Unscripted
Post-Production Guidelines
Episode Delivery Procedures
2023
V2
Page 2
1 TABLE OF CONTENTS
1 TABLE OF CONTENTS 2
2 TECHNICAL SPECIFICATIONS & ON-AIR BROADCAST STANDARDS 4
2.1 INTRODUCTION .......................................................................................................................... 4
2.2 DELIVERY DEADLINES .............................................................................................................. 4
2.3 PROGRAM SPECIFICATIONS ................................................................................................... 5
2.3.1 Approved UHD Cameras .................................................................................................. 6
2.4 FILE SPECIFICATIONS – ALL FORMATS ................................................................................. 7
2.4.1 SDR Specifications – UHD & HD – 23.98 fps ................................................................... 8
2.4.2 HD Specification – 29.97 fps (If 29.97 fps is approved for SDR delivery) ........................ 8
2.4.3 HD Specification – 25 fps (If 25.00 fps is approved for SDR delivery) ............................. 9
2.4.4 HDR Specification – UHD – 23.98 fps .............................................................................. 9
2.4.5 Video & Audio Levels Summary ...................................................................................... 10
2.5 REQUIRED AUDIO LAYOUT .................................................................................................... 10
2.6 MUSIC & EFFECTS REQUIREMENTS..................................................................................... 11
2.6.1 Audio Stems Example Guide .......................................................................................... 11
2.7 SUBMISSION MASTER FILE LAYOUT .................................................................................... 12
2.7.1 File Export ....................................................................................................................... 13
2.8 CLOSED CAPTIONING ............................................................................................................. 13
2.8.1 Required Closed Caption Vendors.................................................................................. 13
2.8.2 Subtitle Files .................................................................................................................... 14
2.8.3 Domestic Caption & Subtitle File Specifications ............................................................. 15
2.8.4 Caption Proxy Specifications .......................................................................................... 18
3 SHOW FORMAT REQUIREMENTS 19
3.1 PARAMOUNT PROGRAM STANDARDS ................................................................................. 19
3.1.1 Smithsonian Institution Review Process ......................................................................... 20
3.2 FILE LAYOUT SUMMARY ......................................................................................................... 21
3.2.1 Segment Definitions ........................................................................................................ 21
3.2.2 Segment Parameters and Allowances ............................................................................ 21
3.2.3 File Layout Summary - BET ............................................................................................ 22
3.2.4 File Layout Summary – BET + ........................................................................................ 22
3.2.5 File Layout Summary – CMT .......................................................................................... 22
3.2.6 File Layout Summary - Comedy Central ......................................................................... 23
3.2.7 File Layout Summary - MTV ........................................................................................... 23
3.2.8 File Layout Summary - Paramount Network ................................................................... 24
3.2.9 File Layout Summary – Paramount+ .............................................................................. 24
3.2.10 File Layout Summary – Smithsonian Channel .............................................................. 24
3.2.11 File Layout Summary - VH1 .......................................................................................... 24
3.3 ON-SCREEN GRAPHICS GUIDELINES ................................................................................... 25
3.4 CREDIT GUIDELINES ............................................................................................................... 25
3.4.1 Full Screen End Credit Guidelines .................................................................................. 26
3.4.2 Copyright and Trademark Lines ...................................................................................... 26
3.4.3 Tax Credit Obligation ...................................................................................................... 27
3.5 UNION AND GUILD REQUIREMENTS ..................................................................................... 27
4 EPISODE DELIVERY PROCESS 28
4.1 EPISODE DELIVERY OVERVIEW ............................................................................................ 28
4.2 MEDIASILO – APPROVAL CUTS & MEDIA ............................................................................. 28
4.3 DSIDs ......................................................................................................................................... 29
4.3.1 File Naming Conventions ................................................................................................ 29
4.4 EPISODE VERSIONING GUIDELINES..................................................................................... 30
4.4.1 Version Types ................................................................................................................. 30
4.4.2 BET Version Types ......................................................................................................... 30
4.4.3 Comedy Central Version Types ...................................................................................... 30
4.4.4 CMT Version Types......................................................................................................... 30
4.4.5 MTV Version Types ......................................................................................................... 31
4.4.6 Paramount Network Version Types ................................................................................ 31
4.4.7 Paramount+ Version Types............................................................................................. 31
Page 3
4.4.8 Smithsonian Channel Version Types .............................................................................. 31
4.4.9 VH1 Version Types ......................................................................................................... 31
4.5 SIGNIANT DELIVERY VIA MEDIA SHUTTLE .......................................................................... 32
4.6 QC PROCEDURES ................................................................................................................... 32
4.6.1 Production QC Overview ................................................................................................. 32
4.6.2 Harding / PSE Tests ........................................................................................................ 32
4.6.3 Test Deliveries ................................................................................................................. 32
4.6.4 QC Failures & Episode Redelivery Process ................................................................... 33
4.7 DELIVERABLES OVERVIEW .................................................................................................... 33
4.8 SUPPLEMENTAL DELIVERABLES .......................................................................................... 34
4.8.1 Graphics Toolkit .............................................................................................................. 34
4.8.2 Audio Master Deliverables .............................................................................................. 35
4.8.3 Required 4 Channel Audio Stems ................................................................................... 35
4.8.4 Required 5.1 Surround Audio Stems .............................................................................. 36
4.8.5 Pro Tools Requirements ................................................................................................. 37
4.8.6 Audio Description / DVS Files ......................................................................................... 37
4.8.7 Textless Split Track Master ............................................................................................. 38
4.8.8 Semi-Texted Master ........................................................................................................ 39
4.8.9 Universal Global Images ................................................................................................. 39
4.8.10 HDR XML Metadata File (For Dolby Vision UHD HDR Projects Only) ......................... 40
4.9 FINAL DOCUMENTATION DELIVERY ..................................................................................... 40
4.9.1 Required Paperwork Deliverables ................................................................................... 40
4.9.2 Paperwork Delivery Guidelines ....................................................................................... 41
4.9.3 How to Create Formatted End Credits ............................................................................ 43
4.9.4 Production Logos/End Cards Delivery for Formatted Credits ......................................... 44
4.9.5 Example of Coded End Credits ....................................................................................... 45
4.10 NON-EPISODIC DELIVERABLES ........................................................................................... 46
4.11 NON-AIRING PILOTS & PRESENTATIONS OVERVIEW ...................................................... 46
4.12 DIGITAL CONTENT/SERIES OVERVIEW .............................................................................. 47
4.12.1 Textless Split Track Workreel ....................................................................................... 47
4.12.2 Platform Rendition Files Package ................................................................................. 47
4.12.3 Paperwork Delivery Guidelines ..................................................................................... 48
4.13 SOURCE MATERIALS DELIVERY ......................................................................................... 48
5 CONTACTS 50
Page 4
2 TECHNICAL SPECIFICATIONS & ON-AIR BROADCAST STANDARDS
2.1 INTRODUCTION
This document provides guidelines for internal and external productions to deliver episodic content digitally to
Paramount. The document will walk you through audio, video, paperwork, and supplemental delivery specifications. All
deliveries must conform to the specifications within this document. Any failure to comply will result in complete redelivery
at the show’s expense.
Paramount Network Post Production Operations (NPPO) will initiate calls at the following milestones:
• When the initial budget and production schedule are approved
o This discussion will include overall delivery specifications and expectations
• Roughly 1 week prior to Production
o The official Post Production Kickoff call will include discussions of show format, delivery
specifications, and introductions to various Paramount teams involved with the receipt and QC of
your assets
• One week prior to first episode delivery
o A final check-in to review delivery process in full detail and expected deliverables
The episode delivery process must follow the steps below:
• Production receives greenlight
• NPPO sets up post-production kickoff call
o NPPO/Paramount determine how many versions may need to be created of each episode
o After call, NPPO provides detailed recap and access to paperwork templates, in addition to DSIDs
and delivery portal access
o NPPO will provide production access to MediaSilo for review and approval workflows
All Smithsonian Channel original programs must undergo factual and reputational review by
designated Smithsonian Institution curators/researchers at both rough and fine cut. See page
20
for more details.
• 3 weeks before first episode delivery, production completes a delivery test via the delivery portal
• 1 week before first episode delivery, NPPO checks in with production
• First episode and supplemental files deliver, receive Paramount QC and ingest upon pass
o Production sends delivery emails, including list of all materials delivering, and with subject line
including full show name and DSID
• Episode is delivered to Paramount Network Operations Center (NOC) and is prepared for air
• Before season wrap, production delivers source materials to Paramount for archive
Once in production, any changes to the post calendar must be communicated within 1 business day
Many of the resources mentioned in this document can be found on the NPPO website: https://bit.ly/NPPOGuidelines
2.2 DELIVERY DEADLINES
• Linear Episodes: 4 weeks prior to premiere
• Paramount+ Episodes: 5 weeks prior to premiere
• Paramount+ Episodes launching globally on the same day: 12 weeks prior to premiere
o NOTE: Production groups may request work-in-progress materials at any time for promotional use
prior to series launch, depending on promotional schedule and network needs. Materials must have
near-final picture, color correction and final dialogue; split track audio is preferred.
Page 5
2.3 PROGRAM SPECIFICATIONS
Acceptance of delivered files requires strict adherence to the specifications listed in this document. This will require QC
and output testing by the productions before final delivery to Paramount.
Only .mov wrappers will be accepted. Paramount does not accept delivery of .mxf files.
Do not upconvert masters before delivery. We only accept files in their native format and frame rate. For Smithsonian
Channel projects, programs may not contain more than 10% upconverted HD to UHD material. Inclusion in the program
of upconverted SD to UHD material will not be allowed unless you have obtained the prior written approval from
Smithsonian Channel.
If a production decides to create an HDR graded master, an SDR master must also be delivered. Both HDR and SDR
masters are required as Paramount is currently unable to convert HDR to SDR, and an automatic conversion would affect the
creative look of a program.
Frame Rate
• Required shooting frame rate is 23.976 fps. Alternative frame rates may be approved on an individual basis.
Raster Size for Delivery
• 3840x2160 (UHD)
• 1920x1080 (HD)
Aspect Ratio
• 1.78:1 (16:9)
Recording Formats
• HD SDR – Use proper codec settings - Minimum 10bit 4:2:2
• UHD SDR – Use approved camera and proper codec settings – Minimum 10bit 4:2:2
• UHD HDR – Use approved camera and proper codec settings – Minimum 16bit 4:4:4:4
Audio Recording Formats
• Uncompressed (i.e. PCM, WAV, AIFF)
• Minimum 24bit @ 48KHz
(Note: Audio edit master delivery format is PCM 24bit @ 48KHz)
Color Space for Delivery
• For SDR material – REC 709
• For HDR material – REC 2020
Page 6
2.3.1 Approved UHD Cameras
• All UHD projects must use one of the below approved cameras:
o Only cameras marked below with an asterisk (*) are approved for use for Smithsonian Channel projects
Camera
Sensor
Codec
ARRI Alexa LF* 4.5K: 4448 x 3096 ARRIRAW / ProRes 4444 XQ
ARRI Alexa Mini LF* 4.5K: 4448 x 3096 ARRIRAW / ProRes 4444 XQ
ARRI Alexa 35* 4.6K: 4608 x 3164 ARRIRAW / ProRes 4444 XQ
ARRI Alexa 65* 6K: 6560 x 3100 ARRIRAW
ARRI Alexa SXT W 3.4K: 3424 x 2202 ARRIRAW / ProRes 4444 XQ
ARRI Amira 3.2K: 3200 x 1800 ARRIRAW / ProRes 4444 XQ
Sony PXW-FX9 3.8K: 3840 x 2160 RAW / XAVC-I/L QFHD
Sony PXW-FS7M2* 4K: 4096 x 2160 RAW / XAVC-I/L (DCI 4K)
Sony PMW-F55* 4K: 4096 x 2160 F55RAW / XAVC
Sony F65* 4K: 4096 x 2160 F65RAW / F65RAW-LITE / XAVC (DCI 4K)
Sony Venice* 6K: 6048 x 2534 XAVC / SONY RAW
Sony PXW-FS5M2* 4K: 4096 x 2160 RAW / XAVC QFHD
Sony PXW-Z450 3.8K: 3840 x 2160 XAVC-I/L QFHD
Sony PXW-Z750 3.8K: 3840 x 2160 XAVC-I/L QFHD
Sony a7 iii w/ Full Frame Sensor 3.8K: 3840 x 2160 XAVC S 4K
Sony F5* 4K: 4096 x 2160 XAVC (4k)
Sony FX3 3.8K: 3840 x 2160 XAVC-I (4k)
Sony FX6* 4K: 4096 x 2160 XAVC (4k)
Sony FS7* 4K: 4096 x 2160 XAVC (4k)
Sony FS7 I*I 4K: 4096 x 2160 XAVC (4k)
Sony FR7* 4K: 4096 x 2160 XAVC-I (4k)
Sony 5500* 4K: 3840 x 2160 XAVC QFHD
Canon C300 Mark II* 4K: 4096 x 2160 Canon RAW / XF-AVC (4K)
Canon C500 Mark II* 4K: 4096 x 2160 Canon RAW / XF-AVC (4K)
Canon C700*
4K: 4096 x 2160
4.5K: 4512 x 2376
Canon RAW / XF-AVC (4K) /
ProRes HQ (4K)
Panasonic VariCam 35* 4K: 4096 x 2160 V-RAW / AVC-Intra4K
Panasonic VariCam LT* 4K: 4096 x 2160 V-RAW / AVC-Intra4K
Panasonic VariCam Pure* 4K: 4096 x 2160 V-RAW / AVC-Intra4K
Panasonic EVA-1* 5.7K: 5720 x 3016 RAW / ProRes HQ (4K) / 422LongGOP / AVC HD
Panasonic Lumix DC-S1H* 4K: 4096 x 2160 RAW / MOV / H.264
Panavision DXL* 8k: 8192 x 4320 REDCODE RAW (Up to 8:1)
RED Gemini* 5K: 5120 x 2700 REDCODE RAW (Up to 8:1)
Blackmagic URSA Mini Pro 4.6K G2* 4.6K: 4608 x 2592 Blackmagic RAW (Up to 12:1)
Blackmagic URSA 4.6K* 4.6K: 4608 x 2592 Blackmagic RAW (Up to 12:1)
Blackmagic URSA Mini 4K EF 3.8K: 3840 x 2160 ProRes XQ
Blackmagic URSA Mini 4.6K* 4.6K: 4608 x 2592 CinemaDNG RAW (Up to 4:1)
Page 7
Blackmagic URSA Mini Pro 4.6K* 4.6K: 4608 x 2592 Blackmagic RAW (Up to 5:1)
Blackmagic Pocket Cinema Camera 4K* 4K: 4096 x 2160 Blackmagic RAW (Up to 12:1) / ProRes 422 HQ
Blackmagic Pocket Cinema Camera 6K* 6K: 6144 x 3456 Blackmagic RAW (Up to 12:1) / ProRes 422 HQ
Nikon D500 3.8K: 3840 x 2160 MOV / H.264 / MPEG-4
2.4 FILE SPECIFICATIONS – ALL FORMATS
All content delivered to Paramount must adhere to the specifications below, regardless of frame rate. Particulars for various
frame rates and formats are detailed beginning on the next page.
