NVG Tech Specs V12

Master Deliveries Technical Specs for Digital Distribuon

TECH CONTACT: CHRIS MCNULTY DELIVERABLES CONTACT: OLIVIA DAVISON 902 BROADWAY NEW YORK, NY 10010 CHRIS: (T) 646.259.4117 (F) 212.206.9001 OLIVIA: (T) 646.259.4172 (F) 212.206.9001

TABLE OF CONTENTS

Cinedigm Accepts Tape & Digital Files ...... 3 Subming Tape Media ...... 3 Subming Digital Hard Drives ...... 3 Scheduling Your New Release or Catalog Content ...... 3 Closed Capon Specs ...... 6 #1 Website / URL Informaon ...... 7 #2 Digital Hits ...... 7 #3 Duplicate Frames ...... 7 #4 Merged Fields/Blended Frames (Ghosng Eﬀect) ...... 7 #5 Forced NTSC/PAL Conversions ...... 8 #6 Aspect Raos ...... 8 #7 Interlacing ...... 8 #8 Closed Caponing ...... 8 #9 Audio Dropouts ...... 8 #11 One Frame of Black at Head/Tail of Content ...... 9 #12 Subtles ...... 9 #13 Some More Things That’ll Get Your Master Rejected ...... 9

COPYRIGHT © 2014 CINEDIGM ALL RIGHTS RESERVED REVISED MAR 20 2014 PAGE 2 Cinedigm Accepts Tape & Digital Files You may submit your master as a broadcast quality tape or as an uncompressed digital file on a hard drive. The specs required are described below. Regardless of what format you submit, please make sure you can answer NO to the following items that oen exist on masters used previously and will cause the master to be rejected: • NO Ads or Website / URL Informaon • NO Physical product tags (i.e., DVD, album, concerts, promoons) • NO Release dates • NO Bars & Tone or Countdowns (Digital Files Only) • NO Producon Slates (Digital Files Only) New Release Film • NO Commercial blacks All assets need to be received • NO Rangs informaon 12 weeks prior to street date to Cinedigm will hold your master unl aer the tle goes live across all of our licensed content plaorms. Please contact Olivia ensure that they are live by Davison, Materials Coordinator ([email protected]) if you require your master to be returned earlier. deadline. Subming Tape Media You may send any quality broadcast-ready format to us. Please provide masters in the nave format in which the content was Catalog/Library Film produced. Masters which have been standards-converted (PAL to/or from NTSC) are not acceptable. We require full delivery of assets We require that you supply a master that was used for the DVD or beer. For example, if your DVD is 4x3 but content is prior to putting catalog film available as 16x9 anamorphic, anamorphic would be the preferred master. If the DVD is 16x9 anamorphic, 4x3 content would titles on our delivery schedule. not be accepted. If the DVD contains 5.1 audio the digital content must also be submied with 5.1 audio. Television Content Subming Digital Hard Drives Placement requires pitching and You may also send broadcast quality digital files provided they meet the following requirements or are equivalent to the specs securing launch dates. Please below. Please make sure all digital files do not exceed 300 GB. make sure your digital client Scheduling Your New Release or Catalog Content manager is made aware of all To schedule your New Release or Catalog content, please visit this link: hp://www.newvideo.com/schedule-requests/ avail’s.

SD Digital Betacam* To schedule content please visit this link: HD HD CAM* or HD CAM SR (4:2:2) hp://www.newvideo.com/schedule- *For tape deliveries we prefer Digibeta or HD CAM. Submission in any other format will have to be approved by Cinedigm prior to submission, and may result in addional costs. requests/

NTSC Frame Rate 23.98 fps or 29.97 fps (nave frame rate of original source)

Frame Size 1920x1080 720x480 or 720x486 GOOD BAD 1280x720 (Episodic or TV content only) MASTER VS MASTER Color ITU-R BT.709 color space, ﬁle tagged correctly as ITU-R BT.601 color space 709 Bit Rate 80 mbits 50 mbits

Today the requirements for delivery PAL Frame Rate 24 or 25 fps (nave frame rate of original source) 25 fps (nave frame rate of original source) have become much more stringent than in the days of DVD. A few digital hits was once acceptable. Now the Frame Size 1920x1080 720x576 master will be rejected by the content 1280x720 (Episodic or TV content only) plaorm and sent back for another round of post-producon. Color ITU-R BT.709 color space, ﬁle tagged correctly as ITU-R BT.601 color space 709 This creates addional work, expense Bit Rate 80 mbits 50 mbits and delays. It all begins with a good master. How do you know you have a good master? Quick Codec 8bit Uncompressed or Approved Video Codecs (ProRes422 (HQ), DV, DVC Pro, Avid DNxHD) We’ve created a special list of the Top Time Reasons Why Your Masters Fail. Pixel Aspect Square 16:9 (853x480) or 4:3 (640x480)* Become familiar with this guide and Rao you’ll be on your way to sailing right *Not to be confused with Frame Size* through delivery.

