TECHNICAL SPECIFICATIONS

FOR THE DELIVERY OF

MOVING IMAGES
2021-03-01
V 2.0
 1. GENERAL NOTES ................................................................................................................. 3 - 4
1.1 QUALITY REQUIREMENTS FOR GLOBAL DISTRIBUTION ............................................... 3
1.2 PRODUCER RESPONSIBILITY ............................................................................................. 3
1.3 TECHNICAL SUPPORT RESOURCES ................................................................................. 4
1.4 PRE-APPROVAL OF FILMING AND DELIVERY FRAME RATE ............................................ 4
1.5 RESTRICTIONS ON FRAME RATE MIXING ........................................................................ 4
2. DELIVERY ........................................................................................................................... 5 - 10
2.1 PROGRAM MASTER ............................................................................................................ 5
2.2 TEMPORARY DELIVERY ....................................................................................................... 7
2.3 LIVE PROGRAM ................................................................................................................... 8
2.4 SOCIAL MEDIA .................................................................................................................. 10

3. AUDIO ........................................................................................................................................ 11

CONTENTS

3.1 AUDIO LEVELS .................................................................................................................... 11
3.2 DOLBY ATMOS ................................................................................................................... 11

4. VIDEO ........................................................................................................................................ 12
4.1 VIDEO LEVELS, GAMUT AND COLOR SPACE ................................................................. 12
4.2 SAFE AREAS ........................................................................................................................ 12
4.3 TIME CODE / PROGRAM START AND END ..................................................................... 12

5. CLOSED CAPTIONS AND SUBTITLES .................................................................................... 13

5.1 DEFINITIONS & TERMINOLOGY ........................................................................................ 13
5.2 TECHNICAL REQUIREMENTS ............................................................................................ 13

6. ANNEX: CLEAN VERSION ........................................................................................................ 14

7. ANNEX: AUDIO GLOSSARY ................................................................................................... 15
8. ANNEX: CHANGELOG ............................................................................................................. 16

1. GENERAL NOTES
The specifications outlined in this document are applicable to all commissioned
and in-house productions.
Any delivery in a format or specification not explicitly listed in this document will
require prior written approval by Red Bull Media House Quality Management.
1.1 QUALITY REQUIREMENTS FOR
GLOBAL DISTRIBUTION
Red Bull Media House is a global content producer and distributor, delivering
highly compelling programming to broadcast and online audiences all over
the world. As a result, all programming produced for and delivered to Red Bull
Media House from anywhere in the world must meet the highest technical quality
standards, both in its original delivery format, as well as after being converted
or conformed to other standards and frame rates used in other regions of the
world.
This means that even minor imperfections, which might sometimes be acceptable
for broadcast and/or distribution in your region, cannot be accepted by Red Bull
Media House since these minor imperfections are likely to turn into bigger quality
problems after frame rate conversions for other regions, making the converted
program unsuitable for broadcast and distribution.
TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
1.2 PRODUCER RESPONSIBILITY
It is the responsibility of the producer (i.e. “Production Partner” or “Production
Company”) to ensure that all delivered assets comply with all Red Bull Media
House quality standards and requirements. Acquisition frame rate and scan type,
and delivery frame rate, frame size and scan type must be approved in writing by
Red Bull Media House Quality Management prior to the start of filming. Any later
adjustment(s) of acquisition frame rate and/or scan type, and/or delivery frame
rate, frame size and/or scan type can only be made with the prior written approval
by Red Bull Media House Quality Management. Any video assets shot, edited
and/or delivered in frame rates not pre-approved in writing by Red Bull Media
House Quality Management may be subject to rejection. Producer acknowledges
that it is the producer’s responsibility to communicate regularly with Red Bull
Media House Quality Management. Red Bull Media House reserves the right to
refuse delivery of otherwise finished video assets in cases where dropped and/
or duplicated frames (freeze frames) and/or other serious deficiencies are found
even if deficiencies originate in sources obtained from Red Bull Media House.
Red Bull Media House may require the producer to bear any costs resulting from
the producer’s failure to comply with the timely instructions of Red Bull Media
House Quality Management.
Deficient programs that fail the Red Bull Media House quality control
process may be considered ‘not delivered’.
3