Video Levels
●
Luminance must not exceed 714mv (100 IRE units).
●
Chrominance levels in the Y/Pr/Pb domain must not exceed 785mv (110 IRE).
●
Chrominance signals must remain within the legal 0-700mV range when measured in the RGB domain on a
calibrated digital broadcast waveform monitor. A diamond waveform display or equivalent should be used to
avoid gamut errors and prevent illegal colors during production.
●
Chrominance levels created in an RGB color space must result in a valid signal when transformed to
Y’PrPb (709) color space in accordance with ITU-R Rec 709 for HDTV video.
●
Black level must be at zero IRE units as measured in the component digital domain.
Audio Standard
●
Audio content must be delivered as 24-bit uncompressed (PCM) digital audio at 48khz sample rate.
●
Audio must be free from distortion and dropouts.
Audio Levels
●
The level of normally-spoken dialog within the mix should be -24 LKFS (+/- 2), as measured on a meter
compliant with ITU B.S.1770-3. The measurement shall be integrated over the duration of the program
segment as defined in ATSC A/85:2013 (or future revision) Recommended Practice for Audio Loudness.
●
If LKFS measurement of the dialog within the mix is not possible, then the integrated LKFS audio level of the
entire program audio track of each segment must be -24 LKFS (+/- 2), as measured on a ITU B.S.1770-3
meter.
●
Peak audio levels must not exceed -2dB True Peak as measured using a meter compliant with ITU
BS-1770-3.
●
Music & Effects audio tracks should retain the same levels as the stereo mix.
●
In accordance with federal regulations (the “CALM Act”) and ATSC A/85:2013 (or future revisions), the level of
any program segment content will be corrected to an average level of -24 LKFS +/-2.
●
The purpose of dialog normalization is to provide consistent audio level between programs, commercial
spots, interstitials, and other broadcast/cable channels. Please be advised that program audio loudness
level will be automatically conformed to this level during broadcast transmission.
• A copy of the ATSC A/85 document can be found here:
http://atsc.org/recommended-
practice/a85-techniques-for-establishing-and-maintaining-audio-loudness-for-digital-television/
• For the best results when complying with these requirements, it is recommended that you:
• Use an audio decoder to approximate the sound experience in viewer homes.
• Use dialog as the anchor to your mix.
• Pay particular attention to levels at the beginning and end of each segment.
• NOTE: Certain programs may be required to submit test audio files during the mix phase
and prior to show delivery in order to confirm the mix is CALM compliant, adheres to the
Paramount technical specifications, and ensures that the creative mix will broadcast as it was
intended. Please contact NPPO to confirm if this test is applicable.
●
Dolby-E and Dolby Digital Audio are not accepted.
Page 8
2.4.1 SDR Specifications – UHD & HD – 23.98 fps
Video Standard
●
HD Video content must be delivered at 23.98 frames per second (fps).
●
Resolution: 3840x2160 (UHD) / 1920x1080 (HD)
●
Aspect Ratio: 16x9
●
Scan Type: Progressive
●
Video Range: Head Range
●
10-bit 4:2:2 component digital video in accordance with ITU-R BT.709 part 2 standard.
●
For SDR Projects, up to 12-bit 4:4:4 component digital video is acceptable
●
Acceptable .mov file codecs:
●
ProRes4444
●
ProRes422(HQ)
●
HD project only: DNxHD175x or DNxHD HQX
●
All episode content must be free of video and audio dropouts and flash frames
●
No video content or clips shorter than 5 seconds will be accepted for air.
●
Audio tracks must match the video track duration even if there is no audio.
●
NOTE: Paramount utilizes the industry standard 8-bit, 4:2:0, 29.97 interlaced, MPEG 4 statistical multiplexed (satellite
uplink compression) environment. Scripted programs, and/or programs utilizing special effects, should take the
broadcast chain into account throughout the entire production and post process.
Timecode
●
QuickTime file must have Timecode Track with Non-drop Frame Timecode.
2.4.2 HD Specification – 29.97 fps (If 29.97 fps is approved for SDR delivery)
Video Standard
●
HD Video content must be delivered at 29.97 frames per second (fps) (59.94 fields per second for
Interlaced).
●
Resolution: 1920x1080
●
Aspect Ratio: 16x9
●
Scan Type: Progressive or Interlaced, Upper Field First
●
Video Range: Head Range
●
10-bit 4:2:2 component digital video in accordance with ITU-R BT.709 part 2 standard.
●
Acceptable .mov file codecs:
●
ProRes4444
●
ProRes422(HQ)
●
DNxHD220x or DNxHD HQX
●
Live/near live programs only: DNxHD145 or DNxHD SQ
●
All episode content must be free of video and audio dropouts and flash frames
●
No video content or clip shorter than 5 seconds will be accepted for air.
●
Audio tracks must match the video track duration even if there is no audio.
●
NOTE: Paramount utilizes the industry standard 8-bit, 4:2:0, 29.97 interlaced, MPEG 4 statistical multiplexed
(satellite uplink compression) environment. Scripted programs, and/or programs utilizing special effects, should
take the broadcast chain into account throughout the entire production and post process.
Timecode
●
QuickTime file must have Timecode Track with Drop Frame Timecode.
Page 9
2.4.3 HD Specification – 25 fps (If 25.00 fps is approved for SDR delivery)
Video Standard
●
HD Video content must be delivered at 25 frames per second (fps) (50 fields per second for Interlaced).
●
Resolution: 1920x1080
●
Aspect Ratio: 16x9
●
Scan Type: Progressive or Interlaced, Upper Field First
●
Video Range: Head Range
●
10-bit 4:2:2 component digital video in accordance with ITU BT.709.
●
Acceptable .mov file codecs:
●
ProRes422(HQ)
●
DNxHD185x or DNxHD HQX
●
All episode content must be free of video and audio dropouts and flash frames
●
No video content or clips shorter than 5 seconds will be accepted for air.
●
Audio tracks must match the video track duration even if there is no audio.
●
NOTE: Paramount utilizes the industry standard 8-bit, 4:2:0, 29.97 interlaced, MPEG 4 statistical multiplexed
(satellite uplink compression) environment. Scripted programs, and/or programs utilizing special effects, should
take the broadcast chain into account throughout the entire production and post process.
Timecode
●
QuickTime file must have Timecode Track with Non-drop Frame Timecode.
2.4.4 HDR Specification – UHD – 23.98 fps
Video Standard
●
Video content must be delivered at 23.98 frames per second (fps).
●
Resolution: 3840x2160
●
Aspect Ratio: 16x9
●
Scan Type: Progressive
●
Bit Depth: HDR10 – 10-bit minimum; Dolby Vision – 12-bit
●
Required .mov file codec: ProRes4444(XQ)
●
Chroma Sampling: 4:4:4 RGB
●
Video Range: Full Range
●
All episode content must be free of video and audio dropouts and flash frames
●
No video content or clips shorter than 5 seconds will be accepted for air.
●
Audio tracks must match the video track duration even if there is no audio.
●
NOTE: Paramount utilizes the industry standard 8-bit, 4:2:0, 29.97 interlaced, MPEG 4 statistical multiplexed
(satellite uplink compression) environment. Scripted programs, and/or programs utilizing special effects, should
take the broadcast chain into account throughout the entire production and post process.
Timecode
QuickTime file must have Timecode Track with Non-drop Frame Timecode.
HDR Metadata:
●
Dolby Vision and HDR10 accepted, depending upon premiering platform requirements.
●
A separate XML file is required to deliver alongside any Dolby Vision HDR Masters and must
include all of the following information. Please see page 40
for naming convention.
●
Paramount expects values for Master Display Primaries (DCI P3), White Point (D65), Peak Luminance (1000
nit), Maximum Content Light Level (MaxCLL) and Maximum Frame Average Light Level (MaxFALL). If no
metadata is delivered, default values will be assumed.
●
Values for Master Display Primaries, White Point & Peak Luminance describe the grading display
●
MaxCLL & MaxFALL are generated by analyzing the final program.
●
Example: xR: 0.680, yR: 0.320, xG: 0.265, yG: 0.690, xB: 0.150, yB: 0.060, xW: 0.3127, yW: 0.3290.
●
Max Luminance: 1000, Min Luminance: 0, MaxCLL: 1000, MaxFALL: 400
Page 10
2.4.5 Video & Audio Levels Summary
Note: Waveform monitor must read video levels as Y’PbPr (YUV)
Video Level Type
Acceptable Level
Luminance
Do not exceed 714mV (100 IRE)
Chrominance
Do not exceed 785mV (110 IRE) Must be
valid to produce a 0
-700mV signal in the
RGB domain
Black Level
Must be at Zero IRE units as measured in
the component digital domain
Audio Level Type*
Acceptable Level
Average Audio Levels
Must be referenced to -24 LKFS (+/- 2) on a meter
compliant
with ITU B.S.1770-3
Peak Audio Levels
Do not exceed -2dB True Peak
*Audio must be free from distortion, dropouts, aliasing, clipping and other artifacts
2.5 REQUIRED AUDIO LAYOUT
Audio Setting – HD 5.1 Surround
Audio Setting – HD 4 Channel
Channel 1: Stereo Left
Channel 2: Stereo Right
Channel 3: Dialogue Left (Uncensored)*
Channel 4: Dialogue Right (Uncensored)*
Channel 5: Left Front
Channel 6: Right Front
Channel 7: Center
Channel 8: Low Frequency / Effects (LFE)
Channel 9: Left Rear
Channel 10: Right Rear
Channel 11: Music & Effects Left
Channel 12: Music & Effects Right
Channel 1: Stereo Left
Channel 2: Stereo Right
Channel 3: Music & Effects Left
Channel 4: Music & Effects Right
*If Dialogue is not present in the project, please replace in the 5.1 layout with VO tracks.
If delivering 5.1 Surround audio:
• the Stereo Full Mix to be a proper down mix of the 5.1 Surround:
o LT/RT - default: Downmixes from 5.1 to Stereo using the coefficients:
o LT = L + (–3 dB × C) + (–3 dB × Ls)
o RT = R + (–3 dB × C) + (–3 dB × Rs)
• the LFE audio channel must only contain low end tones not exceeding 120 Hz. The presence of a full audio mix on
the LFE channel is subject to QC failure.
Uncensored Masters require the same audio layout as Primary Masters but Mix and Dialogue channels must
Uncensored.
Page 11
2.6 MUSIC & EFFECTS REQUIREMENTS
●
An acceptable music and effects (M&E) track is comprised of all music beds, ambient sounds, and sound effects as well
as laughter and applause where applicable – minus any dialogue.
●
All songs that are intrinsic parts of the episode should be placed on the M&E tracks – minus all vocals. The dubbing
studio will be able to utilize the stereo tracks if they decide not to dub the song.
o Vocals should be separated for all original music created for program or music performed by cast members.
o Licensed and popular music performed on screen by their original artist for the episode should have separated
vocals unless dubbing the song poses a copyright or licensing issue
o Background music with vocals underneath dialogue does not need to be separated
●
The M&E should mirror that of the original production’s full mix – minus dialogue.
●
All English language words, including sung words, and all performer-intrinsic non-English vocal efforts made by the
actors must reside in the dialogue tracks.
o This includes any dialogue spoken while music is playing
2.6.1 Audio Stems Example Guide
Please see the below guide outlining where certain audio should be placed on the audio stems. See page 35
for more
information on audio stems.
Audio Type
Audio Stem
Naturally occurring sounds (coughs, grunts, screams, whistling, etc.) made
by an identifiable actor
Dialogue Stems
Naturally occurring sounds (coughs, grunts, screams, whistling, etc.) not
made by an identifiable actor
SFX and M&E Stems
Laughs (part of character dialogue)
Dialogue Stems
Laughs (part of background)
SFX and M&E Stems
Profanity Bleeps
Censored Dialogue
Stems
Background airport announcements, television/radio broadcasts, etc.
Walla w/ English
Discernible crowd noises/background chatter/offscreen whispers
Walla w/ English
Indiscernible crowd noises/background chatter/offscreen whispers
SFX and M&E Stems
Foreign dialogue
Dialogue Stems
Licensed clips
SOT/Film Clips Stem
Vocals from original music made for the program/licensed music sung
onscreen by the original artist with no dubbing restrictions
Music Vocals ISO
Page 12
2.7 SUBMISSION MASTER FILE LAYOUT
Files are delivered as continuous elements containing all program segments separated by blacks.
The required layout is described below
• Title Slate (00:59:50:00-00:59:55:00)
The following information must be contained in the slate text:
• Network/Channel Name
• Name of production facility / location
• Program Title
• Episode Number and Title
• Please note that all episodes must have titles distinct from their assigned number (i.e. not
“Episode 101”)
• Export Date OR Record date (when applicable)
• DSID
• Version Name (i.e. Primary Master)
• Revision Number (when applicable)
• Number of Segments
• Total Program Running Time in Native Frame Rate (excluding black/slate)
• Delivery Codec
• Native Frame Rate
• Indication of Aspect Ratio of Active Picture
• Texted or Textless
• Audio Channel configuration
• Length of each segment in Native Frame Rate (including segment DSID)
Blank and Example Slates can be found on the NPPO website (https://bit.ly/NPPOSupportingDocs
)
• Black/Silence (00:59:55:00-01:00:00:00)
• First Program Segment (01:00:00:00) e.g. cold open, title sequence, or Act 1
• It is strongly preferred that audio close completely with first frame of black at the start and end of all content
segments. However, if audio ring-outs are approved by the network, then they must be accounted for in all
segment timings.
