bbc worldwide content delivery book

Transcription

BBC WORLDWIDE
CONTENT DELIVERY BOOK
JULY 2015
BBC WORLDWIDE
By creating, acquiring, developing and exploiting media
content and brands through as many outlets as possible
around the world, with particular focus on creating
value from BBC content, BBC Worldwide (BBCW)
has become one of the UK’s most robust, profitable
and internationally admired media companies.
Throughout its operations, BBCW maintains the
values and integrity of the BBC, combined with all the
commercial skill and expertise, flexibility, knowledge
and strength of a major global corporation.
This content delivery book
This delivery “e” book is the main reference for BBC
and Indie productions submitting content to BBCW
for international distribution. Whether you are UK
based or overseas, delivering a version for international
distribution or a language version, these guidelines have
been created to provide a single reference guide for
technical standards, increase operational efficiency and
to best represent your content to our global audiences.
This guide has multiple sections which outline the
specifications for each type of deliverable. Core master,
Ancillary’s and photography, as well as specific details on
file and tape delivery to BBCW.
CONTENTS
Publicity photography2
Standard Materials requirements
7
DVD Invested Deliverables21
3d specifications for blu ray23
Hd Foreign Language Tape Delivery
27
SD Foreign Language Tape Delivery28
HD Foreign Language Texted Servicing Masters31
3D requirements39
Technical Standards Television Programmes 40
CONTENTS | 1
MARKETING/PUBLICITY PHOTOGRAPHY
BBC Worldwide requires the most dynamic key images to use across a variety of promotional formats, in order to market your title
effectively to our customers and their audiences. Our clients are bombarded with visual information from all quarters of the TV
industry so images must be arresting and cut through if they are to be effective.
The Image
A good working relationship between the production team and
the photographer will yield the best results and it is essential
to build time into the filming schedule for special photography
sessions.
Please always ensure your photographer has a detailed brief and can
identify the key cast members/ contributors and key content.The
coverage should reflect the programme’s content with a mix of:
– single and group shots
– close-ups and other focal lengths
– landscape and portrait format
– full-length shots without cropping
It may be necessary to consider generic/conceptual images
suitable for international marketing use. Visuals, which form
part of a graphics sequence and those, which tie into the
programme title are useful.
There must be photography for each episode and for all versions
being supplied to BBC Worldwide, including presenter-less.
Fiction
The photography should reflect the narrative and mood - offering
images of all main characters and key scenes, the variety of
locations and the scale of the production. It is important to ensure
that the obvious picture opportunity is not overlooked.
It is essential that at least 80% of the coverage comprise “action”
shot material – i.e. taken during a scene, showing the interaction
of characters and the dynamics of a scene.
The iconic and other generic shots will need extra planning
and dedicated time on set, depending on the complexity of the
Artists should be photographed in character both looking into
and away from the camera lens, and a range of poses. We need
a set of these character shots to be full length and without
cropping. Consistent lighting across the group and individual
character shots is essential for the creation of composite artwork.
Please allow space around the image for the later addition of key
text, such as magazine & DVD cover lines etc..
It may be necessary to shoot the key talent against plain
backgrounds to allow for “cut outs” to be incorporated into later
artworking. When appropriate, “clean” photographs of the key
locations/sets and props should be supplied for artwork.ing. These
images ahould be complied to allow their subsequent use in
composite artwork e.g. group montage.
Factual
Photography should include key contributors/wildlife/ incidents/
locations – as appropriate – and be a mix of content, offering a
variety of compositions from general views to close ups e.g. the
war victims, the prisoners, the political leader, wildlife in natural
habitat, devastation after a natural disaster. For a Presenter-less
version of a programme, we require a full set of presenter-less
images. These need to include key wildlife/incidents/locations as appropriate - which are compelling and can stand alone to
promote the content.
The iconic and other generic shots may need extra planning and
dedicated time on location, depending on the complexity of the
composition.
Following Safeguarding Trust Guidelines, any images supplied to BBC
Worldwide to illustrate particular ground-breaking new footage,
filming techniques and innovations must be specially shot during the
actual filming of the programme and not be obtained from picture
agencies/third parties.
TITLE || 22
Each photograph needs to stand on its own merit and tell
a story. Strong images are needed to compete for space in
all sectors a very crowded market place. It is useful to put
yourself in the position of a picture editor and consider the
minimum photography requirement to run a feature about your
programme.
composition. The iconic shot is the main marketing image and
should be given full consideration in planning and execution,
whether this is by showing lead cast in a relevant location or
something more conceptual.
USES
Here are some examples of the marketing materials that we and our clients produce to support your programme. Uses
can vary from small images in listings publications, inclusion on social media sites to massive billboards for key campaigns.
Eye-catching and well crafted images are essential to help communicate the style and content of your programme in a
competitive environment.