1. GENERAL NOTES
1.3 TECHNICAL SUPPORT RESOURCES
The quality requirements of Red Bull Media House will be described in detail in the
course of the quality assurance process, during which additional documentation
will be provided. In addition to the standard Red Bull Media House quality control,
Production Partners are required to actively participate in the Red Bull Media
House quality assurance process prior to final delivery.
1.4 PRE-APPROVAL
OF FILMING AND
DELIVERY FRAME RATE
Acquisition frame rate and scan type, and delivery frame rate, frame size and
scan type must be approved in writing prior to the start of filming by Red Bull
Media House Quality Management. Any footage or programs shot, edited and/
or delivered in frame rates not pre-approved in writing by Red Bull Media House
Quality Management may be subject to rejection by Red Bull Media House, and
no funds provided by Red Bull Media House may be used to cover the cost of
unauthorized filming, editing and/or delivery.
TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
1.5 RESTRICTIONS ON FRAME RATE MIXING
The mixing of shooting frame rates (shooting in 25 and 29.97 fps for the same
program, for example) is generally not acceptable, and we also strongly caution
against the mixing of frame rates in post-production. Especially if you are planning
to use pre-existing footage, it is mandatory that you document in as much detail
as possible the format(s) and frame rate(s) and legal clearance potential of the
pre-existing footage prior to the start of shooting in order to assist to the best
of your ability the Red Bull Media House Quality Management in determining the
shooting and delivery format that will best suit your program.
Any later adjustment(s) of acquisition frame rate and/or scan type, and/or delivery
frame rate, frame size and/or scan type can only be made with the prior written
approval by Red Bull Media House Quality Management.
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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
2. DELIVERY

This chapter outlines a series of potential delivery formats. The decision which delivery The following resolution / frame rate / codec combinations are acceptable:
format is applicable to your production will be made during the briefing process.
DELIVERY FORMAT RESOLUTION 1 FRAME RATE SCAN TYPE 2 CODEC 3, 4
For deliveries of high dynamic range (HDR) content please contact Red Bull Media 1080i/25 1920 x 1080 25 Interlaced, top field first ProRes 422 (HQ)
House Quality Management.
1080i/29.97 1920 x 1080 29.97 Interlaced, top field first ProRes 422 (HQ)
1080p/23.98 1920 x 1080 23.98 Progressive ProRes 422 (HQ)

2.1 PROGRAM MASTER 1080p/25 1920 x 1080 25 Progressive ProRes 422 (HQ)
1080p/29.97 1920 x 1080 29.97 Progressive ProRes 422 (HQ)
One copy of each of the following must be delivered: 1080p/50 1920 x 1080 50 Progressive ProRes 422 (HQ)
• Master #1 dirty - including all graphics and text (final program master) 1080p/59.94 1920 x 1080 59.94 Progressive ProRes 422 (HQ)
• Master #2 dirty w/o subtitles - same as “Master #1 dirty” but without subtitles XAVC-L or
(only required if program contains Forced Narrative Subtitles) 2160p/23.98 3840 x 2160 23.98 Progressive
ProRes 422 (HQ)
• Master #3 clean - without overlay graphics and text; time code and XAVC-L or
2160p/25 3840 x 2160 25 Progressive
duration identical to dirty version; a detailed definition of “clean” can be ProRes 422 (HQ)
found in “Annex: Clean Version” XAVC-L or
2160p/29.97 3840 x 2160 29.97 Progressive
ProRes 422 (HQ)
The Program Master delivery format that applies to your production will be
XAVC-L or
determined in your production agreement or during the briefing process. 2160p/50 3840 x 2160 50 Progressive
ProRes 422 (HQ)
XAVC-L or
2160p/59.94 3840 x 2160 59.94 Progressive
ProRes 422 (HQ)
1
Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions (letterboxing and pillarboxing is not allowed).
2
Delivery Formats with Scan Type Interlaced have a Field Rate that is double the Frame Rate;
3
ProRes 422 (HQ) = Apple ProRes 422 (HQ) in .mov QuickTime container; upon prior written approval or request by
Red Bull Media House Quality Management Apple ProRes 4444 or Apple ProRes 4444 XQ are also acceptable
4
XAVC-L = XAVC QFHD Long422 200 in .mxf container (MXF standard OP1a: SMPTE 378M)