• All program breaks are to be built into the file as 2 seconds of black, no slates
• Full screen end credits must be included as their own segment
• There must be 4 seconds of black at the end of the file
• A project-specific file layout summary will be provided by your NPPO representative
File Layout Summary – Generic
Segment
Timecode
Slate
00:59:50:00 – 00:59:55:00
Black
00:59:55:00 – 01:00:00:00
Program
01:00:00:00
Program Breaks
2 seconds of black, no slate
Program End
2 seconds of black, no slate
Full Screen End Credits
4 seconds of black
Page 13
2.7.1 File Export
Once the video and audio are locked and test file delivery is approved, the final export can be initiated. It is essential that
final file delivery conforms to all specifications within this document.
• All files must have a consistent, single codec and frame rate at final export
• Video and audio track lengths must match exactly, down to the frame
2.8 CLOSED CAPTIONING
All series are required to deliver complete closed captioning files with all versions of their episode deliveries.
●
Send a low-res proxy to your caption vendor once the program is at audio lock
●
The caption vendor will create the caption file in the .SCC format
●
The caption vendor should send the file back to your production group to include along with final episode delivery.
●
Files should always be authored at 29.97 in one of the following formats:
o 23.98 Native Shows: Scenarist SCC v1.0 with Non-Drop Frame Timecode
o 29.97 Native Shows: Scenarist SCC V1.0 with Drop Frame Timecode
●
.SCC files should always be authored at 29.97
●
Captions need to have the same start time as the master file and account for all slates, logos, segment breaks, and
any other blank space that might be on the master.
●
Captioning must mirror the audio content and show timings exactly. If a word is censored in audio, the word must
be censored in closed captioning.
●
Caption files must span all segments on a delivered file, including the Full Screen Credits segment.
All Caption Files must be delivered as separate files (not embedded) and named as follows:
• DSID_ShowTitle_Captions_Date
o For example, RuPaul’s Drag Race 1301 Caption File
HDQRP1301A_RuPaulsDragRace_Captions_011421.scc
Audio Description (also known as Descriptive Video Service/DVS) files are required to deliver with all versions of episode
deliveries.
●
Caption vendors that also provide final Audio Description files are noted below.
o Additional details can be found on page 37
.
2.8.1 Required Closed Caption Vendors
Use one of the following vendors to create your final caption files, all of which have Paramount preferred rates:
3Play Media (Formerly Captionmax)
Main Contacts:
Sandy Robeck <srobeck@3playmedia.com
>
Donna Horn <dhorn@3playmedia.com>
RealtimeServices@captionmax.com
Scheduling@captionmax.com
o 3Play is also an approved vendor for Audio Description Files
BTI Studios
Main Contacts:
Aprille Dahl-Olsen <Aprille.Dahl-Olsen@iyunomg.com
>
CMG (Caption Media Group)
Main Contacts:
Eric Whitt <Businessdevelopment@cmgusa.net
>
Dario Fuenmayor <OP1@cmgusa.net>
Jennifer Saume <JSaume@cmgusa.net>
o CMG is also an approved vendor for Audio Description Files
IDC Digital
Main Contacts:
Mort Roghanchi <Mroghanchi@idcdigital.com
>
Robyn Albohn <Robyn.Albohn@idcdigital.com>
o IDC is also an approved vendor for Audio Description Files
Page 14
LADB
Main Contacts:
Elissa Sarna <Elissa.Sarna@ladb.com
>
Stephanie Gray <Stephanie.Gr[email protected]om>
o LADB is also an approved vendor for Audio Description Files
Yangaroo / DMS (Digital Media Services)
Main Contacts:
Trevor Boelter: <Trevor.Boelter@yangaroo.com
>
<clientservices@yangaroo.com>
2.8.2 Subtitle Files
If content was originally produced in PAL / 25fps format or in a language other than English, an EBU .STL subtitle file
delivery for all available languages is also required.
o 23.98 / 29.97 Native Shows: STL EBU 30 fps
●
Paramount cannot accept disk codes of 23.98 or 29.97
o 25 Native Shows: STL EBU 25 fps
General Subtitle File Specifications
Required Value
Text Spec
Font, Effects, Edging, Italics N/A if Closed
Font
Arial Narrow Build
Font Size
Depends on system used, applied on
playout
Effects
N/A
Edging
2 pixel black edging on white font
File Requirements
Zero Subtitle Required?
No
Timing
From 00:00:00:00 to 00:00:00:08
Empty Sub at End?
Yes
Company / Translator Credits
No
File Naming
DSID_fr-FR.stl (using French as an
example)
File Language Convention
Language – Country (i.e. French – France)
EBU Character Code Table Used
850
Page 15
2.8.3 Domestic Caption & Subtitle File Specifications
Please ensure the following specifications are provided to your closed caption vendor.
TIMED TEXT
STYLE
Pop-On / White text over black background / Mixed Case / Center Justified
Two lines maximum per event when possible. An event is defined as every new occurrence of
pop-on text
CHARACTER
LIMITATION
Closed Captions: 32 characters per line / Subtitles: 42 characters per line
Spaces and punctuation are included in the character count.
ADULT READING
SPEED
200 words per minute/17 characters per second
Up to 30 characters per second acceptable for unscripted, rapid-fire dialogue
Reading speed can be adjusted to accommodate character and line limitations.
MINIMUM &
MAXIMUM
DURATION
Minimum: 20 Frames per event
Maximum: 5 Seconds per event
TIMED TEXT
PLACEMENT
Captions and subtitles should move to the top of the screen if there is text present in lower
thirds (e.g., identifiers, locaters, on-screen text/graphics, or forced narratives), only for the
duration of the lower thirds text. Crucial information or action should not be blocked.
Subtitle text must be placed in active picture.
Descenders (y, j, g, q, p) should remain four pixels above the Letterbox matte line to avoid
nearing, touching or crossing the matte line.
CAPTIONS
STANDARD
Closed captioned files must adhere to both CEA-608 and CEA-708.
MUSIC LYRICS
Music lyrics and lyrics sang by characters must be captioned and italicized throughout program and
through end credits, unless the lyrics interfere with dialogue. Be sensitive to over-captioning music
lyrics in-between dialogue as it may distract from the prominent dialogue and/or tone of the scene.
Lyrics should never end with a period. Quotation marks and exclamation points may be
used as the songwriter intended.
One musical eighth note (♪) should be placed at the beginning and end of each lyric line.
Use an uppercase letter at the beginning of each line of lyric:
♪Ground Control to Major Tom♪
♪You’ve really made the grade♪
If a lyric line needs to be split due to character limitations, the line of lyrics must be two lines with
a musical note beginning and ending the event. The second line will not receive capitalization.
♪Take your protein pills
and put your helmet on♪
Use ellipses when a song continues in background but is no longer captioned to give
precedence to dialogue:
♪Commencing countdown,
engines on…♪
SOUND EFFECTS
Do not caption every on-screen sound effect. Only caption plot relevant audio/visual cues
that happen on-screen for dramatic effect:
[tea kettle bubbling]; [labored breathing]; [choking, gasping]
Any off-screen sound effect relevant to plot should be captioned:
[indistinct whispering]; [birds caw]
If a major plot-relevant sound effect occurs off-screen during a song lyric, the effect must be
transcribed. Lyric interruption should be shown with ellipses.
♪Check ignition…[loud boom]…
and may God’s love be with you♪
DIEGETIC SOUND
When source-motivated music is playing in a scene, the music style and source should be
identified as a sound effect with lyrics/musical notes included where applicable:
[smooth R&B plays on TV]
♪Let’s get in on, sugar♪
NON-DIEGETIC
SOUND
When non source-motivated music is playing, the music cue should be identified like music lyrics
and bookended with musical notes in the following instances:
• In a scene that begins or ends without dialogue
• In a scene prior to the start of dialogue
Page 16
•
Intentionally interrupting a scene
• Intentionally playing during an interlude between dialogue
• When the music cue’s tone/tempo changes
♪disorienting suspenseful music♪
♪upbeat pop music plays♪
SCORE/
INSTRUMENTAL
MUSIC
For score or music that doesn’t contain lyrics, add a three musical note event (♪♪♪) as diegetic or
non-diegetic music plays uninterrupted through a scene.
ITALICS
Italics should be used (when possible) for narration, voiceovers, and characters not physically
present in the scene. [Note: Some devices can’t display italics and show italics “styling tags”]
Examples of when italics should be used:
• Phone conversations
• Voice(s) in someone’s head
• Character(s) singing lyrics
• Music lyrics
• Electronic media audio (e.g., TV, radio)
• Names/titles of literary works, films, TV shows, magazines, newspapers, etc.
• When transcribing foreign dialogue (unless the foreign dialogue is frequently
used in English dialect (e.g., bon appétit, rendezvous, ciao)
• When noting a non-English dialogue is being spoken but not intended to be
understood (e.g., speaking Russian)
Examples of when italics should not be used:
• Someone talking in another room or outside the door
• Sound effects
Italics can sparingly be used to express emphasis on a word when punctuation cannot convey
the emphasis:
You must acquit.
BRACKETS
Brackets are used to denote character dialogue or pertinent sound effects that are off-screen or
cannot be visually identified. On-screen sound effects should only be captioned in plot-relevant
circumstances.
Examples of when brackets should be used:
• Futuristic ball is making a humming noise, signifying it will explode = [humming]
• A close-up of a hand gently knocking on a door = [soft knocking]
• Door closes in another room signifying someone has left = [back door closes]
• Workshop where sewing machines add tension = [sewing machines whirring]
• To add emphasis to a character’s line delivery = [deep voice] Don’t tell anybody.
• Audible whispered dialogue = [whispers] This is a secret.
• Inaudible whispered dialogue = [indistinct whispering]
• If someone mouths words without saying or whispering them = [silently mouths words]
Use lower case letters for bracketed sound effects / improper nouns - e.g. [whirring]; [woman].
Use mixed case letters for proper nouns / names - e.g. [White House Press Secretary]; [Brando].
PARAPHRASING
Paraphrasing is only allowed during rapid-fire dialogue, but is acceptable in pre-2011 content.
MULTIPLE
SPEAKERS/
SOUND EFFECTS
When more than one speaker is on screen, captions should identify who is speaking if not
otherwise clear.
For offline captions: Captions should be stacked (new line for each change of speaker),
denoted by a hyphen:
-Hello, how are you?
-Hi! Great, thank you!
For offline captions, also use new line with a hyphen to denote layered sound effects:
-[bird caws] placed on line 1
-[baby cries] placed on line 2
For real-time captions: Captions do not need to be stacked, and speakers should be identified
with a sideways forward facing double chevron (>>). Identifying speakers by name is not
necessary unless otherwise unclear, but is preferable:
Page 17
>> James: HOW WAS YOUR WEEKEND? >> Reggie: FANTASTIC! >> James: MINE T
OO
>> Reporter: PRESIDENT BIDEN, WHAT IS YOUR REACTION? >> Biden: WE CAN ALL
BE VERY PROUD OF THIS BIPARTISAN AGREEMENT.
OFF-SCREEN
SPEAKERS/SOUND
EFFECTS
When a speaker is not on the screen, identification of that individual in the caption text should
be provided if viewers not using captions are able, from the program’s audio content, to discern
the speaker’s identity.
QUOTING
When quoting, use one quotation mark at the front of the quote and one at the end of the quote.
Do not use a front quotation mark at every event. Periods and commas precede closing
quotation marks. Question marks and exclamation points follow end quotation marks unless they
are part of a quoted text:
Was it Homer who said, “Just see how mortal men always put the blame on us gods!”?
Quotation marks should be used for episode names of television series and song titles:
“All My Loving”
Quotations within quotations should use single quotes:
She said to me, “‘All My Loving’ was played by The Beatles on The Ed Sullivan Show in 1964.”
PUNCTUATION
Ellipses can be punctuated with a period or question/exclamation point when appropriate. Trailing
off or mid-sentence pick-up dialogue is noted with an ellipsis:
Hello…are you there…?
Dialogue interruptions should be noted with two hyphens:
I didn’t mean to—
Yes! You did!
METRICS
Subtitles should never convert measurements from their original/native metric.
NUMBERS
Numbers from 1-10 should always be spelled out:
I have three children.
Any number greater than 10 should not be spelled out unless when beginning a sentence or
when telling time with “o’clock.”:
Twelve years ago, I had a child. / It’s twelve o’clock in the morning.
Percentages should not be spelled out:
They need 4% more to meet their goal. / I scored 100% on my math test.
CURRENCY
Currency should always be represented with the proper currency symbol followed by the amount.
$1 million dollars
Subtitles should never convert money amounts from its original/native currency.
TIMES OF DAY
Use lowercase a.m. (ante meridiem) and p.m. (post meridiem) when mentioned in dialogue.
Use numerals when exact times are stated (e.g., “Our meeting is at 9:30 a.m.”).
Spell out words/phrases that do not include actual numbers: midnight, noon, quarter of, etc.
When “o’clock” is mentioned in dialogue, always spell out the number
Dates are to be captioned with the month written and numbers for the day and year:
December 15, 2018
Military time should be captioned as “0100 hours”.
SONG LYRICS
Never translate song lyrics into another language.
REAL-TIME
CAPTIONS
The accuracy rate for live captions should be at least 98.6%.
CREDITS
Do not include Company or Captioner Credits
Page 18
2.8.4 Caption Proxy Specifications
●
Acceptable containers are .mov or .mp4.
●
Preferred video frame size is 640x360, with a bit rate of 1.0 Mbits/second.
●
Audio should include English (or Primary Language) Stereo Mix on channels 1 & 2 when available
o If stereo is not available, a mono mix is acceptable.
●
Audio Bit rate should be between 100 – 300 Kbit/second, with a sample rate of 48kHz.
●
Locked proxies uploaded ahead of the final master must have:
o Frame rate and continuous burn-in time code matching the master video.
o Same durations of breaks (2 seconds) as the final master.
o Cursing not approved by Paramount’s Standards and Practices team should be bleeped/ censored.
