may be modified to remove vocals or an entire piece of music or song that is then put into an optional. This allows the vocal to be dubbed or the song replaced by music from a particular territory.

Any other stem that was created for the title that is part of the M&E would be included similarly to the above.

SPECIFICATIONS:

Theatrical M&E stems: ProTools 12 or above, 48.00 kHz or 96.00 kHz at 24.00 fps (47.952 kHz or 95.904 kHz at 23.976 fps is equivalent). 48.00 kHz or 96.00 kHz at 23.976 fps is accepted.

Home Theater M&E stems: ProTools 12 or above, 48.00 kHz or 96.00 kHz at 23.976 fps

FORMATTING:

M&E stems are delivered in their own ProTools supersession that contains all elements, placed at hour=reel on the timeline. If the project is long form, the M&E stems supersession is formatted to start at the beginning of the picture file (e.g., 00:59:30:00).

M&E Stem configuration should match the main Stem configuration of the Domestic mix, with the Fill M&E stem taking the place of the Dialog stem

NOTE, optionals are not delivered in the M&E stem supersession. Optionals are delivered in the M&E supersession.

DELIVERY:

All titles must deliver a set of 5.1 M&E stems. A typical example is below, other stems are possible on a per-title basis:

5.1 Fill M&E Stem
5.1 Crowd or Group M&E Stem (if created for the title). Depending on the content, this may have specific dialog removed for the M&E 5.1 Walla M&E Stem (if created for the title)
5.1 Background M&E Stem
5.1 Foley M&E Stem
5.1 Effects M&E Stem
5.1 Music M&E Stem

If other formats are created for the title, deliver to the same pattern for:

7.1
Atmos
IMAX 5.0
IMAX 12.0
DTS:X
Auro 11.1
Auromax

FILE NAMING AND GOLD VALUES:

Theatrical (TH) and home theater (HT) are in the “usage” field

In order to clearly differentiate M&E stems supersession from the stems that make up the printmaster, the “Audio Element Type” abbreviation is MESM. Do not use ME_SM.

The “Audio Content” abbreviation precedes the element abbreviation and is separated by an underscore. The abbreviations are the same, with the addition of “FILL”

The individual M&E stems within the supersession are named in this style:

TH_FILL_MESM
TH_FX_MESM
TH_MX_MESM

HT_FILL_MESM
HT_FX_MESM
HT_MX_MESM

Item

M&E Stems Supersession

Item

M&E Background stem
M&E Background and Foley stem M&E Crowd Stem
M&E Effects Stem
M&E Extra Stem
M&E Fill Stem
M&E Foley Stem
M&E Group Stem
M&E Laughs Stem
M&E Music Stem
M&E Sound Design Stem
M&E Walla Stem

File Name Gold Element Audio Type Value

MESMSP M&E Stems Supersession

File Name Gold Track Audio Type Value

BG_MESM M&E BG Stem BG_FOL_MESM M&E BG/Foley Stem CRD_MESM M&E Crowd Stem

FX_MESM
EX_MESM M&E Extra Stem FILL_MESM M&E Fill Stem FOL_MESM M&E Foley Stem GRP_MESM M&E Group Stem LF_MESM M&E Laughs Stem

M&E Effects Stem

MX_MESM
DZN_MESM M&E SND Design Stem WL_MESM M&E Walla Stem

M&E Music Stem

APPENDIX E – GLOSSARY OF TERMS

PICTURE-RELATED TERMS

3DDCDM: 3D Digital Cinema Distribution Master- The 3DDCDM is a DCI-compliant element that is the parent to a 3D version of the show. Productions with a 3D version must be delivered to Sony’s designated distribution partner (Deluxe). After the feature has been exploited, this element must be delivered to Sony Digital Archive. If there are alternate versions, one version of each must be delivered. This data is delivered as X’Y’Z’ TIFFs. and must include all textless background material.

Metadata: Standard per Documentation and Labeling Requirements document. Identification of the type of 3D and any special technical characteristics must be included.