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
2. DELIVERY

Audio channels must be delivered according to the following specifications CHANNEL CHANNEL NAME CHANNEL TYPE
and channel layout:
01 Full Mix Stereo L
• Clean and dirty versions have the same channel layout 02 Full Mix Stereo R
• Discrete PCM channels at 48 kHz sample rate, depth of 16-bit / 24-bit, 03 Full Mix excl. Voice Over Stereo L (undipped) 1
in sync with the picture and in phase
04 Full Mix excl. Voice Over Stereo R (undipped) 1
• Audio levels of each Full Mix must be compliant with the specifications 05 Effects / NAT Stereo L (undipped) 2
listed in the section “Audio” (-23 LUFS, -8dBTP)
06 Effects / NAT Stereo R (undipped) 2
• For further explanations on audio channel naming and content please
07 GFX Stereo L (undipped) 2
refer to the section “Audio Glossary” at the end of this document.
08 GFX Stereo R (undipped) 2
• If a 5.1 surround mix is commissioned, the additional audio stem
09 Music Stereo L (undipped) 2 1
Undipped: For “Full Mix excluding
deliverables will be agreed on a case by case basis.
10 Music Stereo R (undipped) 2 Voice Over” only adjustments made
to accommodate Voice Over should be
11 Voice Over Stereo L 3 removed but adjustments for Interviews /
12 Voice Over Stereo R 3 OT should remain unchanged.
2
Undipped: Any adjustments made to
13 Interviews / OT Stereo L 3
accommodate Voice Over or Interviews
14 Interviews / OT Stereo R 3 / OT should be removed, but cross-fades
between different sources as well as any
15 Full Mix 5.1 L 4, 5 EQ effects should be preserved.
16 Full Mix 5.1 R 4, 5 3
Mono audio is acceptable if the source
material was recorded in mono.
17 Full Mix 5.1 C 4, 5
4
If 5.1 audio is not applicable to the
18 Full Mix 5.1 LFE 4, 5 production, the delivery can be made
19 Full Mix 5.1 Ls 4, 5 with 14 audio channels.
5
For Dolby Atmos productions an
20 Full Mix 5.1 Rs 4, 5
additional 5.1 mix is also required.

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
2. DELIVERY

2.2 TEMPORARY DELIVERY Video

If, due to limited bandwidth, a fast delivery of the Program Master is not Container: .MOV or .MP4
possible and if fast distribution is necessary, a file in the following format Video Codec: H.264 or H.265
has to be provided. Video Bit Rate: 15 Mbit/s or higher (HD), 30 Mbit/s or higher (UHD)

Nevertheless, the Program Master has to be delivered within 7 days

(see section “Program Master” for details).
Audio
The following resolution / frame rate combinations are acceptable:
CHANNEL CHANNEL NAME CHANNEL TYPE
DELIVERY FORMAT RESOLUTION * FRAME RATE SCAN TYPE
01 Full Mix Stereo L
1080p/23.98 1920 x 1080 23.98 Progressive
02 Full Mix Stereo R
1080p/25 1920 x 1080 25 Progressive
1080p/29.97 1920 x 1080 29.97 Progressive Audio Codec: AAC
2160p/23.98 3840 x 2160 23.98 Progressive Audio Bit Rate: 256 kbit/s or higher
2160p/25 3840 x 2160 25 Progressive Audio Sample Rate: 48 kHz
2160p/29.97 3840 x 2160 29.97 Progressive Audio Loudness Compliance: -8 dBTP / -23 LUFS
(same as Program Master; see section “Audio Levels” for details)
2160p/50 3840 x 2160 50 Progressive
2160p/59.94 3840 x 2160 59.94 Progressive
* Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions
(letterboxing and pillarboxing is not allowed).

