A quick-reference for common delivery codecs, frame rates, audio levels, and color spaces. Use this page when you need to pick the right format for a deliverable or confirm a spec.
Delivery Codec Reference
Apple ProRes Family
Codec
Data Rate (1080p24)
Use Case
ProRes Proxy
~45 Mb/s
Offline edit, rough cuts — not for reference QTs or deliverables
ProRes 422 LT
~102 Mb/s
Lightweight masters, reference QTs, dailies
ProRes 422
~147 Mb/s
Reference QTs, lower-end masters
ProRes 422 HQ
~220 Mb/s
Standard broadcast master, intermediate renders
ProRes 4444
~330 Mb/s
VFX, titles with alpha, high-quality masters
ProRes 4444 XQ
~500 Mb/s
HDR and high-bit-depth sources
Avid DNxHD / DNxHR
Codec
Data Rate (1080p24)
Use Case
DNxHD 36
36 Mb/s
Offline edit
DNxHD 115
115 Mb/s
Lightweight master
DNxHD 175
175 Mb/s
Broadcast master (8-bit)
DNxHD 175x
175 Mb/s
Broadcast master (10-bit)
DNxHR LB
Variable
Offline edit, UHD
DNxHR SQ
Variable
Broadcast master, UHD
DNxHR HQX
Variable
High-quality master, UHD, 10-bit
DNxHR 444
Variable
VFX, alpha, high-quality master
Delivery Format Recommendations
Delivery Target
Recommended Codec
Netflix / Prime Video streaming master
ProRes 422 HQ or IMF package
Broadcast master (US)
ProRes 422 HQ or DNxHD 175x
Film festival (DCP)
Separate DCP mastering; ProRes 4444 XQ as intermediate
YouTube upload reference
ProRes 422 or H.264 high-bitrate
VFX plate / pull
ProRes 4444 or EXR sequences
Titles / graphics with alpha
ProRes 4444
Temp screener
ProRes 422 LT or H.264
Frame Rate Reference
Common Frame Rates
Frame Rate
Notation
Common Use
23.976
23.98 / 24 NTSC
Feature-style documentary, streaming, US cinema
24.000
24p
True cinema, some festival deliveries
25.000
25p
PAL territories, European broadcast
29.97
30 NTSC / 30i
US broadcast legacy (drop frame)
30.000
30p
Some streaming, corporate
50.000
50p
PAL slow-motion, European sports
59.94
60 NTSC
US broadcast sports, high-motion
60.000
60p
Web, some streaming
120.000
120p
Slow-motion source footage
Drop Frame vs Non-Drop Frame
Drop frame (DF): TC notation uses semicolons 01;00;00;00
Drop frame applies only to 29.97 and 59.94 fps, and only compensates for the 0.1% offset between 30.000 and 29.97
Use drop frame for US broadcast at 29.97 and 59.94
Use non-drop frame for streaming and 23.976
PAL and 25/50 fps don’t use drop frame at all
Audio Reference Levels
Reference Tone
Standard
Level
Region / Use
SMPTE RP 200
-20 dBFS
US broadcast
EBU R68
-18 dBFS
European broadcast (pre-R128)
EBU R128 line-up tone
-18 dBFS
Modern European broadcast — line-up tone (the integrated loudness target lives in the table below)
AES Streaming Reference
-20 dBFS (tone) / -24 LUFS (content)
Most streaming platforms
Loudness Targets
Platform
Integrated Loudness
True Peak
Netflix
-27 LKFS ±2
-2 dBTP
Prime Video
-24 LKFS
-2 dBTP
Apple TV+
-24 LKFS
-2 dBTP
US broadcast (CALM)
-24 LKFS ±2
-2 dBTP
EBU broadcast
-23 LUFS ±1
-1 dBTP
YouTube
-14 LUFS (platform normalizes)
-1 dBTP
Loudness is managed by the sound mix, not typically in online/conform. But the mix team needs to know the target before they deliver, so confirm with the spec.
Color Space Reference
Working & Delivery Color Spaces
Color Space
Gamut
Transfer
Common Use
Rec.709
BT.709
Gamma 2.4
HD / SDR delivery
sRGB
BT.709
sRGB / gamma 2.2
Web, monitors
P3 D65
DCI-P3
Gamma 2.6
Cinema
Rec.2020 PQ
BT.2020
PQ (ST 2084)
HDR10 streaming
Rec.2020 HLG
BT.2020
HLG
HDR broadcast
Dolby Vision
BT.2020
PQ with dynamic metadata
Premium streaming
HDR Flavors
Format
Peak Nits
Metadata
HDR10
1000–4000
Static (per title)
HDR10+
1000–10000
Dynamic (per scene)
Dolby Vision
1000–10000
Dynamic (per frame)
HLG
Variable
None (broadcast-friendly)
When to Flag HDR on a Turnover
If any source footage was shot in a log / RAW format intended for HDR finishing
If the delivery spec specifies HDR
If the project uses wide-gamut color (P3 or BT.2020 working space)
Include in the slate and turnover notes:
Working color space
Delivery color space
Whether the reference QT is Rec.709 (typical) or HDR
Resolution Reference
Common Delivery Resolutions
Name
Resolution
Aspect
HD 1080p
1920 × 1080
16:9
2K DCI
2048 × 1080
~17:9
UHD 4K
3840 × 2160
16:9
4K DCI
4096 × 2160
~17:9
UHD 8K
7680 × 4320
16:9
Cinematic Aspect Ratios
Ratio
Name
Use
1.78:1
16:9
HD / UHD broadcast & streaming
1.85:1
Flat / Academy Flat
Cinema flat
2.39:1
Scope / CinemaScope
Cinema widescreen
2.00:1
Univisium
Many streaming originals
1.33:1
4:3 Academy
Archival, stylized
Bit Depth & Chroma Subsampling
Notation
Meaning
4:4:4
Full chroma resolution — every pixel has its own color
4:2:2
Half chroma resolution horizontally — broadcast standard
4:2:0
Quarter chroma resolution — streaming / web compression
8-bit
256 values per channel — sufficient for SDR broadcast
10-bit
1024 values per channel — HDR, gradient-heavy content
12-bit
4096 values per channel — DI, color finishing, premium HDR
16-bit / float
VFX, compositing, high-bit-depth workflows
Sample Rate & Bit Depth (Audio)
Attribute
Standard
Sample Rate
48 kHz (always, for picture work)
Bit Depth
24-bit (common) or 16-bit (acceptable for final mix delivery)
Channel Config — Stereo
L, R
Channel Config — 5.1
L, R, C, LFE, Ls, Rs
Channel Config — 7.1
L, R, C, LFE, Lss, Rss, Lsr, Rsr
Channel Config — Atmos (delivery)
7.1.4 bed + dynamic objects (ADM BWF)
Quick Spec Summary Card
For a typical US streaming documentary turnover:
Resolution: UHD 3840 × 2160 (or HD 1920 × 1080)
Frame Rate: 23.976 fps
Timecode: Non-drop frame
Codec (master): ProRes 422 HQ
Codec (reference): ProRes 422 LT
Color Space (SDR): Rec.709 / Gamma 2.4
Color Space (HDR): Rec.2020 PQ
Audio Sample Rate: 48 kHz
Audio Bit Depth: 24-bit
Audio Reference Tone: -20 dBFS / 1 kHz
Loudness Target: -24 to -27 LKFS (platform dependent)
Start TC: 01:00:00:00 (episode 1)
Always confirm with the specific delivery spec before export — numbers above are common starting points, not guarantees.