SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
Technical Specifications for SonyLIV V 1.0
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
Table of Contents
1. Overview ………… 03
2. Standards during Production ………… 03
3. Master Delivery specifications ………… 08
4. General Tech Parameters ………… 10
5. Mode of Delivery ………… 13
6. Submission of INTERNATIONAL TRACKS ………… 13
7. Submission of GRAPHICS ………… 14
8. VFX ………… 14
9. Other Submissions ………… 15
10. Project Backup …………. 15
11. Disclaimer ………… 15
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
1. Overview
Sony LIV is SPNI’s leading digital platform. Our aim is to deliver groundbreaking entertainment in the ways only SONY can. Our unlimited passion for technology, content and services with relentless pursuit of innovation, drives us to deliver an outstanding, high-quality viewing experience to our viewers by assuring artistic liberties.
To achieve this level of quality we need to acquire the content source in the highest possible acquisition formats. Source Material must be compliant with the specifications below detailed in this document.
As technology is growing and changing, it is expected that changes and updates will occur regularly in the technical specification document.
2. Standards During Production
For Video
1. Video acquisition (Shooting, Recording, rushes etc.) should be through a source with a native resolution, not less than 4K - 4096 x 2160 pixels. 2. Minimum Data Rate above 240 Mbps. 3. Aspect ratio 16:9 (1.78:1) OR (1.77:1) full screen. Framed content (16:9) must maintain safe action. 4. Required Frame rate 25 fps progressive. 5. All content to be shot in RAW/ Log format (clean) with no look applied or baked into the original camera files. 6. Minimum of 16bit Linear or 10 Bit Log processing 7. Capture colour space: S-Gamut 3. cine, RED Wide Gamut RGB, Alexa Wide Gamut etc. 8. Original camera files must maintain all the metadata (Tape Name, Timecode, Frame Rate, ISO, White Balance etc.)
Monitoring
Use calibrated 4K professional monitor on set. This will help in judge the focus accurately also to check the noise due to low lighting conditions.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
a. Minimum Acceptable Recording Media Formats (At the time of acquisition)
SONY RAW, XOCN, XAVC Intra 4K, XAVC Class 300/480 ARRI Raw, Apple ProRes 4:4:4 XQ REDCODE RAW
Production Asset: Data management
It is crucial to keep multiple copies of data including original camera files and audio throughout the workflow. Have at least 3 copies of all Original Camera Footage and the Audio all time. Store the copies on at least 2 different types of media (Camera Media/Raid/LTO). Maintain at least one backup offsite. One different at geographic location. One copy at the Production house and one at the Post House.
Production Assets: Folder and file naming Production assets must be prepared by a Digital Imaging Technician (DIT) Create appropriate folder structure to avoid any confusion.
Postproduction Specifications
1. Off –Line Editing from down-converted HD files is permitted but final master must be made from original camera material 4K files 2. It is mandatory for l Final 4K Masters to be colour- graded on the high-end colour grading systems like, Da Vinci Resolve or Film Light Base Light. Proper colour space, Algorithms must be employed in creating the Final Master of the highest visual quality which will conform with all QC parameters and standards. 3. The Mastering process must follow a strict protocol of making the Masters from original camera source material, using EDL / XML/ AFF of the off-line conformed edits along with all graphics and VFX shots. 4. All VFX shots and CG must be worked upon & rendered in the 4K resolution. 5. All relevant Graphics, Titles & Supers must be maintained within the title safe action area. 6. Archival material less than 4K resolution is permitted only if source is not available on any other formats and has creative justification. 7. Any other Camera output (GoPro, Drones etc.), Stock Footages (Either shot/Purchased) must be in the original source resolution but not less than 4K (4096 x 2160, 10 Bit, 25fps, progressive) only.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
Preferred Cameras:
SONY
Model Resolution Recording Format Bit Depth Color Space
Sony Venice 6K full Frame RAW/X OCN/XAVC 16bit S-Log 3 6048x4032
Sony F55/ Sony F65 4K /4096x2160 RAW/X OCN/XAVC 16bit S-Log 2/S-Log3
