Schedule B
SPE UHD HDR Video Master Specifications

UHD HDR TIFF Encoding

File format: TIFF (.tiff)
Bit depth: 16-bit
Compression: none
Color space: Rec. 2020 full-range (ITU-R BT.2020-2) EOTF: ST-2084 (PQ)

Max luminance: uncapped Image width: 3840 (UHD) Image height: 2160 (UHD)

ITU-R. 2035, specifies the viewing environment. Studio reference display specifications are as follows:

Max luminance: 4000 cd/m2 (nits) Black luminance: <0.005 cd/m2 (nits) EOTF: ST-2084 (PQ)
Color Primaries (CIE 1931 x, y):

Red: 0.708, 0.292
Green: 0.170, 0.797
Blue: 0.131, 0.046
White point (D65): 0.3127, 0.329

SPE UHD SDR Video Master Specifications

UHD SDR DPX Encoding

File format: DPX (.dpx)
Bit depth: 10 or 16bit (Deliver highest bit depth available) Compression: none
Color space: Rec. 709 full-range (ITU-R BT.709-6) Gamma: 2.4
Image width: 3840 (UHD)
Image height: 2160 (UHD)

ITU-R. 2035, specifies the viewing environment. Studio reference display should be in compliance with ITU-R BT 1886 as follows:

Max luminance: 100 cd/m2 (nits) Black luminance: <0.1 cd/m2 (nits) Gamma: 2.4
Color Primaries (CIE 1931 x, y): Red: 0.64, 0.33

Green: 0.30, 0.60
Blue: 0.15, 0.06
White point: 0.3127, 0.329

SPE HD SDR Video Master Specifications

HD SDR DPX Encoding

File format: DPX (.dpx)
Bit depth: 10-bit
Compression: none
Color space: Rec. 709 full-range (ITU-R BT.709-6) EOTF: Gamma 2.4

Image width: 1920 (HD) Image height: 1080 (HD)

ITU-R. 2035, specifies the viewing environment. Studio reference display should be in compliance with ITU-R BT 1886 as follows:

Max luminance: 100 cd/m2 (nits) Black luminance: <0.1 cd/m2 (nits) EOTF: Gamma 2.4
Color Primaries (CIE 1931 x, y): Red: 0.64, 0.33

Green: 0.30, 0.60
Blue: 0.15, 0.06
White point (D65): 0.3127, 0.329

HD SDR ProRes Encoding (Only with prior SPE authorization)

Codec: Apple ProRes 422 (HQ) Image width: 1920 (HD)
Image height: 1080 (HD) Frame Rate: Native

Data Rate: 220 Mbps VBR Chroma Sample: 4:2:2 (YUV) Color space: Rec. 709
EOTF: Gamma 2.4

Color Depth: 10 Bit Container: .MOV

Codec: Apple ProRes 4444 (no alpha)

Image width: 1920 (HD) Image height: 1080 (HD) Frame Rate: Native
Data Rate: 330 Mbps VBR Chroma Sample: 4:4:4 (RGB) Color space: Rec. 709

EOTF: Gamma 2.4 Color Depth: 10 Bit Container: .MOV

Source:

Mastering Requirements

Home Video Mastering must be performed using 4K original camera source, or the highest resolution available from the full resolution master render files (created during digital cinema mastering). Source files must be in a scene-referred color space (e.g. Slog, LogC, Cineon, ACES) without display-specific color correction or LUTs rendered into the source files. This is to ensure the ability to use all available color gamut and dynamic range.

Viewing Environment:

Recommendation ITU-R BT.2035 (Section 1 of Annex 1) describes the reference viewing conditions for HDTV, and should also be used for UHDTV mastering. It specifies a dim surround of approximately 10 lux, a chromaticity background of D65, and luminance background of between 8  12 cd/m2.

Directory and File Naming

Directory structure:

The directory structure delivered should meet the following specifications:
1) The project GPMS title should be included in the directory naming.
2) The GPMS title abbreviation should be included as part of the sequence directory name
3) The aspect ratio should be included in the sequence directory name to differentiate between

versions.
4) The directory that contains the image files should be labeled by the pixel resolution (X x Y) of the

images.