3DDCP: 3D Digital Cinema Package - The 3DDCP is a DCI-compliant element that is the theatrical display element for digital cinema. This element is normally created by Sony’s designated distribution partner (Deluxe). One full show unencrypted SMPTE DCP of the original theatrical version must be delivered to the Sony Digital Archive. If there are alternate versions, one version of each must be delivered, and must include all textless background material.
Metadata: Standard per Documentation and Labeling Requirements document.

CTM: Color Timed Master- is the primary conformed deliverable for television. The CTM is the final, color-corrected, legal and talent-approved, broadcast-ready full show with textless component and any required inserts and logos, at the highest resolution and bit depth available. The “full show” includes slate, head and tail leader, original approved main title and end credits, all alternate main title elements, textless units, alternate versions shots or scenes. When there are two versions of an episode, both versions must be delivered. All re-caps and previews must be included. This data must be delivered in P3 D65 or Rec709 color in the form of DPX files. If the show is derived from an ACES workflow, EXR files would be the optimal delivery. The CTM should also contain the conformed audio (LtRt, 5.1, DME) as a reference. This element includes all color correction and complete picture in a fully integrated, audio- conformed state. The CTM may be delivered in DPX (or EXR files when in ACES), and it is finished in HD, UHD or 4K resolution per Sony’s requirements. The CTM should be delivered to Sony Digital Archive within a month of the date of final show broadcast. Metadata: Standard per Documentation and Labeling Requirements document.

DCDM: Digital Cinema Distribution Master- The DCDM is a DCI-compliant element that is the parent to digital cinema version of a feature. The DCDM must be delivered to Sony’s designated distribution partner (Deluxe). After the feature has been expl oited, this element must be delivered to Sony Digital Archive. If there are alternate versions, each must be delivered. This data is delivered as X’Y’Z’ TIFFs and must include all textless background material.

Metadata: Standard per Documentation and Labeling Requirements document.

DCP: Digital Cinema Package- The DCP is a DCI-compliant element that is the theatrical display element for digital cinema. This element is normally created by Sony’s designated distribution partner (Deluxe). One full show unencrypted SMPTE DCP of the original theatrical version must be delivered to the Sony Digital Archive. If there are alternate versions, one version of each must be delivered, and must include all textless background material.

Metadata: Standard per Documentation and Labeling Requirements document.

DI: Digital Intermediate- the primary deliverable for features is a fully finished, full show version of the feature including all textless background components, uncompressed and unprocessed, at the highest resolution and bit depth available. The “full show” includes slate, head and tail leader, original theatrical main title and end credits, all alternate main title elements, textless units, alternate versions (director’s or extended cut) shots or scenes. For example, a fully delivered primary data delivery might include the full theatrical show and textless as one set of LTOs, and a second set of LTOs for an extended version. This data is generally P3 D65 or Rec709 color delivered in the form of DPX files. If the DI is derived from an ACES workflow, EXR files would be the optimal delivery. This component is a color-corrected master. The DI deliverable should also contain the conformed audio (LtRt, 5.1, DME, in .wav) as a reference.

Metadata: Standard per Documentation and Labeling Requirements document. In the case of material produced in ACES, all transforms, LUTs or other devices must be included in text files.

DSM: Digital Source Master- is a conformed, cleaned master of the feature created at the highest bit depth and fullest sensor dimensions (i.e., in some cases more than 4K). This element is colored, but with color not baked in but provided in the form of a LUT. Typically, the element may be in 16bit DPX or EXR, and in P3D65, camera log or other wide gamut color space. This element is generally composed of camera exports and uncorrected units such as VFX and opticals. The element is not sized or formatted for broadcast and may include files of different sizes (for example, camera files might be 4096x2304, while VFX might be 3820x2160).

This element is basically a rough conform based on the most original or raw data available. It is the parent of elements such as the DI, DCDM, and 4K HV masters. It can be delivered as a fully textless version of the show, but if delivered as texted, it must also include textless for the texted sections. The DSM should be delivered to Sony Digital Archive along with the DI within one month of t he release of the feature.