●
If any of the above changes between when the locked proxy is uploaded to the vendor and your final delivery, a
new proxy needs to be sent to address said changes.
●
If there are any changes not encompassed above that alter the audio or duration of the episode (scene cut,
additional censorship, etc), a new proxy will also need to be sent to account for the edits.
●
If a show is known to be delivering too late to deliver a locked proxy and live captioning needs to be arranged, we
still ask that a proxy be uploaded (in this case, it would be sent at the time of the final master delivery) as live
captioning is not fit for distribution needs and will cause those assets to fail with our partners.
●
When communicating to the vendor that a proxy has been sent, please let them know the exact day and time it is
due back. This lets them balance the workload on their end but also manages expectations, and, should they not
be able to meet the deadlines, a contingency can be planned.
●
Paramount requires captions to be returned the day before delivery.
Proxy files sent to the caption vendor also require locked Stereo LT on Ch.1 & Stereo RT on Ch.2 that matches the exact
length and segment formatting of your final delivery files for creation of Audio Description files.
Page 19
3 SHOW FORMAT REQUIREMENTS
3.1 PARAMOUNT PROGRAM STANDARDS
Paramount is committed to presenting its viewing public with programming of the highest quality and standards. The
Standards and Practices department has responsibility for a specific area of that commitment, ensuring that programming
presented meets standards of good taste and community acceptability. Paramount Media Networks present and promote
programming designed to entertain as well as to meet the network’s standards of social responsibility and high-quality
programming. Accordingly, Paramount has adopted the following program content requirements:
• Programming that endorses or condones illegal drug use or alcohol abuse will not be aired. Narcotic addiction and
alcohol abuse will only be depicted as self-destructive, antisocial behavior. Programming aired will not promote,
glamorize, or show as socially acceptable the use of illegal drugs or the abuse of legal drugs.
• Paramount will not air programming containing explicit, graphic, or excessive sexual activity. When sexual themes
are key to the concept or plot of a video or program, they must be depicted with consistent regard for commonly
accepted standards of taste and propriety.
• Language will be evaluated based on context and societal acceptability. All flagged language must be clearly audio
dropped or bleeped. For CMT productions, no portion of the word being censored should be audible. Closed
Captioning must reflect bleeped/dropped words.
• BLEEPING EXPLETIVES VS DROPPING AUDIO: Please confirm the network’s preference with your Executive and
Operations contact
• Derogatory characterizations of any ethnic, racial, sexual, or religious groups will be avoided.
• Programming containing gratuitous violence is unacceptable. Violence, if depicted, must be essential to the
development of a theme, plot, or concept in a video or program. Violence may not be used to stimulate the audience
or to invite imitation, nor may it be shown or offered as an acceptable solution to problem or conflict. Exceptional care
must be taken in instances where women and children are victims of, or are threatened by, acts of violence.
• United States federal law prohibits the transmission of the Emergency Alert System (EAS) and Wireless Emergency
Alert (WEA) tones and simulations of those tones or sound-alike tones (i.e., the tones used in announcements
regarding severe weather or other emergencies). You may not deliver a program that includes EAS or WEA tones,
tones that simulate EAS or WEA tones, or tones that are substantially similar to EAS or WEA tones. When in
question, elevate to your Executive in Charge or NPPO contact.
The review process demands complicated subjective judgments that reflect sensitivity and concern for our core audience.
Our requirements provide an appropriate balance between responsibility to our viewers and the needs of creative artists to
explore new and innovative ideas. Standards and Practices maintain a liaison with, but remain independent of, other
company departments to achieve this balance. It is supervised by the Senior Vice President of Standards and Practices. In
every instance, the results must conform to the principles expressed in the requirements set forth by Paramount Networks.
Creative spirit and expression exist in tandem with the integrity of our programming.
Page 20
3.1.1 Smithsonian Institution Review Process
All programs must be reviewed by a designated Smithsonian Institution curator/researcher twice: once at Rough Cut and
again at Fine Cut. YOU MUST ALLOW AT LEAST 5 BUSINESS DAYS FOR EACH REVIEW. THIS TIME FRAME IS NON-
NEGOTIABLE. Adhere to the following procedure in order to prevent any delays in your production schedule:
Rough/ Fine Cut Delivery Instructions: A complete rough & fine cut delivery includes an email confirmation to your
Smithsonian Channel Creative, Production & NPPO contacts with the below:
- Confirmation of uploaded video file to your program’s MediaSilo folder
- A three column timecoded script in Word Doc format
- A brief program/episode description (1 - 2 sentences)
Please note your video file must be uploaded and this email must be sent by 9AM EST to count that day in the five business
day review period. For cuts arriving after 9 am EST, the five-day period starts the following business day. An email
acknowledgement from your Smithsonian Channel contact is required as confirmation that all files have been received and
the review process has begun.
- All information-based animations/GFX must go through Smithsonian Institution’s factual review process. If they are
not available at Fine Cut, arrange with your Creative & Production contacts to submit separately.
- You must address all factual notes given by the Smithsonian Institution reviewer in the next cut you deliver. (The
factual notes will be sent to you by your Smithsonian Channel Executive Producer.)
If you receive factual corrections from the Smithsonian Institution reviewer that are inconsistent with your research, or if
you receive subjective comments, please discuss them with your Smithsonian Channel Executive Producer.
Page 21
3.2 FILE LAYOUT SUMMARY
All master episode files are composed of several elements, called segments. Unless instructed otherwise, all segments must
be isolated on the master file.
3.2.1 Segment Definitions
• Segment – any element of an episode, including, but not limited to, all defined below
• Act – main program content
• Title Sequence – commonly known as main title, a short introduction including show name and music
• Generic Intro – a non-title sequence introduction to the show that is the same across all episodes
• Cold Open – An opening scene of a show that occurs before the title sequence
• Disclaimer (aka Advisory Board) – a warning of sensitive content in the program to come
• Bumpers In/Out – a 3-5 second logo animation at top or tail of act, typically consisting of show logo
• This Season (aka Supertease) – a sequence that previews content in the season to come
• Previous Season – a sequence that recaps content from earlier seasons of the series
• Previously On (aka Previous Episode) – a sequence that recaps relevant information from earlier eps
• This Episode – a sequence teasing content to come
• Next On (aka Next Episode) – a sequence that previews content to come in the following episode
• Coming Up After the Break – a sequence that previews content to come in the following act
• Before the Break – a sequence that recaps content in the previous act
• Integration – an act with a previously-agreed upon commercial placement that will air for a limited time
• Full Screen Credits – a 30 second segment that features all personnel who worked on an episode
• Production End Page (aka Billboard) – a full screen production logo or tax-credit logo that airs at the tail of a credit
segment
3.2.2 Segment Parameters and Allowances
• All final timings must be calculated in 29.97 Drop Frame frame rate.
• Title Sequences must be consistently :30 throughout the series. Any overage must be approved by Programming
prior to the start of the series.
o Production must deliver a :30 title sequence or a :15 title sequence.
o Title Sequences should be delivered as a separate segment within the master file.
• Cold Opens, title sequences, acts and end credits are all included in the total running time of each program, e.g. the
program length.
• Paramount Media Networks will maintain the flexibility to remove any program break for the purpose of airing cold
opens, title sequences, and/or program segments back-to-back. All segments should be produced to allow for this
seamless transition.
• If applicable, previously and/or next on segments must be delivered as a separate segment and should never be
married to any other elements, including the title sequence and first or last act. A previously and/or next on segment
runtime should be either 25 or 30 seconds (i.e. end on a round number), and be consistent throughout the series.
**All show clocks are located at https://bit.ly/NPPOClocks
. Please refer to the clock that matches your
content**
Page 22
3.2.3 File Layout Summary - BET
30:00 Program (Four Acts)
• Total program length is 20:30 including credits
60:00 Program (Five Acts)
• Total program length is 40:30 including credits
• A minimum length of 12 minutes is required for Act 1
3.2.4 File Layout Summary – BET +
• Program TRTs may be full length and variable
o There are no segment length restrictions
o NOTE: Since linear versions will also be created, we recommend TRTs be as close to the network linear
clock as possible to streamline post deliverables and process.
30:00 Program (Four Acts)
• Total program length can be up to 30 minutes long with credits formatted as a separate segment
• The top/bottom of segments must be edited in such a way that segments can air seamlessly or with commercial
breaks.
• NOTE: linear version total program length is 22:30 (inclusive of credits segment)
60:00 Program (Five Acts)
• Total program length can be up to 60 minutes long with credits formatted as a separate segment
• The top/bottom of segments must be edited in such a way that segments can air seamlessly or with commercial
breaks.
• NOTE: linear version total program length is 42:30 (inclusive of credits segment)
3.2.5 File Layout Summary – CMT
CMT Series
30:00 Program (Four Acts)
• Total program length is 20:30 including credits
• Act 2 must be a minimum of 4:00
• Act 3 must be a minimum of 4:00
• Act 4 must be a minimum of 2:00
60:00 Program (Six Acts)
• Total program length is 40:30 including credits
• Act 2 must be a minimum of 5:00
• Act 3 must be a minimum of 5:00
• Act 4 must be a minimum of 5:00
• Act 5 must be a minimum of 5:00
• Act 6 must be a minimum of 2:00
CMT Specials
30:00 Program (Four Acts)
• Total program length is 20:00 including credits
• Act 2 must be a minimum of 4:00
• Act 3 must be a minimum of 4:00
• Act 4 must be a minimum of 2:00
60:00 Program (Five Acts)
• Total program length is 40:00 including credits
• Act 1 should be the longest act
• Acts 1-3 must be longer than 30:00
• Acts 5 should be the shortest act, with a minimum of 2:00
Page 23
3.2.6 File Layout Summary - Comedy Central
Comedy Central Standup
30:00 Program (Four Acts)
• Total program length is 21:00 including credits
• Act 1 must be between 5:35 and 8:15, with ideal length 6:45
• Act 2 must be between 5:15 and 7:40, with ideal length 6:15
• Act 3 must be between 4:30 and 7:00, with ideal length 5:30
• Act 4 must be between 1:00 and 3:30, with ideal length 2:00
• Total program length for TV-MA version is 20:55 including credits
o Act 1 for TV-MA version must be between 5:30 and 8:10, with ideal length 6:40
60:00 Program (Six Acts)
• Total program length is 41:55 including credits
• Act 1 must be between 6:55 and 8:55, with ideal length 7:55
• Act 2 must be between 7:00 and 9:00, with ideal length 8:00
• Act 3 must be between 6:00 and 8:00, with ideal length 7:00
• Act 4 must be between 6:00 and 8:00, with ideal length 7:00
• Act 5 must be between 5:00 and 7:00, with ideal length 6:00
• Act 6 must be between 4:30 and 6:30, with ideal length 5:30
• Total program length for TV-MA version is 41:50 including credits
o Act 1 for TV-MA version must be between 6:50 and 8:50, with ideal length 7:50
60:00 Program with Limited Commercial Interruptions (Three Acts)
• Total program length is 50:30 including credits
• Act 1 must be between 18:00 and 26:00, with ideal length 22:00
• Act 2 must be between 12:00 and 20:00, with ideal length 16:00
• Act 3 must be between 8:00 and 16:00, with ideal length 12:00
• Total program length for TV-MA version is 50:25 including credits
o Act 1 for TV-MA version must be between 17:55 and 25:55, with ideal length 21:55
Comedy Central Variety
30:00 Program (Four Acts)
• Total program length is 21:30 including credits
• Act 1 must be between 6:00 and 8:30, with ideal length 7:15
• Act 2 must be between 5:15 and 7:45, with ideal length 6:15
• Act 3 must be between 4:45 and 7:15, with ideal length 5:45
• Act 4 must be between 1:00 and 3:30, with ideal length 2:00
• Total program length for TV-MA version is 21:25 including credits
o Act 2 for TV-MA version must be between 5:10 and 7:40, with ideal length 6:10
Comedy Central Extended Multi-platform Clock (fka DTO)
• Approximately 60:00 TRT inclusive of credits. Exact length to be agreed upon with your Comedy Central EIC.
• 10 segments (9 content acts plus credits)
• Segment durations are flexible, and must be agreed upon with your Comedy Central EIC
3.2.7 File Layout Summary - MTV
30:00 Program (Four Acts)
• Total program length is 21:20 including credits
• All Acts should be a minimum of 4:00, except the final act, which must be a minimum of 2:00
60:00 Program (Seven Acts)
• Total program length is 41:50 including credits
• All Acts should be a minimum of 4:00, except the final act, which must be a minimum of 2:00
Page 24
3.2.8 File Layout Summary - Paramount Network
30:00 Program (Four Acts)
• Total program length is 20:30 including credits
• Act 1 must be between 8:00 and 10:00, with ideal length 9:00
• Act 2 must be between 4:00 and 6:00, with ideal length 5:00
• Act 3 must be between 3:00 and 5:00, with ideal length 4:00
• Act 4 must be between 1:00 and 3:00, with ideal length 2:00
60:00 Program (Five Acts)
• Total program length is 40:30 including credits
• Act 1 must be between 11:00 and 13:00, with ideal length 12:00
• Act 2 must be between 6:00 and 8:00, with ideal length 7:00
• Act 3 must be between 7:00 and 9:00, with ideal length 8:00
• Act 4 must be between 6:00 and 8:00, with ideal length 7:00
• Act 5 must be between 5:00 and 7:00, with ideal length 6:00
3.2.9 File Layout Summary – Paramount+
• Ad break will appear before end credits
o Program TRTs may be full length and variable
NOTE: If linear versions are to be created, we recommend TRTs be as close to the network linear
clock as possible to streamline post deliverables and process.
o There are no segment length restrictions
• Commercial breaks on Paramount+ are no longer than 90 seconds in length
o Premium viewers will instead see 2 second black breaks in between segments
o When in doubt, producers should lean toward the best creative experience for the Premium / Commercial-
Free viewers, as they are paying a higher price point for the content
• Previously and Next On segments are preferred for series that roll out weekly and are not required for a binge drop
rollout
30:00 Program (Three Acts)
• Total program length can be up to 30 minutes long, plus credits formatted as a separate segment
60:00 Program (Four Acts)
• Total program length can be up to 60 minutes long, plus credits formatted as a separate segment
90:00 Program (Six or Seven Acts)
• Total program length can be up to 90 minutes long, plus credits formatted as a separate segment
• Number of acts is flexible
120:00 Program (Eight, Nine, or Ten Acts)
• Total program length can be up to 120 minutes long, plus credits formatted as a separate segment
• Number of acts is flexible
Original Movies
• No commercial breaks are needed
3.2.10 File Layout Summary – Smithsonian Channel
60:00 Program (Five Acts)
• Total program length is 44:30 including credits
• Act 1 must be between 9:00 and 13:00
• Act 5 must be between 5:00 and 10:00
• No act may be less than 5:00
90:00 Program (Seven Acts)
• Total program length is 66:30 including credits
• Act 1 must be between 8:00 and 15:00
• Act 7 must be between 5:00 and 10:00
• No act may be less than 5:00
3.2.11 File Layout Summary - VH1
30:00 Program (Four Acts)
Page 25
• Total program length is 21:00 including credits
60:00 Program (Six Acts)
• Total program length is 41:50 including credits
90:00 Program (Eight Acts)
• Total program length is 1:02:50 including credits
3.3 ON-SCREEN GRAPHICS GUIDELINES
●
Each network has specific rules regarding episode graphics into order to avoid any overlap with network
programmed bugs and graphics. Network-specific screen real estate guidelines can be found on the NPPO
website.
o Any episodes with graphics that violate the screen real estate guidelines will be required to re-deliver at the show’s
expense.