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
2. DELIVERY

2.3 LIVE PROGRAM 2.3.1 Recording

If live content is delivered via satellite feed or IP network the following specs
apply.
Material delivered as Live Program must maintain the following specifications:
Upon request of Red Bull Media House a high quality recording of the Live
Program must be delivered as Apple ProRes in .mov QuickTime container
(‘Live Program’ audio layout applies; all other technical details must comply
with section ‘Delivery > Program Master’)

2.3.2 Transmission via Satellite

DELIVERY FORMAT RESOLUTION * FRAME RATE FIELD RATE SCAN TYPE
1080i/25 1920 x 1080 25 50 Interlaced, top field first MODULATION ENCODING
Standard: 1080i/25 or 1080i/29.97
1080i/29.97 1920 x 1080 29.97 59.94 Interlaced, top field first Codec: MPEG 4
* Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions CBR: enabled
(letterboxing and pillarboxing is not allowed).
Entropy: CABAC
Color Sampling: 4:2:0
Bandwidth: 9 MHz Bit depth: 8
Audio Modus: DVB-S2 Hiera. B frames: enabled
CHANNEL CHANNEL NAME CHANNEL TYPE FEC: 3/4 Delay Mode: standard
Roll Off: 20% GOP Structure: 2
01 Full Mix Stereo L Symbol rate: 7.5 GOP length: 24
02 Full Mix Stereo R Pilot: On Closed GOP: enabled
Info rate: 16.33 Mbit/s adaptive GOP: disabled
03 Full Mix excl. VO (IT) Stereo L
HRD: enabled
04 Full Mix excl. VO (IT) Stereo R IDR Pictures: enabled
05 Effects / NAT Stereo L 1, 2 Number of Stereo pairs: 1-4
1
Only required if technical circumstances Audio (Stereo): MPEG1, 256 kbps (Sport/Entertainment)
06 Effects / NAT Stereo R 1, 2
of satellite transmission permit more than MPEG1, 384 kbps (Music)
07 Voice Over Mono 1 4 channels.
2
Mono audio is acceptable if the source
08 Interviews / OT Mono 1
material was recorded in mono.

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
2. DELIVERY

2.3.3 Transmission - Uncompressed via Optical Fibre 2.3.6 Talkback Communication to MCR
1.485 Gb/s HD-SDI connection, SMPTE 292M, [often known as 1.5Gbs HD-SDI] Intercom communication to on-site (OB Van) is mandatory for live events.
with embedded audio (uncompressed transmission). Different possibilities available on MCR end: ISDN, telephone POTS, SIP,
Wherever possible, practical, or cost-effective, program should use an Quicklink, Skype interface. Type of communication needs to be discussed
uncompressed 1.485Gbs HD-SDI connection. In all instances where the signal and organized in advance with Production Management.
can be carried uncompressed, stereo audio for the program should be carried
as discrete linear.
2.3.7 Contact MCR Red BullMedia House (AT)
Email: mcr@redbull.com
2.3.4 Transmission - Compressed via Optical Fibre Tel: +43 662 224028626
Links that provide a 1.5Gbs HD-SDI connection at the point of delivery, Mobile: +43 664 2650850
but which use compression/decompression along their route.
One of the following compression codecs is recommended:
• JPEG2000 – min.100 Mbps, ideal > 140 Mbps 2.3.8 Contact MCR Red BullMedia House (US)
• H.264 4:2:2 – min. 16 Mbps, ideal > 25 Mbps
Email: usdmcr@redbull.com
• H.265 4:2:2 – min. 12 Mbps, ideal > 20 Mbps
Tel: +1 661 2106039
• MPEG2 4:2:2 – min. 60 Mbps

2.3.5 Pre-Event Procedure - Line-up with MCR

1. Feeds need to be identified visually during Line-up e.g. with
different graphics, if more than one feed is going to be transmitted.
2. Tone identification to separate audio channels on each feed in
alignment with MCR.
3. Lip-sync verification with Vistek Valid or MatchBox Valid via
complete signal path to MCR.