Metadata: Standard per Documentation and Labeling Requirements document, but also includes all transforms, LUTs, EDLs, CDLs, HDR documentation (where applicable) as well as Baselight scenes (or Resolve sessions) that were used to modify the dat a to create downstream products.

FPDC: Final Picture Data Clone- The FPDC is the primary restoration deliverable; it is the final, talent-approved, distribution- ready full show with textless component and any required inserts. This element includes all color correction and complete picture in a fully integrated, audio-conformed state. The FPDC may be delivered in DPX or EXR files, and it should be finished at HD, UHD or 4K resolution. The FPDC should also contain the conformed audio (LtRt, 5.1, DME,) as a reference. The FPDC should be delivered to Sony Digital Archive within a week following the completion of the restoration project.
Metadata: Standard per Documentation and Labeling Requirements document.

HDRDM: High Dynamic Range Digital Master- The HDRDM is a deliverable which may be additionally specified by the Sony production contract. The HDRDM is the equivalent of the CTM, DI or FPDC, but graded for High Dynamic Range display. The HDRDM is only produced in cases where Sony specifically commissions its creation. This element includes all color correction and complete picture in a fully integrated, audio-conformed state, and must include the textless component. The HDRDM is Rec.2020 / ST-2084 (PQ) high dynamic range color space, formatted UHD, and delivered as TIFF image sequences. HDR data must be accompanied by specific additional metadata (EOTF, Reference Luminance, Reference White, MAXCLL, MAXFALL CSV files). Consult Sony Digital Archive for instructions on this requirement.

Metadata: Standard per Documentation and Labeling Requirements document.

IPDC: Intermediate Picture Data Clone- This element is a fully conformed version of the data; it should be cleaned and color- corrected, without the color baked in, but with accompanying color metadata. Normally this is a 16bit data resource and represents the highest resolution and widest dynamic range extracted from the raw scans. It is not necessarily sized for final delivery – it may have a resolution characteristic that reflects the sensor rather than a 4K or UHD size. This element is sometimes referred to as a “source file.” It may be in P3 or in a wide-gamut log space, depending on workflow. IPDCs are generally in DPX format unless derived from an ACES workflow, in which case they may be in the form of EXR files. The IPDC deliverable is not constrained by the EXR and DPX templates outlined in SPE HD/UHD Master Archive Delivery Specifications document. Preferably, the IPDC is delivered as a textlesselement,butincaseswherethescannedelementhastext,thedeliveryrequiresthecorrespondingtextlesselements. The IPDC should be delivered with the FPDC to Sony Digital Archive within a week following the completion of the restoration project.

Production Archive - Includes all work product and applies to both theatrical and television productions. Delivery of the full production archive must include raw camera files, dailies, assemblies, effects, titles, opticals, lifts, editorial drives, EDLs, CDLs, all documentation, scripts, and other records of the production (including wrap drive) and must contain all metadata germane to the various data resources. It also must include the Sound Editorial Turnover, and Audio Collated Archive as specified in these technical specifications. This production material is not constrained by the specifications in SPE TV Master File Delivery Specifications, and this material does not require the Standard Metadata Block. This data must be delivered on LTO-7 or LTO-8 in LTFS 2.2 (or later). This data cannot be delivered in a proprietary format, such as Retrospect or BRU. When the production archive is ready to be delivered, the Digital Archive must be informed, and the LTOs that comprise the production archive will be moved to Sony Digital Archive for disposition. The data supplier must not purge any material until Sony Digital Archive has validated the delivery. The production archive must be delivered within one month after the release of the feature.

Metadata: All production documentation, LUTs, transforms and EDLs must be included and their location in the material identified.

RSC: Raw Scans Clone- In cases where the original or source element for the restoration is film, the first deliverable is the raw scans. These should be completely raw and free of processing of any kind (stabilization, sharpening, dust-busting, color correction, grain adjustment). Normally, these scans are in the form of 16bit DPX files, but TIFF, EXR or ADX files are equally acceptable. In cases where the scan implements ACES, the reference render transform and any additional metadata must be included in the delivery. The raw scans should be delivered to Sony Digital Archive at the completion of the restoration project.