Sony FX9 4K /4096x2160 XAVC 10bit S-Log3
Sony Fs7 Mark II 4K /4096x2160 XAVC 10bit S-log 2
RED
Model Resolution Recording Bit Depth Color Space Format Red Monstro 8K 8K/8192 x R3D (RAW) / 16bit/12bit/10bit REDCODE 4320 ProRes 4444XQ
Red Weapon 8K/8192 x R3D (RAW) / 16bit/12bit/10bit REDCODE Helium 8k 4320 ProRes 4444XQ
Red Dragon 8K 8K/8192 x R3D (RAW) / 16bit/12bit/10bit REDCODE 4320 ProRes 4444XQ
SCARLET-W 5K/5120 x R3D (RAW) / 16bit/12bit/10bit REDCODE DRAGON 5K S35 2700 ProRes 4444XQ
RED GEMINI 5K 5K/5120 x R3D (RAW) / 16bit/12bit/10bit REDCODE S35 2700 ProRes 4444XQ
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
ARRI
Model Resolution Recording Format Bit Depth Color Space
ARRI ALEXA LF 4K/4448 x 3096 ARRI RAW/ PRO RES 16bit/12bit ARRIRAW/Log-C 4444XQ/
ARRI ALEXA 65 6.5K/6560x3100 ARRI RAW/ PRO RES 16bit/12bit ARRIRAW/Log-C 4444XQ
ARRI ALEXA MINI LF 4K/4448 x 3096 ARRI RAW/ PRO RES 16bit/12bit ARRIRAW/Log-C 4444XQ
For Audio
1. Audio content must be delivered as 24-bit uncompressed (PCM) digital audio at 48khz sample rate. 2. All mixes should be Near Field Mixes, keeping the home-viewing sound experience in mind. 3. Audio signal should not contain hum, buzz, distortion, dropouts, aliasing, sibilance and other objectionable artifacts 4. Use ITU-R BS.1770-3/EBU-128 to measure audio programme loudness and true-peak audio level. 5. All audio recording/mixing /mastering should be done in a standard environment according to professional standards. 6. In case of dubbed programs dialogue, music and effects should be synchronized with the picture. 7. Use of excessive processing/ cleaning should be avoided. 8. The dialog quality needs to be consistent in terms of tonal quality, levels etc. 9. Overall sound quality shall be pleasing and free of noticeable noise or spurious signals. 10. All audio channels shall be in phase from beginning to end. 11. Up conversion from mono to stereo, stereo to 5.1 is prohibited. Submissions to be done in the original mix state. 12. Wild ambience to be recorded at all production scenes so that the same can be maintained throughout the scene edited in the master program. 13. Multitrack recorder for on location recording is a must. 14. Use of ‘gate’/compression should be avoided. 15. Recording reference levels should be -20 dBFS 16. Any and all dubs/redubs at location should be done with the same mic capsule as originally captured to maintain continuity, tone and dynamic quality of the voice. 17. All Audio Mixes to be done in a Professional Audio Studio and not in a Video Editing setup.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
Separate M&E for daily fresh content only must be provided to make it future ready for language dubs, promos, etc.
In cases where natural effects/ambience are captured with the dialog, provision needs to be made for the same effects/ambience to be represented in a separate effects track, thereby making the master language dub ready (replacing the Voice only must give us a full mix when mixed with the remaining M&E)
Preferred Audio Gear:
No Description Requirement/Options Remarks DPA 4017/ 4018 Accessories like Boom Schoeps CMIT 5U pole, Windshield, Elastic 1 Boom Microphones Sennheiser MKH 416/8050/8060/8070 suspension are essential. Neumann KMR 81/82 Sanken CS - 2/3e Rode NTG 3 Sanken S 11 Standard accessories like DPA 4060, 6060 for Indoor backpack, clips, 2 Lapel Microphones DPA 4061, 6061 for Outdoor windshield, dust caps etc. Country are essential. Audio Technica Sonotrim Sony Boom microphone output Lectronics should be recorded in 3 Sennheiser addition to lapel Wireless Systems Audio Limited microphone output Zaxcom specially to capture foley at location. All cables and connectors should be balanced Outputs should be with 4 Cables & Connectors and of good quality separate XLR cables and not Y cables. Sound Devices 664 or equivalent recorder. Main and Group Outputs 5 Audio Recorder (Location) Recorder should be free from noise and must be available with XLR distortion. connectors. Oscillator is essential. Closed Headphones Monitoring the recorded 6 Headphones Sony MDR 7510, 7520, 7506, V6 Output is compulsory. Beyerdynamic DT 150, 250, 770 Pro Sennheiser HD 6Mix, 280 Pro, 380Pro
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
3. Master Delivery Specifications
Note : Check with your Sony LIV s.p.o.c or Legal agreement for the List of délivrables.