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
2. DELIVERY

2.4 SOCIAL MEDIA 1080 x 1350 23.98 4:5 Progressive

1080 x 1350 25 4:5 Progressive
For content that is intended for distribution on Social Media platforms other
1080 x 1350 29.97 4:5 Progressive
than Youtube (which must follow program master specifications in section 2.1)
only, the following resolution / frame rate combinations are acceptable: 1080 x 1350 50 4:5 Progressive
1080 x 1350 59.94 4:5 Progressive
RESOLUTION FRAME RATE ASPECT RATIO SCAN TYPE 1080 x 1080 23.98 1:1 Progressive
1920 x 1080 23.98 16 : 9 Progressive 1080 x 1080 25 1:1 Progressive
1920 x 1080 25 16 : 9 Progressive 1080 x 1080 29.97 1:1 Progressive
1920 x 1080 29.97 16 : 9 Progressive 1080 x 1080 50 1:1 Progressive
1920 x 1080 50 16 : 9 Progressive 1080 x 1080 59.94 1:1 Progressive
1920 x 1080 59.94 16 : 9 Progressive
1080 x 1920 23.98 9 : 16 Progressive Video
1080 x 1920 25 9 : 16 Progressive Container: .MOV or .MP4
Video Codec: H.264
1080 x 1920 29.97 9 : 16 Progressive
Video Bit Rate: 15 Mbit/s or higher
1080 x 1920 50 9 : 16 Progressive
1080 x 1920 59.94 9 : 16 Progressive Audio
1080 x 1620 23.98 2:3 Progressive CHANNEL CHANNEL NAME CHANNEL TYPE Audio Codec: AAC
Audio Bit Rate: 256 kbit/s or higher
1080 x 1620 25 2:3 Progressive 01 Full Mix Stereo L
Audio Sample Rate: 48 kHz
1080 x 1620 29.97 2:3 Progressive 02 Full Mix Stereo R
Maximum Peak: max -1 dbFS
1080 x 1620 50 2:3 Progressive
1080 x 1620 59.94 2:3 Progressive Any further technical details specified in the sections “Video”
and “Audio” are not mandatory for Social Media deliveries.

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
3. AUDIO

3.1 AUDIO LEVELS 3.2 DOLBY ATMOS

Program audio levels of each Full Mix must not exceed -8 dBTP (True Peak) with A Dolby Atmos Home Theater Master must be delivered as a separate BWAV
an Integrated Program Loudness of -23 LUFS and a Loudness Range (LRA) of ADM file with the following specs:
15 LU or less. Upon written approval, we also accept LRA higher than 15 LU. All • Dolby Atmos BWAV ADM File
measurements must be determined in compliance with the recommendations
• 48 kHz, 24-bit
of EBU R128 (but with maximum true peak levels compliance as stated above).
• Single or multiple bed(s) are acceptable
This specification applies to any Full Mix in Stereo. • Tracks 1-128 may be used for objects or beds
For 5.1 and Dolby Atmos program audio levels must not exceed -1 dBTP • Loudness measurement must be performed on a 5.1 re-render
(True Peak) with an Integrated Program Loudness of -23 LUFS. • FFOA must not be set

A Dolby Atmos for Home Studio certification is required for all Home Atmos mix
rooms. The mix must be a dedicated nearfield mix. Timecode and duration of
the Dolby Atmos Master must match final picture length exactly.

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
4. VIDEO

4.1 VIDEO LEVELS, GAMUT AND COLOR SPACE 4.3 TIME
Video files have to be delivered in Rec.709 (ITU-R BT.709) color space with studio
range levels (not “full range” levels). Tolerances of video levels (luma, chroma,
RGB gamut) must comply with the recommendations of EBU R103-2000, i.e.,
luminance (Y) must be within -1% and 103% (-7mV and 721 mV), RGB components
within -5% and 105% (-35mV and 735mV), with errors being registered if the
total out-of-gamut elements exceed 1% of picture area. Videos that meet these
requirements are considered “broadcast safe”. These requirements only apply to
ready to air program masters. This means that Raw Footage, News Cuts, Rough
Cuts and Selects are exempt.
CODE / PROGRAM START AND END
Start Time Code: 00:00:00:00
Continuous time code (Drop frame time code is required in the case of 29.97
fps-based deliveries)
If program starts in black, audio signal must be present. If program fades to
black, last frame must be completely black. Slates, additional black frames or
color bars prior to the first frame of action or following the last frame of action
are not permitted.