Metadata: Standard per Documentation and Labeling Requirements document.

Source Files (SRC) – The SRC is a specific configuration of IPDC based on raw scans that have been restored – that is, a conformed element that has been cleaned and repaired to the point where it can serve as the data matrix for the remainder of workflow processes on the way to a final data set. Restoration work and QC fixes are integrated into the SRC. If titles or graphics ar e created in restoration, these are included in the SRC. The SRC is not color corrected. The SRC must be accompanied by all available Baselight scenes (or documentation of a similar working environment such as Resolve sessions) and EDLs.

Metadata: Standard per Documentation and Labeling Requirements document.

VAM: Video Assembled Master - is the second conformed deliverable. The VAM is an intermediate element that is created at the highest resolution and widest color range used for creation of the program. The VAM is a conformed, cleaned master of a television episode or MOW created at the highest bit depth and fullest sensor dimensions (i.e., in some cases more than 4K). This element is colored, but with color not baked in but provided in the form of a LUT. Typically, the element is 16bit DPX or EXR, and in P3D65, camera log or other wide gamut color space. This element is generally composed of camera exports and uncorrected units such as VFX and opticals. The element is not sized or formatted for broadcast and may include files of different sizes (for example, camera files might be 4096x2304, while VFX might be 3840x2160). This element is a rough conform based on the most original or data available. It is the parent of elements such as the 4K HV masters. It can be delivered as a fully textless version of the show, but if delivered as texted, it must also include textless for the texted sections. The VAM deliverable is not constrained by the EXR and DPX templates outlined in the SPE HD/UHD Master Archive Delivery Specifications document. For example, the VAM may have higher than 4K resolution. The VAM should be delivered to Sony Digital Archive along with the CTM within one month of the broadcast or streaming of the final episode of the series.

Metadata: Standard per Documentation and Labeling Requirements document. AUDIO ELEMENTS

DME (Dialogue Music and Effects) (a.k.a. split track) – A reduction of the stems into a six-track element containing LtRt DX, LtRt MX and LtRt FX. The FX is a combination of BG, FL and FX. This is generally used for servicing needs such as advertising and menus and can also be used for certain edited versions.

Fully-Filled Effects Stem (FFX) – A stem that is the composite of all M&E Stems except the music. A FFX stem contains all of the fill and all of the effects (BG, FL, FX). Traditionally, the Effects stem was filled to create a FFX stem, and then this was mixed with the music to create the Main M&E. The advantage of the FFX stem today is the ability to create new M&E’s easily if a title is later distributed to a medium or market where certain music is not cleared. This new M&E can then be used to create dubs for the ne w medium.

Music and Effects (ME) (a.k.a. Main M&E) – This is the soundtrack without the Dialog and is used to create dubbed language elements. It is the combination of the Music and Effects stems with additional material added to fill (substitute for) production effects in areas where dialog was removed. Depending on the soundtrack content, some content may be removed from the Main M&E and put into an “M&E optional”, which can be used as-is or dubbed. A Filled M&E can be created from M&E stems or by mixing the MX Stem with the Filled-Effects (FFX) stem.

Music and Effects Stems (MESM) – Stems that are used to create the Main M&E. These are created from the Printmaster Stems and mirror them in overall layout, but are modified as needed to create the Main M&E. The Dialog Stem is “flipped” to remove all of the dialog, and “fill” is substituted for the production effects lost when removing the dialog. This stem is renamed “M&E Fill Stem.” If any content is pulled out into an optional, it is also removed from the corresponding MESM. For example, if a vocal is put to an Optional, it is removed from the MX MESM. See APPENDIX D –MUSIC AND EFFECTS STEMS SPECIFICATIONS for details on creating and naming M&E stems.

Music and Effects Supersession (MESP) – This is a ProTools session containing the Main M&E, all of the Optionals and a Dialog Guide. By specific request it may also include the Dialog Stem. The MESP is the preferred delivery method rather than splitting up the Main M&E and the Optionals into separate sessions.