4k Master file
Timeline format:
Program Start: 00:00:00:00
File Format AVC File Container . Mxf Frame Rate 25 Vidéo Stream Bit rate No less than 200 Mb/s Scan Type Progressive Bit Depth 10/12 Video Resolution (sampled width x height) 4096 x 2160 Stereoscopy MonoScopic Colour space RGB Colourimetri BT 2020 Audio Tracks 8 Audio Codec & Container Uncompressed PCM Audio (.WAV) Loudness -23 LKFS (+/- 1 LU) Audio Sampling Rate 48 KHz Audio Bit Rate 24 Bit Audio Sync +/- 10ms Audio track Allocation (Stereo+5.1) Audio track 1 Stereo Left Audio track 2 Stereo Right Audio track 3 Front Left Audio track 4 Front Right Audio track 5 Centre Audio track 6 LFE Audio track 7 Left Surround Audio track 8 Right Surround
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
For HD files Submission: -
File Format AVC File Container . Mxf Frame Rate 25 Vidéo Stream Bit rate No less than 100 Mb/s Scan Type Progressive Bit Depth 10 Video Resolution (sampled width x height) 1920 x 1080 Stereoscopy MonoScopic Colour space RGB Colourimetri BT 2020 Audio Tracks 8 Audio Codec & Container Uncompressed PCM Audio (.WAV) Loudness -23 LKFS (+/- 1 LU) Audio Sampling Rate 48 KHz Audio Bit Rate 24 Bit Audio Sync +/- 10ms Audio track Allocation (Stereo+5.1) Audio track 1 Stereo Left Audio track 2 Stereo Right Audio track 3 Front Left Audio track 4 Front Right Audio track 5 Centre Audio track 6 LFE Audio track 7 Left Surround Audio track 8 Right Surround
Naming Convention:
[series name] space [episode number in 4 digits] space [Series number in 2 digits] space [HD] .[extension]
Example: Parvarish 0014 08 HD.mxf
NOTE – NO PUNCTUATIONS OR SPECIAL CHARACTERS (!;@#$%^&*?\,)
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
4) General technical parameters
FOR VIDEO
1. Video signal should be free from ringing, smear and echoes (ghost image). Colour rendition (skin tones) shall be natural. 2. The program should be in full screen without letterbox. 3. Video quality should be without noise and with good picture details. 4. Bars, tones, mid segment bumpers, segment recaps or previews, VITC time code, advertisements, slates, ratings cards, FBI warning cards, placards, overlay branding, promotional bugs, informational bugs or website link callouts before or during the program are not permitted. 5. Content will be clean, without subtitles. Full and forced subtitles will be on a separate. vtt and .srt subtitle file. 6. Each episode/ movie will be a single file. Delivering the same episode in parts is prohibited. 7. Content will be delivered in its original frame rate and frame size (as the acquisition). Cross Conversion of these parameters is not allowed. 8. Up conversion of video from its acquisition format to a higher frame size is prohibited.
UNMIX MASTER:
The “Unmix Master’’ refers to a fully colour corrected and unmixed version of each show, identical to the Mix Master, except free of all overlay Graphics. The timing will not be modified when removing the graphics for the Unmix version. The Mix Master and Unmix Master will line up exactly, frame for frame.
Please verify from your respective coordinator for the expected versions that need to be submitted for each creative/episode and the version which will contain the unmix/ office copy. The clean master (alternately known as unmix, library, international etc.) is a compulsory requirement for SonyLIV. This version will be the base format from which all other versions would be made.
The clean master must be free from all graphics, packaging, sponsor logos etc. or any elements that would make it pre-dated.
In the case of Disclaimers, sponsors, opening/end credits etc., clean video (or textless video) must be provided at the end of the episode/story.
DPX Master (Rushes) 10 Bit DPX image sequence in log colour space (ungraded) in 4K without any graphics overlay. It should be identical to unmix master, frame for frame.
FOR AUDIO
Discrete audio is required.
Sample Rate and Bit Depth: 48k/24-bit for Original Language Mix or M&E Mix - applies to Stems & Mix Masters. 48k/24-bit for Secondary Language or Audio Description.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
Titles with surround sound require 5.1 audio. When 5.1 audio is supplied, preferably an additional 2- channel stereo mix will be supplied.