These rules apply to HD and UHD.

Please note that Rec.709 and EBU R103-2000 also apply to the delivery
of graphics.

4.2 SAFE AREAS

All graphics must fall within the revised high definition 16:9 title safe areas as
specified in SMPTE ST 2046-1-2009, with protection of 90% area / 5% margins
for titles and 93% area / 3.5% margins for action.

For productions in North America, additional title safe requirements may apply.

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
5. CLOSED CAPTIONS AND SUBTITLES

Production Partners are only required to deliver a separate closed caption file
if explicitly asked to do so!
5.1 DEFINITIONS & TERMINOLOGY
CLOSED CAPTIONS (CC):
contain speech and non-speech elements for the hard of hearing;
can be turned on/off by the user
SUBTITLES (SUB):
contain speech elements only;
can be turned on/off by the user or can be burned into the video
FORCED NARRATIVE SUBTITLES (FNS):
for certain parts of a program subtitles must be displayed for all viewers (e.g.
for inaudible speech or during foreign language parts); this can be achieved
through burning the subtitles into the video or through activating a separate
subtitle stream.
Forced Narrative Subtitles must be burned into the video by the production
partner (if not requested otherwise)! Use of Bull font, sizing, positioning, per line
character count, color and drop shadow must follow requirements dictated by
the Red Bull Media House Subtitle User-Guide.
For detailed burn-in subtitle design specifications please refer to the document
Red Bull Media House Subtitle User-Guide.
5.2 TECHNICAL REQUIREMENTS
For each language Red Bull Media House is requesting a separate caption file that adheres
to the following specifications:
• XML file that conforms to the TTML profile EBU-TT-D 1.0 (EBU-Tech 3380)
• Maximum of 37 characters per line, maximum of 2 lines
• Average reading speed: 16 characters per second
• Start time code: 00:00:00.000
• Begin and end time codes for each subtitle must be in milliseconds
• Allowed positions: centered bottom, centered top; position definition must be done
via region elements; region ID must be “top” or “bottom”
• Allowed inline text formatting: line break, italic; formatting definitions must be done
via style elements (maximum of 2 style elements); first style ID must be “normal”,
second style ID must be “italic”; every style must use tts:wrapOption=”noWrap”
• Minimum duration of a subtitle: 1 second
• Maximum duration of a subtitle: 7 seconds
• Tolerance on scene cuts: Subtitles have to be removed latest 2 frames before a scene
cut / inserted earliest 2 frames after a scene cut
• Minimal distance between two subtitles: 4 frames
• Language and country codes: according to EBU-TT-D Spec; for English please
use “EN_US” as a default value
File naming convention: VIN_LanguageISOCode_CountryISOCode_CC/SUB/FNS.xml
Example: “MI201712290219_en_US_FNS.xml” (Underscores must be used as separators)

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
6. ANNEX: CLEAN VERSION

Important: GENERAL NOTES:

Time code and duration of the Clean version must be identical to the Dirty version.
• As it may be difficult in certain cases to determine whether or not certain elements
Color Grading: should be removed, please consult Red Bull Media House Quality Management
Footage in the Clean version must have the same color grading as in the during the creation of animations and other graphic elements, should you have
Dirty version. any questions or concerns.

• For graphic elements that overlay other footage during transitions (overlay graphic
Clean files MAY contain: with alpha channel; e.g. show open), any underlying material that is visible during
• Show Open (if applicable), VFX, animations or CGI, assuming any transitions the transition must be present in the Clean version.
that alter or otherwise compromise surrounding footage are removed (such
transitions include dissolves, wipes, or morphs, for example).
• Full screen graphics or images that do not overlay any footage.
• Black gaps, where graphics had to be removed.