Optional (OP) (a.k.a. M&E Optional) – This is an element that contains content from the soundtrack that can either be dubbed or used as-is for localization. Examples of optional material are: actor efforts, dialog in a language native to a location, vocals for songs. More than one Optional may be created, each containing different optional material. Each Optional is labeled with a letter or number, and generally matches the audio configuration of the Main M&E. Any content that is in an Optional must not be in the Main M&E-the Main M&E and all Optionals must be able to play simultaneously with no overlap or common material.

Predub (PD) – Predubs are the product of the first round of mixing. All of the tracks that have been created by sound editorial are combined into manageable, fully-mixed elements in preparation for the final mix. For example, Effects Predubs are created by type, such as cars, helicopters, doors, room backgrounds, outdoor backgrounds, Foley footsteps, Foley props. Dialog is predubbed into principal and ancillary characters, and the ADR is predubbed to match the dialog it replaces or adds to. Music is generally not predubbed. The predubs are then fed to the final mix, where the Stems are created.

Printmaster (PM) – The combination of the stems into a single mixed element, which is used to create the final distribution master, such as a DCP, IMF or video master. The name derives from “printing master”, which was the name for the composite mix used as the source for the sound on a film print. Printmasters are traditionally in reel lengths but can be full length.

Stem (SM) (a.k.a. Printmaster Stem) – A stem is a fully-mixed audio element that is the output of the final mix automation and processing for a constituent part of the soundtrack. For example, the final mix of the dialog is the Dialog Stem (DXSM), the final mix of the music is the Music Stem (MXSM), and the final mix of the effects is the Effects Stem (FXSM). These stems are mixed in the intended native format (e.g., 5.1, Atmos). They are deliverables on their own, and are also combined to create Printmasters, Music & Effects and other Stems in the various audio configurations required for the final deliverables. The Stems are delivered together in one ProTools session.

Wide Stems – While the basic components of a soundtrack are Dialog, Music and Effects, it is best to split these up in finer components so that they are the most usable for the future. These are called “Wide Stems”. Typically, dialog is further split up into Dialog (DX), Crowd (CD) and Walla (WL). Music may have a Music A (MX_A) and Music B (MX_B), which differentiates source music and score music. Effects are further split into Backgrounds (BG), Foley (FL) and Effects (FX). Each of these is a fully-mixed Stem. SPE specifies that wide stems are delivered on each project, which are together in one ProTools session.

AUDIO-TERMINOLOGY AND FORMATS

Audio Channel (a.k.a. "Channel") – a distinct collection of sequenced audio samples that are intended for delivery to a single loudspeaker or other reproduction device

Audio Configuration (a.k.a. Soundfield Group) – a collection (group) of Audio Channels meant to be played out simultaneously through a given Soundfield Configuration. In general, there is one audio channel for each loudspeaker, array of loudspeakers, or other sound reproducer. An example of an array of loudspeakers are the surround loudspeakers on the wall of a traditional movie theater.

Dual Mono (DM) – In some applications, mono can be conveyed as “Dual Mono”, with two identical channels of mono audio feeding two loudspeakers or other sound reproducers. While this might appear to be Standard Stereo, it is not because the two Audio Channels are identical.

IMAX 5.0 – The classic IMAX system. It has similar LCR front channels and two surrounds as 5.1 but does not have a dedicated LFE channel-the subwoofer information is derived via bass management (picking off frequencies below 70Hz from the main speakers and steering them to the subwoofer). The two surrounds are in the rear corners of the theater and are very large, essentially the same as the screen loudspeakers. The format actually offers eight channels, most notably a center height speaker above the tall scree n, which is occasionally used, and the other two are rarely used today, hence the moniker “5.0.” IMAX is a cinema format. Recently, IMAX has introduced IMAX Enhanced, which allows the IMAX mix to be played on a home theater system.