●
Please see page 39 for guidelines on textless element delivery
●
A graphic rundown is required of every episode for all graphics including credits and main title
3.4 CREDIT GUIDELINES
Paramount requires three types of credits as part of each episode delivery:
●
A full credit list documenting all front and end credits, using the template provided by the Paramount On-Screen
Credits department.
●
A formatted end credits document utilized for broadcast, which allows the network to dynamically produce a lower
third credits graphic airing either over the end of the final act or Next On segment of the program.
o This graphic is generated by the NOC and allows for a seamless transition from one program to the next,
aiding in viewer retention.
o Please see page 43
for formatted end credits document instructions.
●
A full screen :30 separate credit segment, delivered as part of the master file delivery and utilized for multiplatform
and online use when the formatted end credits cannot be broadcasted.
o Please see below for full screen credit details.
Contact your legal, production management, and programming points of contact with questions or concerns regarding
credit guidelines.
●
The Executive in Charge of Production must approve all credit lists prior to final delivery.
●
Paramount Media Networks will mandate how credits will air for each Network.
PLEASE DO NOT BURN IN CREDITS OVER PICTURE. PARAMOUNT WILL PROVIDE THIS SERVICE.
Page 26
3.4.1 Full Screen End Credit Guidelines
●
Full Screen credits must be a separate segment following the end of the program.
o Credits should be presented in a paging format, with white text on black background and center-justified
within title-safe, unless an exception is requested to and granted by your NPPO representative.
●
Additional episodic content should not be included within the credits since it will not appear on-air due to the credit
reformatting process
●
The total running time for show end credits must be 30 seconds and remain the same length throughout the series.
All exceptions must be approved by Programming.
●
Cleared audio must be present during the credits. The absence of audio during the credits will result in an
automatic QC failure.
●
Audio must completely close with first frame of black on all dips and fades.
●
Production End Pages must be three seconds or less. The length of the End Pages are included in the 30 seconds
of the end credits total running time.
●
The use of URLs or websites is prohibited in the Production End Pages and credits.
●
A Network End Page may be required following Production End Pages.
●
Additionally, a Paramount End Page may be required at the tail of all Full Screen End Credits.
o Please confirm with your NPPO representative if a Network and/or Paramount End Page will be required
for your show.
o The lengths of these End Pages are also included in the 30 seconds of running time
o Network and Paramount End Pages can be found on the NPPO website
●
Contact your legal contact regarding the use of the Network and Paramount End Pages for acquisitions or co-
productions.
3.4.2 Copyright and Trademark Lines
All original productions should include the following trademark and copyright notices if the production is owned by
Paramount. If there are any questions concerning ownership or this language, contact the Network- assigned Business
and Legal Affairs (BALA) representative and Matthew Howard (matthew.[email protected]).
Copyright
●
The copyright date should reference the year content is set to premiere or is first “Published” (not the
year it was produced). Best efforts must be made to estimate the premiere year.
●
The line should appear at the end of the credit bed before the production logos.
●
Note: © is correct, (c) is NOT CORRECT.
Trademark
●
TM should be attached to the show’s logo.
Language
One of the following trademark lines should appear at the end of the credit crawl, depending on network:
●
AwesomenessTV
o © 2023 Awesomenesstv Holdings, LLC. All Rights Reserved. AwesomenessTV, [Show Title], and all related
titles, logos and characters are trademarks of Awesomenesstv Holdings, LLC.
●
BET
o © 2023 Black Entertainment Television LLC. All Rights Reserved. BET, [Show Title], and all related titles, logos
and characters are trademarks of Black Entertainment Television LLC.
●
CMT
o © 2023 Country Music Television, Inc. All Rights Reserved. CMT, [Show Title], and all related titles, logos and
characters are trademarks of Country Music Television, Inc.
Page 27
●
Comedy Central
o © 2023 Comedy Partners. All Rights Reserved. Comedy Central, [Show Title], and all related titles, logos and
characters are trademarks of Comedy Partners.
●
Logo
o © 2023 Viacom International Inc. All Rights Reserved. Logo, [Show Title], and all related titles, logos and
characters are trademarks of Viacom International Inc.
●
MTV
o © 2023 Viacom International Inc. All Rights Reserved. MTV, [Show Title], and all related titles, logos and
characters are trademarks of Viacom International Inc.
●
Paramount+
o © 2023 Viacom International Inc. All Rights Reserved. [Show Title] and all related titles, logos and characters are
trademarks of Viacom International Inc. Paramount+ is a trademark of Paramount Pictures Corporation.
●
Please confirm with your Paramount+ program’s Paramount BALA representative prior to use
●
Paramount Network
o © 2023 Spike Cable Networks Inc. All Rights Reserved. Paramount Network, [Show Title], and all related titles,
logos and characters is a trademark of Paramount Pictures Corporation.
●
Smithsonian Channel
o © 2023 Viacom International Inc. All Rights Reserved. [Show Title], and all related titles, logos and characters
are trademarks of Viacom International Inc.
●
VH1
o © 2023 Viacom International Inc. All Rights Reserved. VH1, [Show Title], and all related titles, logos and
characters are trademarks of Viacom International Inc.
3.4.3 Tax Credit Obligation
If the show or series qualifies for a Tax Credit, please contact your Production Management and NPPO contacts to receive
appropriate logos/tags and placement rules/instructions. All rules/instructions on placement, audio, length, etc. must be
strictly adhered to in order to qualify. It is Paramount’s preference for all tax credit logos to be placed within the end credits.
However, if mandated to air the logo full screen (ex: Georgia), please provide as a separate program segment at the end of
the Submission file.
3.5 UNION AND GUILD REQUIREMENTS
Please contact your Production Management representative for union and guild requirements
Page 28
4 EPISODE DELIVERY PROCESS
4.1 EPISODE DELIVERY OVERVIEW
Unless otherwise approved by NPPO or Programming, all deliveries must follow this process in its entirety:
• A Post Calendar must be submitted to NPPO as soon as available and updated to address any subsequent changes
• Before a new series or season begins delivery, a test file must be sent to Global Media Operations (GMO)
• At audio lock, a proxy is created for closed captioning and sent to a caption vendor or international caption vendor
(when needed). Proxy must be formatted according to specifications on page 15
.
• Production exports the final program
• The final export is QC’d by production prior to delivery
• The final program, textless split track master, audio and graphics deliverables, UGIs, and Audio Description file are
delivered via Signiant Media Shuttle. Supporting paperwork and closed-captioned SCC files are sent via email at the
time of upload. All deliverables must include a complete DSID in the file/folder names.
• The files are QC’d by GMO and either ingested or rejected
• The submission master file is made available in the Paramount Digital Library for distribution.
• The SCC and Audio Description files are inserted into the program and applied to the broadcast file(s)
• The broadcast file(s) is sent to the NOC (Network Operations Center) for air or to the appropriate streaming service
platform for SVOD distribution
Once the test delivery has been cleared by Global Media Operations and episodes are locked, productions can begin
episode delivery. NPPO requires all episode deliverables to be sent at the time of episode delivery.
Please note that approval must be obtained from the following Paramount departments before delivery can
begin: Development, NPPO, Standards & Practices, and Legal. For Smithsonian Channel original programs,
approval must also be obtained by the designated Smithsonian Institution curator/researcher.
4.2 MEDIASILO – APPROVAL CUTS & MEDIA
Due to online related security and content ownership issues, use of applications like Vimeo, DropBox and YouSendIt is
not permitted by Paramount. In order to protect and keep our show content secure, MediaSilo (formerly known as
The Bin or Shift) has been chosen as the company-wide solution for the cuts/dailies review and approval process. All
charges for the service will be paid for by the Network. You should be able to access all Paramount Media Networks
shows and projects using the standard MediaSilo login url (https://app.shift.io/login
). This should be used in lieu of all
other content sharing applications.
After the delivery kickoff meeting, NPPO will create a show project on MediaSilo to start the cuts/dailies review and
approval process. NPPO will link production and all network executives to their show’s project and add all additionally
requested users. The Post Supervisor will then be responsible for managing the day-to-day workflow and project media
management. Once a project has been created, additional folders can be added for organizational purposes.
Please request a separate account for each member of the production/post team that will need access. Do not share
accounts as that may lead to security and/or access issues.
To upload a file to MediaSilo:
• While on the in your show’s project, click the Add New button at the top right of the page, then select Upload
Files.
o You can also drag and drop files from your computer to the MediaSilo project.
• Select the files from your computer/hard drive.
o Your file name cannot contain any special characters or the upload will fail
• The upload progress will appear in the bottom right. When completed, your MediaSilo project should
automatically refresh to display the new files.
To send individual or grouped files via link:
• Select the three dots located on the far-right side of the file entry.
• Click Share > Review Link.
o From here you can add additional files by selecting the Files tab.
• Under the Link tab, select the dropdown labeled Who can view these files?
o Select anyone with a link and password, and add a password in the line below.
• Next to Link Settings, make sure expires is selected and the expiration date had been adjusted.
Page 29
• Below that, you can adjust if the link is downloadable by checking/unchecking Download enabled
• Select Get Link, copy the provided link, and select Save
• Email the link to the appropriate distro. Send the password in a separate email, per Paramount security
procedure.
• To delete a link, go your Feed (top left mail icon), find the link in question and click the gear icon (bottom right of
the screener) and select Edit Settings. Navigate to the Files tab and click the x icon for each video you want
removed from the link.
o Don’t forget to hit Save before exiting when removing or editing links
Additionally, there are two resources available for learning how to navigate MediaSilo, accessible from within the
website:
1. MediaSilo Video Tutorials contain short videos with guides on how to perform basic tasks on MediaSilo, such as
login/navigation, upload, sending Quicklinks, access via an iOS device, etc. It can be accessed by clicking on the
question mark Help icon (bottom left) and selecting Product Videos or going to https://info.shift.io/learn
.
2. MediaSilo Help Search can be used to perform web searches on the vast library of shift tutorials and articles. It can
be accessed by clicking on the question mark Help icon (bottom left) and selecting Search for Help.
For any additional questions regarding MediaSilo, please reach out to shiftadmin@viacomcbs.com and copy your NPPO
representative.
4.3 DSIDs
Every asset that is delivered to Paramount is assigned a Digital Server Identification Number (DSID). Additionally, a
unique DSID is assigned to each segment (show act, title sequence, credits etc.) included in a master file. Server IDs
are a universal content identifier for internal tracking and scheduling systems.
Every file submitted to Paramount, regardless of type, must start with the full DSID in its file name.
DSIDs consist of the following:
●
A 2-3 letter prefix denoting the content’s resolution (HD or UHD)
●
A series of letters representing the series
●
The episode number
●
The version letter
●
The segment number
●
For example, the DSID for RuPaul’s Drag Race episode 1304 is HDQRP1304A
o The segments are HDQRP1304A1, HDQRP1304A2, HDQRP1304A3 etc.
NPPO will provide DSIDs for all content.
4.3.1 File Naming Conventions
All file deliveries must follow the naming convention below to ensure proper tracking during the delivery process.
The file name consists of the following information: Digital Server ID, Series Name (shortened if necessary), Version
Name, Asset Type, and Delivery Date (MMDDYY). Please do not include any special characters in file names.
●
DSID_Series_VersionName_AssetType_Date.mov
o For example, RuPaul’s Drag Race Episode 1304 Program Master
●
HDQRP1304A_RuPaulsDragRace_PrimaryMaster_Master_011421.mov
Page 30
4.4 EPISODE VERSIONING GUIDELINES
You may be required to deliver multiple versions of each episode for reasons that include, but are not limited to, Standards &
Practices notes, clock requirements, licensing rights, and creative direction.
Upon confirmation, NPPO will notify Production
of the required versions and their corresponding DSID naming conventions.
4.4.1 Version Types
• Primary Master – the linear broadcast master, all day parts, cut to time
• Song ID Master – a master with Song ID graphics
• Ad Card Master – a master with Music Ad Cards
• Evergreen Master – if the primary master contains limited-term material such as music, a master with all material
cleared worldwide in perpetuity is needed as well
• Extended Master – a master that is longer than the Network clock. Requires pre-approval from Development and
Programming
• Post 10pm Master – a master with material approved to air only after 10pm
• Primary Uncensored Evergreen Master – an uncensored version of the primary master, with all material cleared
worldwide in perpetuity
• Secondary Uncensored Master – Mirrors either the Song ID, Ad Card, or Popular Music Version, but with
uncensored audio
• Multiplatform Uncensored Master – an uncensored master for multiplatform use
• Theatrical Uncensored Master – an uncensored master without segment breaks, for theatrical use
• Limited Commercial Interruption – a master created for limited commercial airings, typically contains extended
content or fewer act breaks.
• Semi-Texted Master – a master with forced narrative subtitles removed for international use. Please see page 39 for
more information.