Sequence File naming:

The image file/sequence should meet the following specifications:
1) Image sequences should include a base name prefix that matches the sequence directory name 2) Image sequences should have 7-digit number padding

See specification example here:

GPMSname/GPMSabbrev_uhd_185_master/3840x2160/ GPMSabbrev_uhd_185_master.[0085680-0216745].dpx GPMSname/GPMSabbrev_hd_178_master/1920x1080/ GPMSabbrev_hd_178_master.[0085680-0216745].dpx GPMSname/GPMSabbrev_hdr_185_master/3840x2160/ GPMSabbrev_hdr_185_master.[0085680-0216745].tiff

GPMSname/ep_301/GPMSabbrev_ep301_uhd_178_master/3840x2160/GPMSabbrev_ep301_uhd_178_master.[0085680-0149822].dpx Below are examples for the GPMS title Chappie with GPMS 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

Below are examples for the GPMS television title, The Blacklist with GPMS abbreviation BLACKL: the_blacklist/ep_301/blackl_ep301_uhd_178_master/3840x2160/ blackl_ep301_uhd_178_master.[0085680-0149822].dpx

the_blacklist/ep_301/blackl_ep301_hdr_178_master/3840x2160/ blackl_ep301_hdr_178_master.[0085680-0149822].tiff

ProRes Quicktime Movie File naming:

Specification Example: GPMSname/GPMSabbrev_hd_178_master/1920x1080/GPMSabbrev_hd_178_master.mov

Actual example for the GPMS title Chappie and GPMS abbreviation CHAPP0: chappie/chapp0_hd_178_master/1920x1080/chapp0_hd_178_master.mov

Head and Tail Leader Formatting

Note- All time code numbers in the below sections are referenced to 24 FPS time code

Head Format:

All files should have embedded record TC in the file header. The files should also be numbered according to TC frame numbering as described below:

Table 1: Head Format

MASTER TC REFERENCE

00:59:30:00 - 00:59:33:23 00:59:34:00 - 00:59:36:23 00:59:37:00 - 00:59:46:23 00:59:47:00 - 00:59:49:23 00:59:50:00 - 00:59:50:00 00:59:50:01 - 00:59:59:23 01:00:00:00 - 01:00:00:00

Tail Format:

FRAME NUMBER 85680  85775

85776  85847 85848  86087 86088  86159 86160

86161  86399 86400

ITEM DESCRIPTION

Slate
Black
BARS and Charts
Black
10-pop
Black
First Frame Of Picture (FFOP)

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

MASTER TC REFERENCE

LFOP + 00:00:00:01 - LFOP + 00:00:19:23 LFOP + 00:00:20:00 - LFOP + 00:00:20:00 LFOP + 00:00:20:01 - LFOP + 00:00:25:01

Table 2: Tail Format

DURATION

20 sec 1 frame 5 sec

ITEM DESCRIPTION

Black
Tail sync pop (20 sec after LFOP) Black

Textless Formatting

Textless Format:

Each texted main picture element requires a corresponding textless replacement. This should be delivered as non-continuous sequences with accurate TC numbering that matches the appropriate insert TC. Black (3 seconds) should also be included between the slate and the first textless insert, and after the last textless insert (5 seconds).

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

chapp0_uhd_185_master_txtls.[0085680-0085775].dpx chapp0_uhd_185_master_txtls.[0085776-0085847].dpx chapp0_uhd_185_master_txtls.[0087378-0087431].dpx chapp0_uhd_185_master_txtls.[0087846-0088245].dpx chapp0_uhd_185_master_txtls.[0088517-0089128].dpx chapp0_uhd_185_master_txtls.[0089129-0089248].dpx

Textless Slate Black
Textless Insert 1 Textless Insert 2 Textless Insert 3 Black

An EDL should also be provided to define the textless placement, according to long play time code. See sample below.

Table 3: Sample EDL

LIST ITEM

001 *SLATE textless
002 *BLACK textless

003 *INSERT1 textless
004 *INSERT2 textless

005 *INSERT3 textless
006 *BLACK textless

PROG START

VC 00:00:00:00 VC 00:00:04:00 VC 00:00:07:00 VC 00:00:09:05 VC 00:00:25:20 VC 00:00:51:07

PROG END LOC STAMP LOC STAMP START END

00:00:04:00 00:59:30:00 00:59:34:00 00:00:07:00 00:59:34:00 00:59:37:00 00:00:09:05 01:00:40:18 01:00:42:23 00:00:25:20 01:01:00:06 01:01:16:21 00:00:51:07 01:01:28:05 01:01:53:16 00:00:56:07 01:01:53:16 01:01:58:16

Metadata Requirements

In addition to the image files, please provide all applicable metadata. This should include ST-2086 metadata and Dolby Vision metadata with accompanying DoVi grade project file. Please see Appendix E for specifications.