IMAX 12.0 – The IMAX Immersive Sound system. This is the classic IMAX system with additional loudspeakers on the walls and ceiling to convey the height information, all of which are full range loudspeakers. IMAX 12.0 is a channel-based system and does not use Audio Objects or an Immersive Audio Renderer. If Audio Objects were used in the creation of the soundtrack, they are pre- rendered into channels for the IMAX 12.0 delivery.

IMAX Enhanced – The home IMAX delivery system. For audio, an LFE channel is added to the theatrical IMAX 5.0 or 12.0 track by bandpassing at 70Hz as a cinema IMAX system would do, making them 5.1 and 12.1 respectively. IMAX Enhanced audio is encoded with DTS:X and delivered to the home.

LtRt (a.k.a. Stereo Surround) – An Audio Configuration with two Audio Channels (Left total and Right total) that contain encoded surround information. When played through a modern surround decoder, it yields six Audio Channels that can be played through a 5.1 sound system. LtRt is the preferred two channel delivery for SPE because the encoded surround information can be perceived by the listener regardless of the playback environment-it does not have to be decoded to be perceived. LtRt plays well through a Standard Stereo system, and the surround information enhances the experience, whereas LoRo audio can only be reproduced as simple stereo.

Monaural (M) (a.k.a. “Mono”) – A Soundfield Configuration consisting of a single loudspeaker. In cinema this is a single loudspeaker behind the screen. A mono Audio Configuration has one Audio Channel.

ProTools – The Digital Audio Workstation (DAW) platform from Avid Technologies. The ProTools session format with .wav audio files is the Sony Pictures preferred audio delivery format.

Sony Dynamic Digital Sound (SDDS) – A legacy Soundfield Configuration that is similar to 5.1 and adds a Left Center (Lc) and Right Center (Rc) loudspeaker behind the screen. An SDDS Audio Configuration contains eight corresponding Audio Channels. Note that though there are eight channels and is sometimes mistakenly called 7.1, this is a distinctly different format than 7.1 a nd they are not interchangeable. There are no SDDS home theater systems, it is strictly a cinema system. SDDS was primarily active between 1993 and 2007, some SDDS releases continued into the next decade but were 5.1 only, the Lc and Rc channels were not used.

Soundfield – the acoustical space created by simultaneously reproducing one or more audio channels
Soundfield Configuration – a defined arrangement or configuration of loudspeakers or other sound reproducers that convey the

intended Soundfield.

Standard Stereo (ST) (a.k.a. LoRo) – A Soundfield Configuration with left and right loudspeakers or other sound reproducers, which is intended to convey a front soundstage and has no surrounds. A Standard Stereo Audio Configuration has two unique Audio Channels (left and right) that contain no surround information.

5.1 – A Soundfield Configuration with Left (L), Center (C), Right (R), Left Surround (Ls), Right Surround (Rs), and Low Frequency Effects (LFE) loudspeakers. A 5.1 Audio Configuration contains six corresponding Audio Channels. In Cinema, the L, C, R loudspeakers are usually 2 to 4-way loudspeaker stacks behind the screen, and the Ls and Rs are generally arrays of smaller loudspeakers on the side and rear walls of the theater. The LFE channel is played through a number of subwoofers placed under the screen. In a typical home system, there are usually five individual loudspeaker boxes, each of which may be 2 or 3-way. The center speaker is below or above the video monitor, the L and R are offset 30 degrees from center, and the surrounds are 120 degrees from center. The subwoofer is usually a single cabinet placed near the front; larger systems may have multiple subwoofers.

7.1 (a.k.a. 7.1DS) – A Soundfield Configuration similar to 5.1 but adds two surrounds in order to split side and rear. It has L, C, R, Left Side Surround (Lss), Right Side Surround (Rss), Left Rear Surround (Lrs) and Right Rear Surround (Rrs). In Cinema, the L ss and Rss are on the walls of the theater, and the Lrs and Rrs are on the rear wall on either side of the projector. In a typical home system, the L, C, R, and subwoofer are the same as a 5.1 system, the side surrounds are 90 to 120 degrees offset, and the rear surrounds by offset 150-180 degrees depending on the room.