Audio Mix Requirements
Near Field 5.1 Surround Mix - Mastering and Archive
• Use 79dB spl or 82dB spl as your standard reference level for mixing • Loudness level should be -23 LKFS (+/- 1 LU) using ITU-R BS.1770-3/EBU-128 measured over entire Program. • Maximum True Peak should not exceed -2 db. • Minimum level should not go below -18 db. • Provide 5.1 Dialog, Music and Effects stems that equal the 5.1 mix when combined.
Near Field 2.0 Stereo Mix - Mastering and Archive
• Use 79dB spl or 82dB spl as your standard reference level for mixing. • Loudness level should be -23 LKFS (+/- 1 LU) using ITU-R BS.1770-3/EBU-128 measured over entire Program. • Lo/Ro mix is preferred • Lo/Ro or LT/RT mix to be mono compatible. • Maximum True Peak should not exceed -2 db. • Minimum level should not go below -18 db. • When down-mixing from 5.1 to create Lo/Ro or LT/RT 2.0 mix: Lower Center channel content by -3db Center channel content should be included in both the LEFT and RIGHT CHANNELS Lower Surround channel content by a minimum of -3db Fold Left and Right Surround content into the corresponding LEFT and RIGHT CHANNELS • Optionally include the Low Frequency Effects (LFE) channel between -8db and -12db § Fold Low Frequency Effects (LFE) into both the LEFT and RIGHT CHANNELS § Low Pass Filter LFE at 200Hz or lower • All adjustments must be made to the individual 5.1 channels prior to folding down.
Note: The resulting 2.0 mix must be checked prior to delivery to ensure it is free of any audio artifacts and if necessary, as determined by SonyLIV, further adjustments shall be made to prevent them. Any 2.0 delivery must meet the specification prescribed in this section.
Near Field 5.1 Surround M&E Mix
• Provide a separate fully filled 5.1 surround submix containing only Music & Effects (no dialog) • Ambiences and foley fill should be included to correctly match original mix. Any non-dialog sound present in the main mix must also be represented in the M&E mix.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
• All levels should mirror what was used for final Mastering and Archive so that any newly added dubbed dialog can be mixed in easily later. • Loudness level should be -23 LKFS (+/- 1 LU) using ITU-R BS.1770-3/EBU-128 measured over entire Program. • Maximum True Peak should not exceed -2 db. • Minimum level should not go below -18 db.
Near Field Stereo M&E Mix
• Provide a separate fully filled 2.0 stereo submix containing only Music & Effects (no dialog) • Ambiences and foley fill should be included to correctly match original mix. Any non-dialog sound present in the main mix must also be represented in M&E mix. • Loudness level should be -23 LKFS (+/- 1 LU) using ITU-R BS.1770-3/EBU-128 measured over entire Program. • Maximum True Peak should not exceed -2 db. • Minimum level should not go below -18 db. • When creating Lo/Ro or LT/RT 2.0 mix, follow Near Field 2.0 Stereo Mix specifications. • All levels should mirror what was used for final Mastering and Archive so that any newly added dubbed dialog can be mixed in easily later.
Audio Final Content to Be Delivered To Mastering As Follows:
Audio MIX Master:
• Uncompressed PCM (.wav) format. • Sampling Frequency: 48KHz • Bit Rate: 24 Bit • Loudness: -23 LKFS (+/- 1 LU) • 8 Tracks (Stereo 2 Tracks + 5.1 Surround 6 Tracks) - 5.1 Surround Sound (6 tracks - Interleaved & Split Channel Both Format) - Stereo Mix (2 tracks - Interleaved & Split Channel Both Format)
Audio UNMIX Master:
• For Stereo: Uncompressed PCM (.wav) format. Sampling Frequency: 48KHz Bit Rate: 24 Bit Clean Dialogue Track + Music + Effect/SFX (Unmix 8 tracks)
• For 5.1 Surround: Uncompressed PCM (.wav) format.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
Sampling Frequency: 48KHz Bit Rate: 24 Bit Clean Dialogue Track + Music + Effect/SFX (Unmix 18 tracks)
Audio Session files– (Pro- Tools files) of entire series bifurcated as per episodes.
IMPORTANT:
The above TECHNICAL Guidelines are to be followed strictly. We recommend a quick conversation/meeting with the Tech team to ensure this document is understood before shoot commences, to avoid discrepancies at the time of delivery.