Slate Contents

Please see Appendix A for tables that describe the information that is necessary to include in all slates for Main, Textless, and Foreign Insert sequences.

Presentation Aspect Ratios

Please see Appendix B for a list of accepted presentation aspect ratios for Sony Pictures.

Archive Delivery Specs

The archive should be written to LTO7 or latest LTO version.

The contents of the master archive should include all media files and a metadata file that lists the media and content metadata. For a complete description of LTO archive specifications, please see Appendix C.

Table 4:

Appendix A  Master Archive Slates

Fields that should be included on the Main Master Archive Slate

Slate Label

Label Definition

Label Examples

Comments

GPMS Episode Title Frame rate

Full name of episode title

Frame rate of master image file

I See You 23.976

Slate Label Label Label Examples Comments Definition

Slate Label Label Label Examples Comments Definition

Table 5: Fields that should be included on the textless master archive slate

Slate Label

Label Definition

Label Examples

Comments

GPMS Episode Title Frame Rate

Full name of episode title

Frame rate of the textless images

I See You 23.976

Slate Label Label Label Examples Comments Definition

Slate Label Label Label Examples Comments Definition

Table 6: Fields that should be included on the foreign insert master archive slate

Slate Label

Label Definition

Label Examples Comments

GPMS Episode Title

Full name of episode title

I See You

Insert Count

Number of Inserts

3

Slate Label Label Label Examples Comments Definition

Frame Rate Frame rate of 23.976 textless image

Appendix B  Sony Presentation Aspect Ratios

PRESENTATION ASPECT RATIO for SONY Master Archives:

Aspect ratio in this context means presentation or display format  not the original shape or size of the film or data, but how the image appears on the screen. In most non-theatrical contexts that we service today, there is only one basic display format. Whether HD or UHD, the display is 16x9, or 1.78. Thus, these variants of the basic aspect ratio only describe how various products (standard definition tv, silent, sound, widescreen, anamorphic and 70mm features, as well as contemporary productions) are formatted within the 16x9 display to retain their compositional integrity. There may be other aspect ratios we deploy, either exceptionally or with the introduction of a new format, but these ten characterize the presentation of most of our product to date.

16x9 133SM - 1.33:1 Side Matted (Side-matted is also referred to as pillar- boxed) is used by late silent features and standard definition television. Library sound features (pre-1952) remastered at 2k have also generally been produced in 1.33 aspect ratio.

16x9 137SM - 1.37:1 Side Matted is the Academy sound aperture standard. Legacy sound features pre-1952 and remastered at 4k are produced in 1.37 aspect ratio.

16x9 166SM - 1.66:1 Side Matted is the flat (spherical) presentation format for the most common post-1952 European widescreen flat format (equivalent to 1.85 in US).

16x9 - 1.78:1 Full Frame is the native aspect ratio of HD and UHD. It is the de facto aspect ratio of all picture elements in the IMF package. HD and UHD productions are often composed 1.78 full frame. Most contemporary television is 1.78 Full Frame. We are phasing out 16x9 full frame versions (pan-, tilt-and-scan) of legacy product. Legacy film and television product is now generally re-mastered to original aspect ratio and composition using matting.

16x9 185LB - 1.85 Letter-box is the standard format for widescreen flat (spherical) theatrical features in the US produced post 1952.

16x9 200LB - 2.00:1 Letter-box is used for certain contemporary television productions, including House of Cards.

16x9 220LB - 2.20:1 Letter-box is the aspect ratio for theatrical features originated on 65mm flat negative for 70mm presentation, such as Lawrence of Arabia.

16x9 235LB - 2.35:1 Letter-box is used for anamorphic widescreen features with optical sound track, produced from 1953-1970.

16x9 239LB - 2.39:1 Letter-Box / 16x9 240LB  2.40:1 Letter-Box
It is important to correctly document whether a product is 2.39LB or 2.40LB. 2.39:1 is the ratio of modern (1971-present) anamorphic widescreen features. The actual SMPTE standard, modified from 2.35 in 1970, is @2.3976:1, but is frequently referred to as 2.40 for convenience. Modern data-centric productions are often formatted for 2.39 display and generally achieve a 2.39 picture by non-anamorphic means. The DCI standard for cinema projection is 2.39:1. There is widespread use of the colloquial 2.40, and some products are actually physically formatted in a 2.40:1 aspect ratio, such as Blu-ray disk masters and Blu-ray disks.

16x9 255LB - 2.55:1 Letter-box represents the original Cinemascope anamorphic widescreen ratio, which had no optical soundtrack and thus was wider than 2.35:1. This ratio is only used by a few Columbia films such as The Long Gray Line, and it disappears completely after 1959. Anamorphic widescreen is more commonly 2.35 or 2.39.