.wav (a.k.a. “Wave file”) – This stands for “Waveform Audio File Format”, which is a Pulse Code Modulation (PCM) audio format originally created by IBM and Microsoft. This was later modified to include metadata in the file header and called “Broadcast Wave Format” (BWF). This is a published specification, and .wav files are interoperable between many different platforms, making it the current industry choice for audio files. All audio files delivered to SPE must be .wav files.

AUDIO-IMMERSIVE AUDIO TERMINOLOGY

ATMOS® – The proprietary Immersive Audio system created by Dolby®. An Atmos sound system has a 7.1 Base Layer and two rows of Top Layer speakers overhead. It does not have Height Layer speakers. In a Cinema system, there are two rows of overhead loudspeakers on the ceiling that span the depth of the auditorium, which are driven by the Left Top Surround (Lts) and Right Top Surround (Rts) channels. All loudspeakers can be individually addressed via Audio Objects. The surround loudspeakers generally have additional subwoofers to bass manage and extend the low frequency range of the surround speakers to more closely match t he screen speakers. Dolby has its own proprietary Atmos renderer as well. A typical home system would be 7.1 with four overhead speakers, which is called 7.1.4. The four overhead speakers are in two rows and essentially mimic the role of the overhead speakers in a cinema auditorium. Other configurations using more top layer speakers and/or the addition of “wide” speakers are defined, such as 9.1.6. Atmos audio is carried in a proprietary bitstream that is similar to IAB.

Audio Object (a.k.a. “Object”) – A segment of audio with associated metadata describing positional and other properties which may vary with time that direct the audio within the Soundfield.

Immersive Audio – Audio that is designed to play through an Immersive Sound System. Immersive Audio consists of Audio Channels and/or Audio Objects, which can be utilized by the content creator to design a soundtrack with sounds above and around the listener. Immersive audio combines metadata with audio essence, which allows the Audio Objects and Audio Channels in the soundtrack to be rendered successfully into multiple Loudspeaker configurations. Note that Immersive Audio does not have to use Audio Objects to be considered Immersive Audio. Immersive Audio requires an Immersive Audio Renderer to play into a sound system.

Immersive Audio Bed (a.k.a. “Bed”) – An Audio Configuration, such as 5.1, 7.1 or 9.1, that serves as the foundation of an immersive soundtrack mix.

Immersive Audio Bitstream (IAB) – An interoperable bitstream designed to carry Immersive Audio as defined in SMPTE ST 2098-2. IAB can carry 128 items, which can be divided up between Immersive Audio Beds and Audio Objects. A typical arrangement has a single 10 channel Audio Bed and up to 118 Audio Objects.

Immersive Audio Configuration – The Audio Configuration of the Immersive Audio Bed e.g., 9.1, 7.1
Immersive Audio Renderer – A DSP device that has been programmed to receive and interpret channel and object metadata and

directs both in real time into the set of loudspeakers or other reproduction device that is attached to the renderer. Immersive Sound – Sound that has height in addition to 7.1 or 5.1 and pinpoint location of individual sounds.

Immersive Soundfield Configuration – Defined arrangement or configuration of Base Layer Loudspeakers, plus Height Layer and/or Top Layer Loudspeakers, that conveys the intended Immersive Soundfield. An example is 7.1.4, which is 7.1 with four Top Layer speakers.

Immersive Sound System – A sound system designed to play immersive audio. In an Immersive Sound System, there is the “Base Layer” of loudspeakers, which is 7.1 or 5.1, and the addition of a “Top Layer” (loudspeakers on the ceiling) and/or “Height Layer” (loudspeakers on the wall near the ceiling). Different brands of Immersive Sound Systems have their own approach to the use and layout of the Top and Height Layer loudspeakers, and the room also plays a part in the design. There may be subwoofers to extend the low frequency range of the surround speakers in some Cinema systems. Each brand of Immersive Sound System also has its own renderer design, which further distinguishes it.

Contact Info

Primary Contact: DCS_TITLESTEWARDSHIP@spe.sony.com
Episodic Mastering Contact: TV_Mastering@spe.sony.com