Please note that any burned-in subtitles used in an episode must match the censorship of the version (i.e. censored subtitles
in a Primary Master and uncensored subtitles in a Primary Uncensored Evergreen Master)
Below, you will find a list of all possible versions, by network.
4.4.2 BET Version Types
Primary Master
Evergreen Master
Extended Master
Primary Uncensored Evergreen Master
Secondary Uncensored Master
Semi-Texted Master
4.4.3 Comedy Central Version Types
Stand Up Specials:
Primary Master
Post 10pm Master
Limited Commercial Interruption
Multiplatform Uncensored Master
Uncensored Master
Semi-Texted Master
Variety & Scripted Series:
Primary Master
Post 10pm Master
Uncensored Master
Semi-Texted Master
4.4.4 CMT Version Types
Primary Master
Evergreen Master
Page 31
Extended Master
Uncensored Master
Semi-Texted Master
4.4.5 MTV Version Types
Primary Master
Song ID Master
Ad Card Master
Extended Master
Evergreen Master
Primary Uncensored Evergreen Master
Secondary Uncensored Master
Semi-Texted Master
4.4.6 Paramount Network Version Types
Primary Master
Evergreen Master
Extended Master
Uncensored Master
Semi-Texted Master
4.4.7 Paramount+ Version Types
Multiplatform Uncensored Version
Primary Master
Uncensored Master
Semi-Texted Master
4.4.8 Smithsonian Channel Version Types
Primary Master
Extended Master
Evergreen Master
Uncensored Master
Semi-Texted Master
4.4.9 VH1 Version Types
Primary Master
Ad Card Master
Extended Master
Evergreen Master
Uncensored Master
Semi-Texted Master
Page 32
4.5 SIGNIANT DELIVERY VIA MEDIA SHUTTLE
• A Signiant Media Shuttle must be set up for your production; specifics will be determined during the delivery
kickoff call and a link will be sent out for your use shortly after.
• The Media Shuttle package should contain only the materials being delivered.
o Upload all files at the same time, labeling each file leading with the full DSID and delivery date
4.6 QC PROCEDURES
4.6.1 Production QC Overview
Productions are required to internally QC all material prior to delivery. The video and audio QC specifications must be
reviewed on the final program output. QC performed on the editing sequence will not produce accurate results.
All QC must be done on calibrated hardware waveform and broadcast audio monitors. Software monitors are not
sufficient for this application. The use of a third-party QC is highly recommended.
A commonly occurring QC issue is the presence of black bars, often only a few pixels wide, on the edges of the video,
typically caused by image reframing. NPPO recommends placing a bright opaque layer on the bottommost video track
in the file’s edit timeline prior to export – this layer will show through during the resulting export more clearly than any
black bars would, allowing these gaps to be identified and repaired prior to final delivery.
4.6.2 Harding / PSE Tests
In certain key territories, all programming must legally meet specific photosensitive epilepsy (PSE) criteria, normally measured
as exceeding 2 flashes per second. The process for determining PSE compliance is called a Harding Test.
If your program originates in one of these territories, a pass report from a Harding or equivalent PSE testing device which
complies with the latest ITU recommendation is required to be delivered alongside the master file. This can either be
performed by your 3
rd
party QC facility or an automated QC application.
If your program fails the Harding test, there are three ways to ensure your programming is PSE compliant
• Adjust light/dark levels
• Add a fade effect in the edit
• Remove the sequence completely
4.6.3 Test Deliveries
We require new productions to send a test file for full QC before beginning episode delivery. For those shows delivering a test
file, you must deliver both the title sequence and first act for testing. The title sequence and first act must meet the following
criteria:
• Should be representative of your final show, containing where possible all the applicable varying elements (e.g.
acquired footage, special effects, etc.)
• Must contain full mix and color as intended for final delivery
The standard procedure for testing is below:
• Notify NPPO of impending test.
• Duplicate the main project sequence to ensure settings are consistent.
• Include slate at the top of the sequence and 4 seconds of black at the tail as defined in the standard layout.
• QC internally before submitting the test.
• Deliver to Global Media Operations via Media Shuttle upload.
All Test Deliveries should be named as follows:
• DSID_Series_TEST_Date
o For example, RuPaul’s Drag Race 1301’s Test
HDQRP1301A_RuPaulsDragRace_TEST_011421.mov
Page 33
4.6.4 QC Failures & Episode Redelivery Process
Once your episode is delivered to Paramount, it will undergo a thorough QC. If your master file fails the QC process, you will
be required to revise and redeliver. Reasons for failure include, but are not limited to, lack of adherence to technical
standards, unaddressed Standards & Practices notes, on-screen real estate violations, extraneous black borders, and file
glitches. Depending upon the failure, multiple deliverables may need to be revised. Your NPPO representative will inform
you of any QC failures ASAP after episode delivery and advise which deliverables and forms must be fixed.
Please note that a full episode file will be required for all redeliveries. Paramount cannot accept patch redeliveries.
All revised submission files should be renamed as follows:
• DSID_Series_VersionName_AssetType_Date_Revision#
o For example, RuPaul’s Drag Race Episode 1304 Program Master Redelivery
●
HDQRP1304A_RuPaulsDragRace_PrimaryMaster_Master_011421_REV1.mov
4.7 DELIVERABLES OVERVIEW
All episode deliveries must be accompanied by a variety of supplemental deliverables and documentation. An episode
delivery will not be considered complete until we have all of the required deliverables. NPPO will inform you as to which of
the following deliverables are required for your production.
• Submission Master (1 per version)
• Caption File (1 per version)
• Graphics Toolkit (1 per episode)
• Audio Stems Package(1 per episode)
• Pro Tools Session Files (1 per episode)
• Audio Description File (1 per version)
• Textless Split Track Master (1 per episode)
• Semi-Texted Master (1 per version)
• Universal Global Images (6 per episode)
• Dolby Vision HDR XML Metadata file (1 per version)
• Metadata Intake Form (1 per season)
• Segment Air Rundown (1 per version)
• Formatted End Credits (1 per episode)
• Full Credit List (1 per episode)
• Timecoded As-Broadcast Script (1 per version)
• Graphics Cue Rundown (1 per version)
• Audio Stems Checklist (1 per season)
• Harding or equivalent PSE technical report (1 per episode)
• Music Cue Sheet (1 per version)
• Music Score Sheet (1 per episode)
• Show Log (1 per episode)
Page 34
4.8 SUPPLEMENTAL DELIVERABLES
4.8.1 Graphics Toolkit
A graphics toolkit must be delivered for all episodes to ensure that graphics can be recreated or reused internationally.
Graphics toolkits should be delivered as zipped folders that contain all relevant project files and the related media needed to
recreate all graphics. This includes, but is not limited to, the below elements.
●
If your graphics package is the same across all episodes, please deliver it with the first episode of the new season.
●
Graphics deliveries are required even when the Network has provided the source files
Logos
●
Delivery of master images and high resolution image files should be supplied along with any additional separate
elements used to create the custom look of the logo. Fully rendered / treated / lit logos should be built 8000px wide
rendered at 300dpi, and keyable with alpha channel or layers.
o Source Files: Rendered Vector image file (.ai, .eps)
o Output Files: Rasterized image file (.png, .tif, .psd)
o Additional Files: Texture layers (.psd), 3D Layers (.psd), etc.
Graphics Projects
●
After Effects Projects, or other if applicable:
o All media associated with the project should be included.
Plug-ins used within projects should be included if they are proprietary. Licensed plug-ins should NOT be included in the
Toolkit.
●
Rendered/Exported Files from additional software, such as Cinema 4D (.c4d), or Maya (.ma) should also be
included.
Keyable Versions of textless graphics rendered out as QuickTime files (Animation codec preferred).
●
QuickTime files must include an Alpha Channel.
●
Keyable Textless Graphics should include, but are not limited to:
o Animated lower third backplates
o Show unique graphics (show or sketch bugs)
o Countdown clock backplates
o Maps
Style Guide for all graphics and animations (if applicable).
Custom Fonts should be included in the tool-kit.
●
Licensed fonts should NOT be included for legal reasons. The following Licensed font information only should be
listed on the graphics information document: Font Name / Size / Style
Delivery Instructions:
●
All elements must be delivered on a per episode basis within a single zipped folder named as follows:
o DSID_ShowTitle_Graphics_Date.zip
●
These files should be delivered at the same time as episode, audio, and document delivery via Media Shuttle.
Page 35
4.8.2 Audio Master Deliverables
All productions are expected to deliver a full set of audio stems and a Pro Tools session (if mixing in Pro Tools) at the
time of episode delivery. All stems and Pro Tools files must be organized in separate compressed folders, each
labeled with the full DSID. Each track must also be labeled with the full episode DSID.
Please conform to the following guidelines before delivery:
• All stems should be the same length and should be labeled accurately. The delivered stems must also match the
duration of the source video file. The duration of all tracks, video and audio, must be identical down to the
frame.
o Please label all stems as follows: DSID_ShowTitle_StemDetails_Date
i.e. – HDQRP1304A_RuPaulsDragRace_StereoFullMix_Uncensored_011421
• When combined, all stems should equal the full program mix. All dipped tracks should be compressed as they
were in the full mix
• All music and effects must be dipped to relative levels set as if dialogue and narration/vo were present
• Bleeps must be married to dialogue and not exist on the effects track
• If there are no bleeps present, include “No Bleeps” in the applicable stem file name
• Split any original music’s vocal tracks out onto a stereo ISO track labeled Music Vocals ISO. Acquired music
tracks are excluded
• VO/Narration is defined as a disembodied voice in the program. On-screen talent should remain on the Dialogue
track even if a portion of their voice is over b-roll
• Walla, which we define as indiscernible crowd noise or murmur, should be included on the SFX and M&E tracks.
Any discernible English should not be included in the SFX or M&E tracks and should be provided on a separate
Walla w/ English track. Please see page 11
for more placement examples.
• Your audio stems must be consistent with your chosen master audio configuration. (i.e. If your show is delivering
with a 5.1 configuration, you must deliver 5.1 stems.)
o All Smithsonian Channel programs require 5.1 configuration
• For Smithsonian projects, discrete audio tracks are required – please do not deliver interleaved audio stems.
• If you are delivering SOT/Film Clips, please provide a brief description in your episode delivery email
• Audio files must be in either .wav or audio-only QuickTime .mov format
o Bit Rate: 24-bit
o Sample Rate: 48 kHz
• Do not deliver blank or empty stems. We understand that there may be stems in the configuration that are not
applicable to all productions
4.8.3 Required 4 Channel Audio Stems
• Stereo Full Mix – UNCENSORED
• Stereo Full Mix – CENSORED
• Mono Full Mix – UNCENSORED
• Mono Full Mix – CENSORED
• Stereo Mix Minus (EVERYTHING EXCEPT VO/NARRATION) – UNCENSORED
• Stereo Mix Minus (EVERYTHING EXCEPT VO/NARRATION) – CENSORED
• Stereo V.O. – UNCENSORED
• Stereo V.O. – CENSORED
• Stereo Dialogue – UNCENSORED
• Stereo Dialogue – CENSORED
• Stereo Music
• Stereo Music Vocals ISO (original music with discernible language vocals only)
• Stereo SFX
• Stereo Music & Effects
• Stereo Audience/Laugh (if applicable)
• Stereo SOT/Film Clips (for pre-recorded archival footage)
• Walla w/ English (if applicable)
Page 36
4.8.4 Required 5.1 Surround Audio Stems
• 5.1 Print Master (Full Mix) – UNCENSORED
• 5.1 Print Master (Full Mix) – CENSORED
• 2.0 Stereo Full Mix – UNCENSORED
• 2.0 Stereo Full Mix – CENSORED
• Mono Full Mix – UNCENSORED
• Mono Full Mix – CENSORED
• 5.1 Mix Minus (EVERYTHING EXCEPT VO/NARRATION) – UNCENSORED
• 5.1 Mix Minus (EVERYTHING EXCEPT VO/NARRATION) – CENSORED
• 5.1 V.O. – UNCENSORED
• 5.1 V.O. – CENSORED
• 2.0 Stereo V.O. – UNCENSORED
• 2.0 Stereo V.O. – CENSORED
• 5.1 Dialogue – UNCENSORED
• 5.1 Dialogue – CENSORED
• 2.0 Stereo Dialogue – UNCENSORED
• 2.0 Stereo Dialogue – CENSORED
• 5.1 Music
• 2.0 Stereo Music
• 5.1 Music Vocals ISO (original music with discernible language vocals only)
• 2.0 Stereo Music Vocals ISO (original music with discernible language vocals only)
• 5.1 SFX
• 2.0 Stereo SFX
• 5.1 Music & Effects
• 2.0 Stereo Music & Effects
• 5.1 Audience/Laugh (if applicable)
• 2.0 Stereo Audience/Laugh (if applicable)
• 5.1 SOT/Film Clips (for pre-recorded archival footage)
• 2.0 Stereo SOT/Film Clips (for pre-recorded archival footage)
• 5.1 Walla w/ English (if applicable)
• 2.0 Walla w/ English (if applicable)
All stems must be delivered on a per episode basis, via Media Shuttle, within a single zipped folder named as follows:
o DSID_ShowTitle_AudioStems_Date.zip
Multiple audio stems folders may need to be delivered if an episode has versions with differing content length (e.g. a linear
premiere and an extended multiplatform version). If this is applicable, please include version info in the file name:
• i.e. - HDQRP1304X_RuPaulsDragRace_Multiplatform_AudioStems_011421.zip
Please indicate which stems are included using the Audio Stems Checklist. Details can be found in the Paperwork Delivery
Guidelines on page 41
.
Page 37
4.8.5 Pro Tools Requirements
A)
Complete Pro Tools Session and Stem Mix Session Files (.ptf or .ptx)
The Complete Pro Tools session will consist of a folder containing;
1. All sound elements used for final mix
2. Automation and Plug-in assignments (Compression, Limiters, Etc.)
3. Any comments and marks
4. Session Backups
5. Waveform cache
6. Plug-in settings
7. Session icon clearly labeled
8. Audio Folder
9. Fade Folder
B
) The Stem Mix Pro Tools Session will consist of a folder containing
1. Session icon clearly labeled
2. Audio Folder
3. Fade Folder
a) The file configuration will be as follows; Stereo English Mix Stereo sfx only
**All deliveries MUST contain the COMPLETE PRO TOOLS (all elements) session (.ptf or .ptx) along with the Stem Mix Pro
Tools session that is normally provided. Pro Tools deliveries must be compressed into a .zip file.
