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Technical Specifications

For the Delivery of Moving Images.

General Notes

The specifications outlined in this document are applicable to all commissioned and in-house productions.

Any delivery in a format or specification not explicitly listed in this document will require prior written approval by Red Bull Media House Quality Management.

Content intended for Youtube should also meet these specifications, unless it is a YouTube Short which should then follow our Social Media Specifications.

Quality Requirements for Global Distribution
Producer Responsibility
Technical Support Resources
Pre-Approval of Filming and Delivery Frame Rate
Restrictions on Frame Rate Mixing

Program Master

Important

For deliveries of high dynamic range (HDR) content please contact Red Bull Media House Quality Management.

One copy of each of the following must be delivered:

  • Master #1 dirty - including all graphics and text (final program master)
  • Master #2 dirty w/o subtitles - same as Master #1 dirty but without subtitles (only required if program contains Forced Narrative Subtitles)
  • Master #3 clean - without overlay graphics and text; time code and duration identical to dirty version; a detailed definition of clean can be found in Annex: Clean Version

The Program Master delivery format that applies to your production will be determined in your production agreement or during the briefing process.

The following resolution / frame rate / codec combinations are acceptable:

Delivery FormatResolutionSCAN TYPEScan TypeCodec
1080i/251920 x 108025Interlaced, top field firstProRes 422 (HQ)
1080i/29.971920 x 108029.97Interlaced, top field firstProRes 422 (HQ)
1080p/23.981920 x 108023.98ProgressiveProRes 422 (HQ)
1080p/251920 x 108025ProgressiveProRes 422 (HQ)
1080p/29.971920 x 108029.97ProgressiveProRes 422 (HQ)
1080p/501920 x 108050ProgressiveProRes 422 (HQ)
1080p/59.941920 x 108059.94ProgressiveProRes 422 (HQ)
2160p/23.983840 x 216023.98ProgressiveXAVC-L or ProRes 422 (HQ)
2160p/253840 x 216025ProgressiveXAVC-L or ProRes 422 (HQ)
2160p/29.973840 x 216029.97ProgressiveXAVC-L or ProRes 422 (HQ)
2160p/503840 x 216050ProgressiveXAVC-L or ProRes 422 (HQ)
2160p/59.943840 x 216059.94ProgressiveXAVC-L or ProRes 422 (HQ)
  • 1
    Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions (letterboxing and pillarboxing is not allowed).
  • 2
    Delivery Formats with Scan Type Interlaced have a Field Rate that is double the Frame Rate;
  • 3
    ProRes 422 (HQ) = Apple ProRes 422 (HQ) in .mov QuickTime container; upon prior written approval or request by Red Bull Media House Quality Management Apple ProRes 4444 or Apple ProRes 4444 XQ are also acceptable
  • 4
    XAVC-L = XAVC QFHD Long422 200 in .mxf container (MXF standard OP1a: SMPTE 378M)

Audio channels must be delivered according to the following specifications and channel layout:

  • Clean and dirty versions have the same channel layout
  • Discrete PCM channels at 48 kHz sample rate, depth of 16-bit / 24-bit, in sync with the picture and in phase
  • Audio levels of each Full Mix must be compliant with the specifications listed in the section Audio (-23 LUFS, -8dBTP)
  • For further explanations on audio channel naming and content please refer to the section Audio Glossary at the end of this document.
  • If a 5.1 surround mix is commissioned, the additional audio stem deliverables will be agreed on a case by case basis.
ChannelChannel NameChannel Type
1Full MixStereo L
2Full MixStereo R
3Full Mix excl. Voice OverStereo L (undipped) 1
4Full Mix excl. Voice OverStereo R (undipped) 1
5Effects / NATStereo L (undipped) 2
6Effects / NATStereo R (undipped) 2
7GFXStereo L (undipped) 2
8GFXStereo R (undipped) 2
9MusicStereo L (undipped) 2
10MusicStereo R (undipped) 2
11Voice OverStereo L 3
12Voice OverStereo R 3
13Interviews / OTStereo L 3
14Interviews / OTStereo R 3
15Full Mix5.1 L 4, 5
16Full Mix5.1 R 4, 5
17Full Mix5.1 C 4, 5
18Full Mix5.1 LFE 4, 5
19Full Mix5.1 Ls 4, 5
20Full Mix5.1 Rs 4, 5

1 Undipped: For 'Full Mix excluding Voice Over' only adjustments made to accommodate Voice Over should be removed but adjustments for Interviews / OT should remain unchanged.

2 Undipped: Any adjustments made to accommodate Voice Over or Interviews / OT should be removed, but cross-fades between different sources as well as any EQ effects should be preserved.

3 Mono audio is acceptable if the source material was recorded in mono.

4 If 5.1 audio is not applicable to the production, the delivery can be made with 14 audio channels.


Audio

Audio Levels
Dolby Atmos

Video

Video Levels, Gamut and Color Space
Safe Areas
Time Code / Program Start and End

Closed Captions and Subtitles

Production Partners are only required to deliver a separate closed caption file if explicitly asked to do so!

Definitions & Terminology
Technical Requirements

File naming convention: VIN_LanguageISOCode_CountryISOCode_CC/SUB/FNS.xml Example: MI201712290219_en_US_FNS.xml (Underscores must be used as separators)


Annex: Clean Version

Important: Time code and duration of the Clean version must be identical to the Dirty version.

Color Grading: Footage in the Clean version must have the same color grading as in the Dirty version.

Clean files MAY contain:

  • Show Open (if applicable), VFX, animations or CGI, assuming any transitions that alter or otherwise compromise surrounding footage are removed (such transitions include dissolves, wipes, or morphs, for example).
  • Full screen graphics or images that do not overlay any footage.
  • Black gaps, where graphics had to be removed

Clean files SHALL NOT contain:

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

General Notes:

  • As it may be difficult in certain cases to determine whether or not certain elements should be removed, please consult Red Bull Media House Quality Management during the creation of animations and other graphic elements, should you have any questions or concerns.
  • For graphic elements that overlay other footage during transitions (overlay graphic with alpha channel; e.g. show open), any underlying material that is visible during the transition must be present in the Clean version.

Annex: Audio Glossary

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

Channel NameExplanation / Synonyms
Full MixThe final mix of the program that includes all audio channels incl. Voice Over / Narration. Must comply with -23LUFS Integrated Loudness and -8dbTP True Peak levels.
Full Mix excluding Voice OverAlso known as ‘Mix Minus’ or ‘IT Mix’
Effects / NATAtmosphere or Ambient sound as recorded on set; also known as Production Sound, Natural Sound (NAT), Original Sound or On-location Sound. Additionally includes effects intended to be indistinguishable from NATs. e.g., artificial ambient sounds, Foley and background sound effects; no GFX, no Music, no Voice Over / Narration, no Interviews.
MusicAny and all music contained in the program, including pre-mixed, recurring elements in a series, e.g. open, close.
GFXGraphical Sound Effects are sound effects that complement graphic overlays, graphical transitions or animations. Not to be confused with “Effects / NAT”!
Interviews / OTAlso known as Dialog.
Voice OverAlso known as Commentary or Narration; abbreviation: VO
undippedany adjustments made to accommodate Voice Over or Interviews / OT should be removed, but cross-fades between different sources as well as any EQ effects should be preserved; For Full Mix excluding Voice Over only adjustments made to accommodate Voice Over should be removed but adjustments for Interviews / OT should remain unchanged.
dippeddipped stems must constitute the full final mix when combined at unity gain