Clean files SHALL NOT contain:

• Lower thirds, including lower third backgrounds
• Any text or numbers (to allow for future re-versioning in additional languages,
including non-Latin type-faces such as Chinese, Cyrillic etc.)
• Corner bugs, including any show or series packaging graphics
• Open captions (burned in subtitles)
• Bumpers
• Credit rolls

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 TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
7. ANNEX: AUDIO GLOSSARY

This section provides further explanations and synonyms for our audio channel terminology.

CHANNEL NAME EXPLANATION / SYNONYMS

The final mix of the program that includes all audio channels incl. Voice Over / Narration.
Full Mix
Must comply with -23LUFS Integrated Loudness and -8dbTP True Peak levels.

Full Mix excluding Voice Over Also known as ‘Mix Minus’ or ‘IT Mix’

Atmosphere or Ambient sound as recorded on set; also known as Production Sound, Natural Sound (NAT),
Original Sound or On-location Sound. Additionally includes effects intended to be indistinguishable from NATs.
Effects / NAT
e.g., artificial ambient sounds, Foley and background sound effects; no GFX, no Music, no Voice Over / Narration,
no Interviews.

Music Any and all music contained in the program, including pre-mixed, recurring elements in a series, e.g. open, close.

Graphical Sound Effects are sound effects that complement graphic overlays, graphical transitions or animations.
GFX
Not to be confused with “Effects / NAT”!

Interviews / OT Also known as Dialog.

Voice Over Also known as Commentary or Narration; abbreviation: VO

any adjustments made to accommodate Voice Over or Interviews / OT should be removed, but cross-fades
between different sources as well as any EQ effects should be preserved;
undipped
For Full Mix excluding Voice Over only adjustments made to accommodate Voice Over should be removed but
adjustments for Interviews / OT should remain unchanged.

dipped dipped stems must constitute the full final mix when combined at unity gain

15

8. ANNEX: CHANGELOG
VERSION DATE CHANGES
• Added Dolby Atmos specs
• Added XAVC-L (UHD) to “Program Master” delivery specs
• Added H.265 to “Temporary Delivery” delivery specs
• Added 16-bit to Program Master audio specs
• Added 23.98 fps to all relevant sections
• Updated definition of “Annex: Clean Version”
2.0 2021-03-01 • Renamed “Fast Delivery” to “Temporary Delivery”
• Renamed audio channel name “SFX” to “GFX”
• Moved “Spherical 360 Video” specs into a separate document
• Moved “Graphics” specs into a separate document
• Moved “5.1 Surround Stems” specs into a separate document
• Removed EBU R68 audio level delivery option
1.0
• Removed XDCAM from “Program Master” delivery specs
16
TECHNICAL SPECIFICATIONS
FOR THE DELIVERY OF MOVING IMAGES
Initial Release of RBMH Technical Specifications for Delivery
Changes to previous RBTV Specifications:
• Main change: merged old RBMH Specs and RBTV Specs into one document
• Added XDCAM Delivery
• Added 9:16, 2:3 & 4:5 vertical Delivery for Social Media
• Added Newsroom UHD Delivery types
• Added VR Delivery Specs
• Added “producer responsibility” paragraph
• Added more detailed specifications to section “Live Program”
• Added note “separate CC file optional for production partners”
• Removed “Dirty Non English Master”
• Removed all Audio Stem Packages (except for 5.1)
2018-02-01
• Removed Full Mix Stems from 5.1 Stem Packages
• Removed section “Low Resolution Preview”
• Removed section “Promotion Assets”
• Removed 23.98fps
• Updated definition of “Annex: Clean Version”
• Audio channels ProRes: removed additional languages
• Audio channels ProRes: same audio channel layout for clean and dirty
• Audio channels: Added “NAT / “ to Effects
• Audio channels: Re-ordered Voice Over and Interview channels
• Fast Delivery: Bitrate recommendation raised from 10 to 15 Mbps; added UHD bit
rate
• Program Start and End: Updated Definition