Audio Stereo: LPCM in either Big or Lile Endian, 16-bit or 24-bit, at least 48kHz Surround: Required channels: L, R, C, LFE, Ls, Rs, LtRt Please make sure all audio is in sync with master. Important All content must begin and end with at least one frame of black Notes Content may not be upscaled from SD 25 fps interlaced PAL ﬁlms are NOT supported Telecine materials will not be accepted Digital ﬁles must NOT exceed 300 GB Submission in any other codec or format will have to be approved by Cinedigm prior to submission and may incur addional charges. Website and/or URL informaon is NOT acceptable.

Trailer Notes • Theatrical trailer preferred, 2 min. clips accepted • Same Aspect Rao as the feature • Must begin and end with at least one frame of black • If content is in HD then trailer must be HD • Must be in Stereo or Surround & Stereo • Trailer must be G Rated (No Nudity or Profanity) • No MPAA rangs card • No Release Date tagging • No Physical Product tagging • No Bars & Tone (Digital Files Only) • No Website or URL Informaon • No Producon Slates (Digital Files Only) Chapter Points • All Chapter points must be provided using me code from the provided masters • If no Chapter points are available, Cinedigm will break every 10 minutes as an alternave. Poster Art Profile • Provide as either a layered PSD file or EPS file, no less than 2400 pixels wide @ 300 dpi. Please provide the largest file available. • TIFF with “.ff” extension (8-bit or 16-bit uncompressed) or JPEG with “.jpeg” extension • RGB • 2400 minimum width • 2:3 rao • Poster Art of film must contain key art and tle. Credit blocks, DVD cover, release date, website, or promoonal tagging may not be included. Sll Images • Please provide 3-5 high resoluon STILL images. These are mandatory delivery requirements. Closed Capons The current partner spec requires that your film be supplied with closed capons that sync up to your master. Please provide .SCC files for closed caponing. Closed Capon specs can be found on page 6. If no closed caponing is available, please contact Chris McNulty ([email protected]) or Zwelinzima M’Timkulu (zm[email protected]) HD Audio Requirement Please note that in order to submit your content as HD for iTunes, 5.1 Audio in addion to Stereo must be provided if 5.1 has ever been created for any prior release. If 5.1 has ever been created, but is not supplied at the me of delivery, the content will only be made available for HD Rental.

COPYRIGHT © 2014 CINEDIGM ALL RIGHTS RESERVED REVISED MAR 20 2014 PAGE 5 Closed Capon Specs • English text in EIA 608 format. • Captions should begin at 00 Timecode. • Delivered in the same package with the video it references. • SCC formatted iles should be able to open in Quicktime Pro 7. • In a Scenarist SCC formatted ile, using .scc ile extension. • CC iles must be 29.97 regardless of frame rate of the movie ile. Note: Captioning worklows utilizing23.976 FPS timecodes can be accepted but the timecodes will be regarded as 29.97 FPS. • SCC iles should preserve the timecode mode (drop or non-drop) used in your captioning process, not necessarily the mode represented in the QuickTime movie source. • Captions should display and synchronize to within one second of the initial, audible dialog to be represented in text. • The timecodes of the captions are relative to the start of the program, and not the QuickTime movie's timecode track. • Cinedigm does accept other caption ile types like .cap but we prefer to receive .scc formatted iles. • Additional Notes/Frequent Issues: • Line Positioning Data: We require that captions or subtitles do not appear over any on screen text throughout the episode/ilm. Any caption/subtitle ile that appears over text should be moved to the Top Position or vice versa. All CCs/ subtitles should be not cover ANY on-screen text. • Timing: CC or Subtitle duration appear too short or too long on screen. Subs must match their episode in length exactly to dialogue. • Spelling and Grammar: Must be exact. Platforms will lag and reject for these issues frequently.

Note If closed caption data is available for any broadcast or web delivery system, it must be suppled to the digital platforms.

COPYRIGHT © 2014 CINEDIGM ALL RIGHTS RESERVED REVISED MAR 20 2014 PAGE 6 Please become familiar with the rejecon issues that cause masters to be returned. We require that your company thoroughly QC your content before delivery. The issues covered here will result in failures and may lead to unexpected charges for repair. Thoroughly The top 13 reasons why checking your material to find these issues beforehand will go a long way to help speed your content through masters get rejected and get it live quickly. #1 Website / URL Informaon Any website or URL informaon on all content will be rejected. Website / URL should not appear on any poron of the video. #2 Digital Hits Digital hits are arfacts that appear on the source of your video content. This includes video tears, specs of dirt or stac on the video source. Please be aware that digital hits can occur on only one frame and may be hard to spot at first. If any or mulple digital hits occur, your source will be rejected. If no other source is available and if the digital hit is present on a commercially released DVD, please contact your Cinedigm Technical Rep. #3 Duplicate Frames A frame with digital hits If subming your masters in uncompressed files on hard drives check for duplicate frames by opening up the Quickme file and stepping through the file using the arrow keys. If any frame duplicates or repeats, then your content has duplicate frames. Most oen this occurs when 23.98 frame rate source is output to 29.97 in which case your content will generate extra frames. This requires reverse telecine to avoid duplicate frames always output your content at its nave frame rate. #4 Merged Fields/Blended Frames (Ghosng Effect) When frames overlap, merge together or look like a ghosng effect you may have merged fields. Each frame should be clean and by itself. A good way of determining Merged Fields is finding footage that contains a good amount of visual moon. Usually in these circumstances, blended frames should be judged aer you have de-interlaced /reverse telecine the footage. You will noce that aer the de-interlace process, the interlaced lines are gone but because the fields were blended into each other it leaves a ghost image like the screen shots to the right. This usually happens when 23.98 film sources are forced frame rate converted to 29.97 instead of doing telecine process. This introduces interpolated new frames that can’t be taken out.