Kindly write to [email protected] for any assistance required on understanding this document.
5. Mode of Delivery
File based content shall be delivered through the network/USB 3.0/thunderbolt disks (ntfs or mac os formatted). The discs should be encrypted, and password provided on email to authorized SPNI employee only. Please note that these Hard Disks should be completely free of any virus else penalty will be applicable.
The labels on the Hard Disk must contain only the following information:
• Name of the PROGRAM in full (no short forms) • Episode No • Production House • Episode Name (where applicable) • Duration of PROGRAM (Excluding BREAKS)
6. Submission of INTERNATIONAL TRACKS (Special or extra tracks created for the show) a. All submissions are to be done on Hard Disk b. Extra music track created for any sequence. c. Any special songs created for that particular serial should be submitted both in mixed and unmixed format. d. End Credit music track if created separately (mixed and unmixed)
*Copyright permissions should have been obtained for all music tracks, archival material and stock footage used. A copy of the letter should be submitted.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
7. Submission of GRAPHICS
Basic Requirements: a. All submissions are to be done on Hard Disk b. Opening montage of graphics (if any) with background and without background. c. Animation created for opening montage d. End credits, graphics, scroll and credit titles with and without background. e. Delivery of individual, unmarried, layered main title and in-show graphics files in their native applications in .PSD, .AI, or .TIFF (layered not flat) file formats
ANIMATIONS
Technical Specifications:
All animations which are intended for use and application during the postproduction process will need to be provided as one consolidated uncompressed QuickTime Movie file as well as a sequence of Targa image files. All files should have a pre-multiplied alpha channel where appropriate.
All animations/graphics that will be applied by automation at play-out will need to be provided as a sequence of Targa image files and all files should have a pre-multiplied alpha channel where appropriate.
TECHNICAL SPECIFICATIONS QuickTime Movie Files for Graphics - Uncompressed - 4:2:2 - Animation - Millions of Colours - Progressive Scan - Pre-multiplied alpha channel Targa Files (wherever required)
- Uncompressed - 32-bit - Millions of Colours - Pre-multiplied alpha channel
8. VFX
All VFX shots and Graphics must be worked upon and rendered in 4K resolution only. The VFX team should receive footage after base colour grading is done. VFX is supposed to match and blend the VFX plates with the graded footage. VFX will not manipulate the colours of the graded footage. The Colour Correction to be done only on the VFX elements to match the graded footage. After the VFX completion Image sequence should be sent to DI for final colour grading.
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SONY PICTURES NETWORKS INDIA PRIVATE LIMITED Interface 7, Off Link Road, Malad (West), Mumbai
9. Other Submission
The following must be sent to the operations team along with each submission wherever applicable.:
• List of credits (cast and crew) • Final dialogues script • Synopsis, Creative Titles & dialogue scripts. • Soft copy of the Lyrics. • Stills/Photographs • Subtitle file in. vtt and .srt format.
All documents to be in .doc format (in English) and appropriate stills / photographs must have minimum 300 dpi.
10. Project Backup
Submission of project files is part of SonyLIV deliveries. Project backup includes the Masters, Rushes, Project Files (Music & SFX, GFX, Grade, Offline, XML/EDL) etc.
11. Disclaimer
The Technical Specifications provided hereinabove are only guidelines and recommendations issued by Sony Pictures Networks India Pvt. Ltd. (“SPN” / “us” / “our”/ “we”) which are believed to be accurate as of the date contained hereinabove. The document and any of its terms do not amount to any representations and warranties in relation to the Technical Specifications in the document. Since the conditions, methods, information, etc. referred to hereinabove are beyond SPN’s control, we expressly disclaim any and all liabilities (including without limitation special, consequential or incidental damages) in respect of the representations and/or warranties, expressed or implied, as to the fairness, accuracy, completeness or correctness of the guidelines, content under this document, non-infringement, merchantability and reliance placed thereupon. This document is being supplied to you solely for your information and is confidential in nature. Accordingly, each recipient of this document agrees that it will treat the information and opinions contained in this document confidentially and responsibly. The recipient shall not, directly or indirectly, disclose or distribute such information without SPN’s prior written consent. The information provided in the document is prepared by SPN based on its own research which also includes data available in the public domain. No license, express or implied, by estoppel or otherwise, to any intellectual property rights is granted by this document or by any conduct of SPN. This document shall at all times remain the property of Sony Pictures Networks India Pvt. Ltd.
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