Table 7: X/Y Pixel Count for Side-Matted and Letter-Boxed Image Area

Aspect Ratio

16x9 133SM 16x9 137SM 16x9 166SM 16x9 178 16x9 185LB 16x9 200LB 16x9 220LB 16x9 235LB 16x9 239LB 16x9 240LB 16x9 255LB

HD pixels (RP199- 2004)

1440x1080

1480x1080

1793x1080

1920x1080 1920x1038

1920x960 1920x873 1920x817 1920x803 1920x800 1920x753

UHD pixels

2880x2160

2960x2160

3586x2160

3840x2160 3840x2076

3840x1920 3840x1746 3840x1634 3840x1606 3840x1600 3840x1506

See also SMPTE RP199-2004

Appendix C  LTO Delivery Specification

Data Normalization Specification for Linear Magnetic Tape

This document defines the LTO format for digital intermediate (DI), digital source master (DSM), VAM, raw camera files, DPX Master and IMF/IMP deliverables on linear magnetic tape for the purpose of integration into Sonys permanent data archive. Specifically, this document pertains to deliverable content that will undergo data format normalization in order to become a part of Sonys archive. The current preferred delivery medium is LTO7 or latest LTO version. The delivery should be in TAR format. LTFS format should not be used.

The following structure reflects the format for data deliverables in the medium of linear magnetic tape:

• The tape shall contain a metadata text file that lists the media metadata and the content metadata. Please see Appendix D for an archivemetadata template.

• The tape shall contain a contiguous sequence of files without separate file marks.

• The tape shall contain an md5 hash manifest file at the end of the tape.

• The blocking factor shall be configured for a 1024x512-byte block size (i.e.

  tar-b 1024).

• The blocking factor of the tape will be variable (ie. mt f /dev/nst0 setblk

  0).

• The tar file will not utilize byte-swapping.

• There will only be three file marks per tape, one at the beginning of each

  tape:

o One file mark at the start of metadata archive
o One file mark at the start of media archive
o One file mark at the end of the media archive, representing the

location of the checksum file.

• The file shall be an uncompressed tar file (IEEE 1003.1, 2004)  no

  compression such as gzip or bzip will be used.

• Multiple reels or folders can be placed on a single LTO, but reels should not

  be broken across LTOs. In cases where a reel does not fit on an LTO tape, the reel will span multiple tapes. Under no circumstances will a partially-written frame exist on a single tape; if there is not enough space for an additional frame, a new tape(s) will be used for remaining data.

• The path separator shall be a / (forward slash) character

• File and directory names shall be case-sensitive.

• File and directory names shall consist only of the following 8-bit ASCII

  characters:
  o Letters A-Z and a-z o Numerals 0-9

o Underscore _ o Period.
o 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)

  If the aforementioned conditions are met, the archive will be able to be read on legacy SGI Irix systems, current and future Linux based systems as well as any other system that supports the format.

  General Specifications

  It is acceptable to put multiple reels and sections on a single LTO, per the conditions noted above. Each resource should be consistent in terms of file type. For example, the finished master data file should consist of only .dpx files, not .dpx and .tiff files. Similarly, each resource (DSM, DPX master, VAM, etc) should be consistent in terms of the resolution characteristic of files. For example, a 4k DSM should consist of 4096x3072 files, not 4096x3072, 4096x2214 and 4096x2300 files. If there is a technical justification for this deployment of inconsistent file types or size, this should be documented and cleared in advance with Sony as a variant deliverable.

  MD5 Hash Manifests

  In order to archive data for Sony Pictures archival, you must include an MD5 hash manifest file containing checksums of all files contained on the LTO. The manifest file must contain md5 checksums for only those files contained on that particular LTO, and may not span multiple LTOs. This will ensure that manifests and the data they relate to remain together as a unit.

  MD5 validation (Message Digest version 5) is intended to ensure that each file received by the Sony Pictures is identical to the original camera source, master or deliverable file.

  Before a manifest is created, the names of the directories and files making up the element should be checked for illegal characters as all names should conform to the naming specifications identified in this document. Do not change the names of files after the manifest is created, as that will invalidate the manifest.

  MD5 manifest file names should relate to the delivery, include a tape barcode number, and have the file extension .md5. For example:

MyMovie_UHD_DPX_Master_Part1_BARCODE#.md5 The manifest should be located at the end of the tape.