Pro Tools must be delivered on a per episode basis, via Media Shuttle, within a single zipped folder named as follows:
o DSID_ShowTitle_ProTools_Date.zip
4.8.6 Audio Description / DVS Files
Audio Description files (also known as Descriptive Video Service or DVS files) are now required for all Paramount Global
programs. They must be delivered at the same time as episode delivery for all versions and uploaded along with the
Submission Masters.
• All Audio Description files must be 2 channels, interleaved, 24 bit, and delivered as separate .wav files.
o All files must match the timing of the associated master episode file exactly, including Slate timings at the top
and 4 seconds of black at the tail.
o It is preferred that the Audio Description contains a true stereo mix with a left and right side.
• The show’s full mix must be included in the Audio Description file along with the dubbed audio. Music should
remain in English.
o Audio Description voiceovers should be timed to not interfere with dialogue.
o AI and synthetic voices are not accepted.
Audio Description files should be labeled as follows: DSID_ShowTitle_VersionName_AudioDescription_Date
• For example, RuPaul’s Drag Race 1304 Audio Description:
o HDQRP1304A_RuPaulsDragRace_PrimaryMaster_AudioDescription_011421.wav
Page 38
4.8.7 Textless Split Track Master
Any footage containing added text must be provided as a textless element. This allows for picture localization of
storyline-driven elements to be recreated by the international markets. Materials should include but are not limited to:
• Opening Sequence with Network Logo
• Episode Title and opening production credits
• Subtitles
• Bumpers
• Credit Bed
• Scenes or title cards that have a chyron inserted over them (‘Later That Day’, ‘Stony Brook Farms’, ‘12 noon,’ etc.
All Textless Materials must be provided completely clean of text and backgrounds and delivered as a separate Textless Split
Track Submission Master, formatted identically to the episode.
Regardless of the number of textless elements in an episode, a full textless version of the episode must be provided.
This file’s audio and video durations must match the texted episode exactly. The full screen credits segment must be
replaced by a black slug or the backplate of the end credits segment.
The file must have the following audio track layout:
• Channel 1: Stereo Uncensored Dialogue/VO Left
• Channel 2: Stereo Uncensored Dialogue/VO Right
• Channel 3: Stereo Evergreen Music Left
• Channel 4: Stereo Evergreen Music Right
• Channel 5: Stereo Sound Effects Left
• Channel 6: Stereo Sound Effects Right
File Layout Summary – Textless Split Track Master
Segment
Timecode
Slate
00:59:50:00 – 00:59:55:00
Black
00:59:55:00 – 01:00:00:00
Full Textless Program
01:00:00:00
Program Breaks
2 seconds of black, no slate
Program End
4 seconds of black
Any failure to comply with the above will require a complete redelivery of the Textless Split Track file.
For acquisition programs, contact your programming point of contact for required material which may include the
aforementioned requirements.
All Textless Split Track master files should be labeled as follows:
• DSID_ShowTitle_ TextlessSplitMaster_Date
o For example, RuPaul’s Drag Race 1304 Textless Split Track Master
HDQRP1304A_RuPaulsDragRace_TextlessSplitMaster_011421.mov
Page 39
4.8.8 Semi-Texted Master
If an episode contains subtitles for translations (i.e., forced narratives), a separate version is required called the Semi-Texted
Master. This allows for translation of the forced narrative elements by international markets. Semi-Texted Masters will be
required for multiple versions of an episode in cases where music or timings change between versions. All audio included
should be uncensored.
The Semi-Texted master comprises of all video and audio elements of the episode, but the subtitles must be removed. This
includes translations for both real and fictional spoken and signed languages.
The Semi-Texted master is not required in cases of subtitle use for poor audio quality or for mumbled or overlapping English
language dialogue.
Please alert your NPPO representative as to whether a Semi-Texted Master will be delivered for a given episode as soon as
the need is known, and no later than the lock cut stage. If an episode is delivered without a Semi-Texted Master that is found
to require one, a new delivery of a Semi-Texted Master will be mandated.
Each semi-texted master must deliver with the following sidecar materials:
• One closed caption (.scc) file containing the full show, minus any instances of forced narrative subtitling.
• One Audio Description file, minus any voiceover of forced narrative subtitling.
• And the following two subtitle (.stl) files:
o Partial Subtitle: Includes all dialogue, with no forced narrative subtitles.
o Forced Narrative Subtitle: ONLY includes forced narrative subtitles in the content’s original language.
Semi-Texted Masters will be labeled as an S Version:
o For example, RuPaul’s Drag Race 1304 Semi-Texted Master and its corresponding sidecar files:
HDQRP1304S_RuPaulsDragRace_SemiTexted_Master_011421.mov
HDQRP1304S_RuPaulsDragRace_SemiTexted_ClosedCaption_011421.scc
HDQRP1304S_RuPaulsDragRace_SemiTexted_AudioDescription_011421.wav
HDQRP1304S_RuPaulsDragRace_SemiTexted_PartialSubtitle_011421.stl
HDQRP1304S_RuPaulsDragRace_SemiTexted_ForcedNarrativeSubtitle_011421.stl
4.8.9 Universal Global Images
Show production must provide Universal Global Images (UGIs) for each episode delivered. Files are to be sent at the
same time as Audio and Video master files. UGIs will be used across all digital platforms to best represent the episode.
●
Please be sure that all UGI’s are center-cut safe
●
All images created should be 300 PPI or higher
●
All stills should be connected to the story of the episode
o Please select stills with central composition featuring main characters
●
If an episode features a special guest star, please feature the star in at least one image
o Please avoid stills that are blurry or include backs of characters, awkward faces, or closed eyes
o UGIs should include only content original to the production and not third-party materials, unless out of context
promotional rights have been secured. For any questions, reach out to your project’s PCLO representative.
3 distinct images representing each episode are required to be delivered as .JPG files along with each episodic delivery.
Each image is required to deliver in each of two formats, as listed below:
• 16:9 format – labeled as Large Stills
o 3840x2160 for UHD projects
o 1920x1080 for HD projects
• 4:3 format – labeled as Small Stills
o 2880x2160 for UHD projects
o 1440x1080 for HD projects
File names should follow the standard naming convention but include UGI, sequential number, and respective format. UGIs
should be numbered in order of which stills should be prioritized for displaying content on digital platforms. For Example:
• DSID_Series_UGI1_Large_Date
• DSID_Series_UGI1_Small_Date
Please deliver all UGIs as individual and separate files, not as a compressed .zip folder.
UGIs may need approval by BALA and PCLO (Production Clearances & Licensing Ops) reps before final delivery.
Page 40
4.8.10 HDR XML Metadata File (For Dolby Vision UHD HDR Projects Only)
An XML metadata file is required to be delivered alongside any Dolby Vision HDR Masters. Please see page 9
for content
details.
Please label all .xml file as follows: DSID_Series_XML File_Date
o For Example: UHDQRP1304AHDR_RuPaulsDragRace_XMLFile_011421.xml
4.9 FINAL DOCUMENTATION DELIVERY
Use email to deliver all final documentation at the time of each episode delivery.
●
All paperwork must be sent via email to a distribution list you will receive after the delivery kickoff call.
●
An ideal document delivery notification email should read as follows. When applicable, please include the REV
number at the end of the Subject Line
Subject Line: Episode Delivery Notification: VH1 – RuPaul’s Drag Race EP: 1304 DSID: HDQRP1304A
Hi all,
We are delivering the following episode of RuPaul’s Drag Race today:
Ep. 1304 - DSID: HDQRP1304A
Episode Title: “RuPaulmark Channel”
The following materials are being delivered:
(1) Apple ProRes 422 HQ HD master file (51GB) (via Media Shuttle)
(1) Audio Stems .zip File (via Media Shuttle)
(1) Pro Tools Session .zip File (via Media Shuttle)
(6) Episodic UGI files (via Media Shuttle)
(1) Graphics .zip File (via Media Shuttle)
(1) Audio Description File (via Media Shuttle)
(1) Textless Split Track Master (via Media Shuttle)
(1) .scc file (attached)
(1) Formatted End Credits list (attached)
(1) Full Credit List (attached)
(1) Segment Air Rundown (attached)
(1) Graphic Cue Rundown (attached)
(1) Timecoded As-Broadcast script (attached)
(1) Audio Stems Checklist (attached)
Please note the following Pre-QC Flags: List any time codes with visual or audio notes that could cause
unnecessary QC flags.
Please let me know if you have any questions!
Thanks,
**Please send a test paperwork delivery at least 3 weeks before your first final episode delivery to ensure correct
naming conventions.**
4.9.1 Required Paperwork Deliverables
Every episode delivered to Paramount must be accompanied by the following paperwork deliverables:
●
Segment Air Rundown
●
Formatted End Credits
●
Full Credit List
●
Timecoded As-Broadcast Script
●
Graphic Cue Rundown Document
●
Audio Stems Checklist
●
Harding or equivalent PSE technical report (if territorially applicable)
●
Music Cue Sheet Submitted via Q
●
Show Log Submitted to PCLO
Templates for these documents can be found at the NPPO website and specifications for each document follow.
**Please deliver the Metadata Intake Form 3 weeks prior to your first episode delivery**
Page 41
4.9.2 Paperwork Delivery Guidelines
Metadata Intake Form
●
Required prior to the start of master delivery
o Only approved & locked metadata (including descriptions) should be provided.
o A revised form is required to redeliver when any metadata is updated or newly locked
●
All series & season descriptions must not exceed 250 characters, including spaces.
●
Series Names cannot exceed 100 characters (including spaces)
●
Episode descriptions must not exceed 1040 characters (long) / 250 characters (medium) / 80 characters (short),
including spaces.
●
All Episode Titles must be distinct from the episode’s number.
o Please do not title episodes Episode 101, etc.
o Episode Titles cannot exceed 100 characters (including spaces)
●
All line items must be filled. Please use “N/A” if needed.
Segment Air Rundown
●
Document in and out times must be completed based on both Native Frame Rate and 29.97fps drop frame timecode
●
Timing for all elements including cold opens, main titles and end credits must be provided
●
Please provide rundowns with correct in and out time codes for segmenting and with the correct number of
segments. Please make sure to include segment DSIDs.
●
If an Act contains multiple defined segments (for example, if your first Act contains both a title sequence and Act 1):
o Add rows as necessary above the “2 seconds of Black” noted line to help denote these segments
o Please apply the same segment number and DSID for each segment present in the Act (for
instance: Segment 1, HDABC101A1)
o Each segment’s timing must be included on the form in lieu of the full Act
Formatted End Credits
●
Please see credit details on page 25
●
Instructions on how to create this document follow on page 43
●
This must be delivered as a Word document or .txt file
●
Network and Paramount End Pages must be included in the Formatted End Credits.
●
This document is only required for US productions.
Full Credit List
●
Please see credit details on page 25
●
This must be delivered as a Word document
Timecoded As-Broadcast Script
●
Deliver as a word document or a writable PDF, in native frame rate
●
Required for both evergreen and popular cue versions
●
Please deliver uncensored
●
All lines must be included and attributed
●
Include all song lyrics if applicable.
Page 42
Graphic Cue Rundown Document
●
Submit document for each episode
●
List of exact location and timing of all program graphics for each episode that are produced into the
show and specify graphic type within left-hand column on form
●
Indicate approximate location of graphics
●
IN/Out Point information must be based on 29.97fps drop frame timecode
●
In/Out Point for graphics must be calculated from the start of each segment – NOT the start of the episode
●
Include Title Sequence and End Credits
o If the Title Sequence is married to the First Programming Act with credits over picture, the In Point of the
graphics must include the Title Sequence
Audio Stems Checklist
●
Use the appropriate tab (Stereo or 5.1) to indicate which audio stems are provided in the delivered Audio Stems .zip
package
o Include any relevant notes as necessary
●
Submit once with first episode of each season, unless subsequent episodes have significantly different audio stems
available
Harding or equivalent PSE Technical Report
●
If your program originates in a territory where a Harding test is legally mandated, a pass report is required to deliver
alongside the master files
●
Please see details on page 32
Music Cue Sheet
●
All music cue sheets are submitted via Q
●
Please consult your PCLO & Creative Music Strategy (CMS) representatives for cue sheet submission instructions
Music Score Sheet (if applicable for original music)
●
Submit form for each episode delivery if available to the CMS team and your NPPO representatives
Show Log
●
Please consult your PCLO & CMS representatives about submitting a Show Log
All Paperwork file names must lead with the full episode DSID in addition to containing the document type and
date of delivery. If revised paperwork must be delivered, please include _REV# at the end of the file name.
Please see examples below:
• Metadata Intake Form
o HDQRP1304A_RuPaulsDragRace_Metadata_011421
• Segment Air Rundown
o HDQRP1304A_RuPaulsDragRace_Rundown_011421
• Formatted Credits
o HDQRP1304A_RuPaulsDragRace_FormattedCredits_011421
• Full Credits
o HDQRP1304A_RuPaulsDragRace_FullCredits_011421
• As-Broadcast Script
o HDQRP1304A_RuPaulsDragRace_ABS_011421
• Graphic Cue Rundown
o HDQRP1304A_RuPaulsDragRace_GraphicCueRundown_011421
• Audio Stems Checklist
o HDQRP1304A_RuPaulsDragRace_AudioStemsChecklist_011421
• Harding Technical Report
o HDQRP1304A_RuPaulsDragRace_HardingReport_011421
Page 43
4.9.3 How to Create Formatted End Credits
●
All formatted credits must deliver as a .doc file with no formatting in a single, left-justified column with no differences
in font, italics, bold or tables.
●
Text should be Title Case
o Small words should remain lowercase; e.g. a, and, the, of etc.
o Titles and initials can remain uppercase; e.g. BBC, AD, CG, NOC etc.
●
To label the document with series info, please do so above the title line in the document. Do not add
headers/footers to the document.
●
Please only include end credits in your formatted credits document, no opening credits necessary.
●
The coding system will automatically break up the display of names onto the following page if a list is too long to fit
on a single page.