Examples of merged ﬁelds/ blended frames

COPYRIGHT © 2014 CINEDIGM ALL RIGHTS RESERVED REVISED MAR 20 2014 PAGE 7 #5 Forced NTSC/PAL Conversions A forced Pal-NTSC conversion will look just like the example picture for blended frames. It’s the same idea where extra frames are interpolated so you will have blended frames. Content MUST be supplied in their nave format. If it is shot in PAL- deliver in PAL. If it is shot in NTSC then deliver in NTSC. If the source is not telecine and it is indeed a 29.97 interlaced source, going to PAL will never yield clean results and will look choppy as frames are taken out. #6 Aspect Raos Please make sure your content maintains the same aspect rao throughout. If a ﬁlm is delivered with two diﬀerent aspect raos it will be rejected.

#7 Interlacing Pure interlaced sources Telecine Paerns need to be A video source can have interlaced frames (a paern of 3 sll frames, 2 interlaced frames or 3 independent need to be Deinterlaced. “Reversed Telecined”. Your frames and 2 duplicate frames) but they have to be treated differently to make them into progressive. Pure Switch you output fields to output field will automacally interlaced sources need to be deinterlaced (in Compressor using the Inspector under the control tab set the progressive switch to progressive output fields to progressive). Pure interlaced sources tend to be made for TV or with a small camera that tends to be 29.97 interlaced. This can be Boom First or Top First (for output fields) and needs to be deinterlaced. If a film has a telecine paern, it will be 3 progressive slls, and 2 interlaced slls (somemes referred to as the 3:2 paern). If you see the 3:2 paern on Telecine 29.97 sources you must run a reverse telecine to throw out a 23.98 Progressive file. (In compressor under deinterlace you pick reverse telecine). Plaorms will take only Progressive material for SD but for HD it can take interlaced (Top First or Boom First) material. #8 Closed Caponing The current spec requires that your film is supplied with closed capons if the film has aired with capons or caponing is/will be included on the DVD. If you do not provide a closed caponing file and it exists, your film will be rejected. Please provide .SCC files for closed caponing. Closed capon specs can be found on page 6. #9 Audio Dropouts There are numerous audio issues that could cause your content to be rejected. Audio Hits are anything in the audio that sounds like a sharp popping noise that disrupts the audio. Insure your audio is in sync with the video.

Examples of interlacing

Please make sure you correctly supply LPCM Stereo with your source for SD content. For HD Content (iTunes only), if you want your film for EST-Sale and Rental you must properly supply 5.1 audio + Stereo for all HD content. The surround audio tracks should be in the following order: 1. Le 2. Right 3. Center 4. LFE 5. Le Surround 6. Right Surround 7. Le Total This is an example of subtles that will be rejected for not 8. Right Total being centered as well as running off the screen. Check your subtle placement carefully. #11 One Frame of Black at Head/Tail of Content This Rejecon gets overlooked oen so please make sure ALL of your content starts on one frame of black and ends on one frame of black. If your content starts directly on video, it will be rejected. #12 Subtles If your film has subtles, please make sure they are in sync with the audio/picture, are connuously in frame and not cut off anywhere. They should be evenly centered in the middle of the film. If your film is leer-boxed, subtles should appear either enrely in the picture, or enrely in the middle of the black mae. It should NOT overlap from black mae to picture. #13 Some More Things That’ll Get Your Master Rejected Please make sure to also check your content for any of these items below. • MPAA rangs on the feature or trailer • DVD release informaon on the feature or trailer • Theatrical release informaon on the feature or trailer “Thanks for helping out and delivering the best masters possible. It helps to keep our release Broadcast release informaon on the feature or trailer • schedules on-me and achieve our common goals.” • Coming Soon or similar on the feature or trailer -The Cinedigm Digital Team FBI warnings on the feature or trailer • (Chris, Olivia, Bobbi, Jack, Sco & Alissa) • Website informaon on feature or trailer • Nudity– While content partners will accept some nudity they will NOT accept any full frontal scenes so please make sure all content submissions are completely free of any full frontal nudity scenes.