Creating an MD5 Hash manifest

There are built-in and freeware utilities available for all platforms (Windows, MacOS, Linux ) that allow for creating and validating MD5 hash values.

Examples of creating an MD5 manifest:
MacOS (command line): md5 (built-in command):

Open Terminal.app

$ cd /Volumes/MyMovieDriveName
$ find MyMovie/* -type f exec md5 -r {} \; > MyMovie_UHD_DPX_Part1_BARCODE#.md5

Linux (command line): md5sum (built-in command):

$ cd /mnt/media/MyMovieDriveName(
$ find MyMovie/* -type f exec md5sum -r {} \; > MyMovie_UHD_DPX_Part1_BARCODE#.md5

If you want to validate your own manifest file, on Linux you can run:

$ cd /mnt/media/MyMovieDriveName(
$ md5sum c MyMovie_UHD_DPX_Part1_BARCODE#.md5

Windows

If you use Windows to create your MD5 Hash Manifests, please make sure that the Windows drive letter is not included in the manifest file. Also, please ensure that you use forward slashes / for the path name and not backslashes \

For example:
Correct MD5 manifest entry:

0f000e3ce51d740a4ef8bce7a9a0d544 MyMovie/uhd_master/picture/uhd_txt.mxf

Incorrect MD5 manifest entry:

0f000e3ce51d740a4ef8bce7a9a0d544 X:\MyMovie\uhd_master\picture\uhd_txt.mxf

Please be sure to clean up all temp and system generated hidden files from the

delivery media before creating manifest and writing LTOs. For example:

      .DS_Store
      .TemporaryItems
      ._somefilename
      Thumbs.db

The MD5 Manifest file shall be of the form:

Appendix D  Archive Metadata Text File Contents

Media Metadata

Show:
Barcode:
Tape: 1 of
Date (production date):
Tape Type: LTO-7 or latest version Blocking Factor: variable

Data Organization: single tar archive Read Method: tar b 1024 xvRf /dev/nst0 Written by: [hostmachine]: /dev/nst# Software used to create: Linux
Total Files:
Total Size:
Tar Files: 3
Post House:
Date of LTO Manufacture:

Media Contents:

[List media contents below, in short (sequence) listing]

Content Metadata:

Show Title: Name of Feature or Television Project
GPMS Abbreviation: Example: SMURF2 for Feature Smurfs 2
Version Info: Examples: Domestic, International, etc
Media Class: Specify CTM for SDR master or HDRDM for HDR master
Content Type: Examples: Longplay, Textless, etc.
Source material: List of barcodes containing data (LTO, hard drive, etc.)
File Type: Examples: TIFF, DPX
Resolution: Horizontal x Vertical pixel count, i.e. 3840x2160 or 1920x1080 Bit Depth: Image bit depth, i.e. 10, 16
Color Space: Examples: Rec709, Rec2020
EOTF: Examples: Gamma 2.4, PQ
Frame range: *see content listing
Processing: Indicate special image processing, if any, i.e. Uprez, Sharpening, etc.

Appendix E  Color Metadata Specifications

SMPTE ST-2086, Max Fall, Max CLL Metadata

When providing the ST-2086, Max CLL and Max FALL metadata, please ensure the data is contained within a simple text file. The contents should contain the mastering display primaries, white point chromaticity, and maximum, minimum luminance, maximum content light level (Max CLL), and maximum frame average light level (Max FALL) values in nits. Below are example text file contents:

--master-display G(13250,34500)B(7500,3000)R(34000,16000)WP(15635,16450)L(40000000,50) --max-cll 4099,720

Dolby Vision Metadata

When providing Dolby Vision metadata, please provide a feature longplay XML. A separate textless XML is not necessary unless the frame numbering between feature and textless differs. Also, provide a full longplay XML for any alternate versions that require changes in picture edits (eg. Extended cut, censor cut). Please note the following requirements for XML delivery:

1. The frame number start of the XML should match the image sequence frame number start. For example, if the feature TIFF image sequence is 85680- 245234, the first event in the XML must also start at frame 85680.

2. The XML must include metadata for all frames of TIFF data provided, including any head and tail leaders.

3. The Canvas Aspect Ratio and the Image Aspect Ratio must be accurately defined in the XML.

4. The Color Encoding specifications in the XML must match the color encoding of the delivered image files.

In addition to the XML files, please provide the Dolby Vision grade project file. This is the project file from Baselight, Resolve or any other Dolby Vision compliant color correction software. The project must be a longplay project (not reel-based) and should contain head and tail leaders to match the TIFF delivery.