Use only these five symbols to format your credits document:
o Asterisks (*): used to create a heading or title
●
e.g. *Production Manager
Drew Breeden
●
Note: when there are bodies of text/copyright info, the asterisk should be placed on the line above.
o Number Signs (#): used to create a subheading or subtitle
●
e.g. *Guest Starring
#Gabe
Jon Gabrus
o Equals Sign (=): used only when two headings need to be simultaneously present.
●
e.g. *Executive Producers for Television
#VH1
=SVP, Music Strategy
Leslie Fram
=VP, Production
Margaret Comeaux
#Believe Entertainment Group
=Executive Producer
Dan Goodman
o Exclamation Points (!): used to for titles at the top of the document
●
e.g. !RuPaul’s Drag Race
Page 44
o Page Breaks (.page): used before and after specific lines to create intentional breaks in the credits.
●
e.g. .page
*for MTV Entertainment Studios
#Executive Producer
Elena Diaz
#Executive in Charge of Production
Liz Kim
.page
●
Note: .page is only used for intentional breaks in the credits. The coding system will automatically
create page breaks if .page is not present. Please also note that due to graphical limitations, page
breaks may not display as noted. They are best utilized when 1-4 credits are needed on an isolated
card.
4.9.4 Production Logos/End Cards Delivery for Formatted Credits
●
Any endcards or production logos must be noted in the formatted credits document like this:
***NAME OF COMPANY LOGO
●
Do not include .png or .jpg versions of the logos in the formatted credits document.
In addition to the above, NPPO will need you to send full screen versions of every unique end page used in your project’s
credits.
●
Production End Pages must be sent to NPPO at least 2 weeks before series launch regardless of platform.
o NPPO will provide a Media Shuttle link for End Page upload after series kickoff
●
Note: this Media Shuttle link will be different from the link used for final master delivery
o All End Pages should be provided in native framerate at highest resolution/codec possible.
o End Pages should include Show Title and description in file name.
●
For Example: RuPaulsDragRace_WorldofWonder.mov
o Please notify NPPO if/when production logos change between seasons/episodes
Page 45
4.9.5 Example of Coded End Credits
!RuPaul’s Drag Race
*Health and Safety Manager
Spencer Hood
*Covid Compliance Officer
Tiffany Morrell
*Assistant Editors
Nick Alamillo
.Page
*Gaffer
Frank McCormack
*Best Boy Electric
Mike Arisohn
*Key Grip
Rob Harlow
.Page
*Featured Music
#RuPaul’s Drag Race Theme
Performed by RuPaul
***WORLD_OF_WONDER_LOGO
Page 46
4.10 NON-EPISODIC DELIVERABLES
Content created for multiplatform / non-episodic delivery such as sneak peeks and deleted scenes must conform to all
guidelines listed in this document, including regarding the delivery of closed captioning. NPPO may reach out for this content
ahead of episode delivery if linear episode delivery is scheduled close to air.
• Deliverables are given unique DSIDs assigned by NPPO and delivered to the NOC
4.11 NON-AIRING PILOTS & PRESENTATIONS OVERVIEW
Non-Airing Pilots for all networks require the same technical specifications and naming conventions, but they involve a
smaller set of deliverables and documentation.
File layout must follow the specifications provided on page 12
, but pilots and presentations do not require a credits segment.
NPPO will inform you as to which of the following deliverables are required for your production.
• Submission Master (multiple versions possible)
• Graphics Toolkit
• Audio Stems
• Pro Tools Session
• Textless Split Track Master
• Segment Air Rundown(s)
• Full Credit List
• Source Materials
• Pilot Metadata Intake Form
• Music Cue Sheet
• Music Score Sheet
• Show Log
In addition to the above, all non-airing pilots and presentations must deliver a screener via MediaSilo, in the following specs:
• .MP4 format
• Video Codec H.264
• Frame size 1280x720
• Video Bit Rate no greater than 8mb/second
• Audio Codec AAC
• Audio Bit Rate no less than 96kb/second
This screener should be absent of network logos and slate. It should include 2 seconds of black at start and tail of file.
The screener should be named in the following convention:
●
DSID_ProjectName_SCREENER_Date.mp4
Page 47
4.12 DIGITAL CONTENT/SERIES OVERVIEW
Digital content for all networks requires the same technical specifications and naming conventions, but they involve a smaller
set of deliverables and documentation.
File layout must follow the specifications provided on page 12
, but the inclusion of a credits segment is optional. Please
consult your Paramount production contact on if your series needs to include credits.
NPPO will inform you as to which of the following deliverables are required for your production:
Masters + Supplemental Deliverables:
• Submission Master (1 per version)
• Textless Split Track Master (1 per episode)
o Textless Split Track Workreel (1 per episode, see below for more details)
• Audio Stems (1 per episode)
• Pro Tools Session (1 per episode)
• Platform Rendition Files Package (1 Per episode, see below for more details)
• Graphics Toolkit (1 per season)
• Source Materials (1 per season)
Paperwork:
• Digital Metadata Intake Form (1 per episode, see below for more details)
• .SRT Closed Caption File (1 per version)
• .SCC Closed Caption File (1 per version)
• Timecoded As-Broadcast Script (1 per version)
• Full Credit List (1 per episode)
• Formatted Credits Document (1 per episode)
• Audio Stems Checklist (1 per season)
• Digital Series Metadata Form (1 per season, see below for more details)
• Music Cue Sheet (1 per version)
• Music Score Sheet (1 per episode)
• Show Log (1 per episode)
If your show is an original Paramount owned production, at wrap please submit all elements used in the production and post-
production of the program cycle. More information can be found on page 48
.
4.12.1 Textless Split Track Workreel
If your production is not mixing audio, and audio stems cannot be provided, the textless file must follow the video specs and
file layout as detailed on page 39
but include the following audio layout:
• Tracks 1 & 2: Uncensored Stereo L & R Full Mix
• Tracks 3 & 4: Uncensored Dialogue
• Tracks 5 & 6: Stereo Sound Effects
• Tracks 7 & 8: Stereo Music
• Tracks 9 & 10: Misc. (i.e. censored mix)
• Tracks 11 & 12: Misc. (i.e. censored dialogue stem)
o Depending on the complexity of the edit, use channels 9-12 for additional needs like VO, SOT, additional
mixes, show packages, etc.
The file should be labeled as a Textless Split Track Workreel rather than a Textless Split Track Master.
o For example, Casagrandes Digital Short 202 Textless Split Track Workreel
HDDGSCASA202A_Casagrandes_202A_081021_TEXTLESS_SPLIT_WORKREEL.mov
4.12.2 Platform Rendition Files Package
In addition to the Submission Archive Master, productions must deliver all versions of an episode created for online platforms
(such as YouTube, Twitter, etc.) in a single zipped folder per episode. All Platform Rendition Files Packages must be
delivered via Media Shuttle at the same time as episode delivery.
Page 48
All Platform Rendition Files should be formatted as .mov or .mp4 files with H.264 proxy codec.
All Platform Rendition Files should be labeled as follows:
• DSID_Series_Platform_Date
o For example, Casagrandes Digital Short 202 YouTube Rendition File
HDDGSCASA202A_Casagrandes_Youtube_081021.mov
All Platform Rendition Files Packages should be labeled as follows:
• DSID_Series_PlatformRenditionFiles_Date
o For example, Casagrandes Digital Short 202 Platform Rendition Files Package
HDDGSCASA202A_Casagrandes_PlatformRenditionFiles_081021.zip
4.12.3 Paperwork Delivery Guidelines
Digital Series Metadata Intake Form
●
All descriptions must not exceed 1024 characters (long) / 250 characters (short), including spaces.
●
All line items must be filled. Please use “N/A” if needed.
Digital Episode Metadata Intake Form
●
Episode descriptions must not exceed 1024 characters (long) / 250 characters (short), including spaces.
●
All Episode Titles must be distinct from the episode’s number.
o Please do not title episodes Episode 101, etc.
●
Include a list of original songs for each episode if applicable in episode description. This does not count toward
character totals.
●
All line items must be filled. Please use “N/A” if needed.
●
Complete the Content Rundown with correct in and out time codes for segmenting. Timing for all segments must be
included.
●
Complete the Graphics Rundown with the description, location, and correct in and out time codes for all graphic
elements.
4.13 SOURCE MATERIALS DELIVERY
●
If your show is an original Paramount owned production, at wrap please submit all elements used in the
production and post-production of the program cycle. This includes Camera Masters, Source Footage, Edit
Elements and Projects, and all other media, including data from intake forms, camera, and/or audio masters. All
elements must be submitted on LTO in an Iron Mountain Library Box, which can be obtained from the Paramount
Library. Smithsonian Channel programs only may submit LTO tapes without an Iron Mountain Library Box. Please
find Library contact information in the next section and include your NPPO contact on all correspondence.
●
The Paramount Library can currently accept LTO-6, LTO-7, and LTO-8 tapes. For Smithsonian Channel projects,
only LTO-6 and LTO-7 tapes are accepted.
●
LTFS formatting is required for all submitted LTOs
●
All complete file paths must be 180 characters or less
●
File and folder names should not include any special characters, as they could cause problems with archiving files.
●
Materials should be clearly delineated into separate, clearly labeled categorized folders, including Footage, Audio,
Graphics, Project Files, Builds, and Non- Paramount Assets.
●
No one file on an LTO should be larger than 2TB.
●
There are four forms used in the source materials archiving process:
• Digital Container Submission Form
• Archive Cataloging Submission Form
• Catalog Submissions Verification Form
• Smithsonian Channel Archives Form (required for Smithsonian Channel programs only)
●
All forms and examples are available on the NPPO website.
Page 49
Paperwork Completion
●
Complete a Digital Container Submission Form for EACH item submitted. Physically attach this form to its
respective LTO and place inside of the box. When you are filling out this form, be sure to include a title for the
LTO and fill out all corresponding fields that apply to the content being submitted with as much detail as possible.
• LTO Titles should include show name and season number along with specific identifying information.
• In the Content Description field, please include all applicable information about the footage provided, including
corresponding episode numbers, scene descriptions, talent involved, locations, and shoot dates
• Upon completing the Digital Container Submission Forms, please make sure that all LTOs are working properly.
●
All productions must submit an Archive Cataloging Submission Form along with EACH BOX for archiving.
• All LTOs need to be put in a box to be archived. Place one copy of the completed Archive Cataloging Submission
Form inside of the box before sealing, and attach one copy to the outside of the box for identification. This form is
a record of what the box contains.
o The titles of each LTO inside the box should be listed alongside their respective format and include any
relevant episode or promo number. The listed titles must match those listed on the Digital Container
Submission Form
• Make sure that your Archive Cataloging Submission Form matches what is inside of the box. You should be able
to follow/count the materials in the order they are listed on the form.
●
Once all boxes are prepared, please fill out the Catalog Submissions Verification Form. This form details the
name of the person who will be dropping off the boxes, the contact information for the Production Company, the
Network Contact, show title and number of boxes that will be dropped off.
●
Smithsonian Channel programs only must submit a Smithsonian Channel Archives Form.
• Complete one form per submission, to cover all source footage that is being delivered
• Reach out to Smithsonian Channel Library & Archives contact with any questions
Delivery of Final Boxes
●
Please contact your NPPO representative with completed paperwork when ready to deliver. They will review and
initiate contact with the Library to coordinate final delivery.
Page 50
5 CONTACTS
Please use the contact information below should you need to contact anyone at Paramount during the episode creation or
delivery processes. Except in case of emergency, always contact your NPPO representative first.
Paramount Network Post Production Operations (NPPO)
To reach our entire NPPO Team please email NetworkPostProdOps@viacom.com
Name
Position
Phone
Email
Brian Amyot
Director
Work: 212-846-8257
Cell: 516-582-5301
Brian.Amyot@paramount.com
Laura Presedo
Director
Work: 212-654-5740
Cell: 917-656-3572
Laura.Presedo@paramount.com
Nate Scates
Director
Work: 615- 335-8555
Cell: 615-487-3722
Nate.Scates@cmt.com
Jesse Torres
Director
Work: 212-846-8315
Cell: 908-208-1535
Jesse.Torres@paramount.com
Nick Bell
Manager
Cell: 724-989-4703
Nicholas.Bell@paramount.com
Kelly Bermel
Manager
Work: 212-846-4601
Cell: 718-664-5095
Kelly.Bermel@nick.com
Drew Dalea
Manager
Work: 323-371-2666
Andrew.Dalea@paramount.com
Norman Foote II
Manager
Work: 310-907-2531
Cell: 714-232-2450
Norman.Foote@paramount.com
Lenia Haili Moore
Manager
Work: 347-714-4684
Cell: 917-922-8608
Lenia.HailiMoore@paramount.com
Josh Hoffman
Manager
Work: 212-654-3033
Cell: 646-761-5050
Josh.Hoffman@paramount.com
Asia Lee
Manager
Work: 212-846-2623
Cell: 908-400-9817
Asia.Lee@paramount.com
Amanda Mackoul
Manager
Work: 818-736-3318
Cell: 213-348-4056
Amanda.Mackoul@paramount.com
Miguel Romo
Manager
Cell: 323-493-2510
Miguel.Romo@paramount.com
Jason Serrano
Manager
Work: 212-846-8629
Cell: 603-303-5356
Jason.Serrano@paramount.com
Selina Zakaria
Manager
Work: 323-203-5894
Selina.Zakaria@paramount.com
AJ Gatrell
Senior Coordinator
Work: 615-335-8519
A.J.Gatrell@paramount.com
Mahaillie Griffith
Senior Coordinator
Work: 310-752-8418
Cell: 904-994-8577
Mahaillie.Griffith@paramount.com
Kristen Alicea
Coordinator
Cell: 347-624-2808
kristen.alicea@paramount.com
Omri Haberman
Coordinator
Work: 202-261-1262
240-481-8605
Omri.Haberman@paramount.com
Kim Allen
VP, NPPO
Work: 212-767-8940
Cell: 646-335-3559
Kimberly.Allen@viacom345.com
David Fullner
VP, NPPO
Work: 212-846-6683
David.Fullner@nick.com
Kelli Herod
VP,
Linear/Acquisitions
Work: 202-261-1727
Cell: 202-380-7057
Kelli.Herod@paramount.com