MILLION DOLLAR CRITIC
MILLION DOLLAR CRITIC
161
6 x 45’ Coming Soon
Giles Coren is the bitingly funny and controversial restaurant critic of one of the UK’s bestselling newspapers, The Times. His good opinion can
bring as much as a million dollars of profit to those restaurants graced with his words of approval. He cannot be bought. He cannot be invited. If
your place is good, then you hope he shows up. And if it is bad, then you better hope he doesn’t. And now he’s coming to North America. Giles
doesn’t care about reputations. He isn’t interested in fancy or flashy or famous. He is simply looking for a place that offers him a drink when he
sits down, that serves him a dish filled with love, and doesn’t play the music so loudly that he can’t have a proper conversation with his dinner
companion. He’ll take everything the restaurants throw at him and throw it right back. And so, with his trusty researcher by his side helping
him navigate this strange and tasty new world, Giles traverses cities and towns across Canada and the US, discovering the newest, freshest,
and most authentic dining experiences. In each town, Giles visits five restaurants and grants one a million dollar review that could change the
owner’s life forever.
PRESENTER
Giles Coren Glutton for Punishment, Edwardian
Supersize Me
EXECUTIVE PRODUCERS
David Fortier Recipe to Riches, Orphan Black
Ivan Schneeberg Cook’d, Being Erica
Gerry McKean Kitchen Nightmares, Nanny 911
FACTUAL ENTERTAINMENT & LIFESTYLE
FACTUAL ENTERTAINMENT & LIFESTYLE
It’s make or break time
140
SCIENCE
160
Title Goes the Theory
Bang
A TEMPLE STREET PRODUCTION FOR W NETWORK AND BBC AMERICA
ALSO AVAILABLE AS A FORMAT
BANG GOES THE THEORY
 Our print and electronic television catalogue provides an
overview of the current portfolio of programmes. It is sent
to all our global sales teams and clients and is published twice
a year for international TV festivals such as Showcase and
MIpcom.
MIPCOM 2014 DISTRIBUTION CATALOGUE
PRESENTERS Liz Bonnin, Jem Stansfield, Maggie
Philbin SERIES PRODUCER Ed Booth EXECUTIVE
PRODUCER Tina Fletcher Child of Our Time
A BBC/OPEN UNIVERSITY CO-PRODUCTION
ALSO AVAILABLE: SERIES 5-7 (24 x 30’)
COSMONAUTS
Why Russia really won the space race
2 x 50’ Available Now
When, in July 1969, Neil Armstrong made one
giant leap for mankind, America went down
in popular history as the winner of the space
race. But the real space pioneers of the 20th
century were the Soviets. Between 1961 and
1966, they realised a number of spectacular
historical achievements, including the first
man and woman in space. Up to that point,
they seemed unstoppable. Then a string of
misfortunes struck. The deaths of two key
figures, Sergei Korolev, the godfather of the
programme, and hero and icon Yuri Gagarin,
were followed by a series of mechanical
setbacks. This allowed the Americans to
streak ahead and ultimately claim victory. But
it did not end there. The Russians recalibrated
their space programme in the 1970s,
achieving more success and coming in many
ways to dominate modern space exploration.
Covering all these events and more, this
series uses unseen archive and compelling
interviews to reveal the story of the space
race from the other side of the iron curtain.
PRODUCER Michael Lachmann Wonders of the
Universe EXECUTIVE PRODUCER Jonathan Renouf
Rise of the Continents
DEEP DOWN AND DIRTY:
THE SCIENCE OF SOIL
An earthy story
It takes a thousand years to form a single
inch of soil. It is a fragile layer on the surface
of the land – yet essential to all life on Earth.
But where did soil come from and how was
it made? Gardening expert Chris Beardshaw
reveals the secrets locked within soil.
Travelling around in his specially-equipped
mobile soil lab, he delves down into dirt
to uncover its deepest secrets – from the
uppermost layers, teeming with microscopic
life, to the mysterious mineral layers deep
below. He looks into the distant past to
reveal the almost miraculous way soil first
formed, and takes a tantalising glimpse into
the future, to reveal soil as a commodity
more precious than oil or gold. Across
the globe we’re struggling to protect this
delicate yet vital layer – so what does the
future hold for soil and what does this mean
for global food production?
PRESENTER Chris Beardshaw Gardeners’ World
PRODUCER/DIRECTOR Graham Russell Planet Ant
PRODUCER Jacqueline Smith Cell
A BBC PRODUCTION
FACTOMANIA
Get your facts straight
A fast-paced blend of facts, fun, banter,
animation, experiments – and competition.
On Factomania the world’s most incredible
facts compete as Explosive Experiments,
Amazing Animated Tales, and Strange
Stunts. In each show, hosts Dom Byrne (Mr
Curious), Fran Scott (Bold Experimentalist)
and Greg Foot (Daredevil Scientist), get three
chances to win. They can award each other’s
stories points for packing in maximum facts
and maximum fun. The fact that flour mills
blow-up makes Greg decide to find the
most explosive ingredient in his kitchen. The
fact that just one in 10 gladiators survived
inspires Dom’s animated Guide to Making it
as a Gladiator, while Fran uses the knowledge
that a cup of tea tastes terrible on a plane to
devise a demonstration to prove you can boil
water when it’s cold. So if you ever wondered
how to build a hoverboard or which domestic
appliance could lift up a car, Factomania has
the answer!
PRESENTERS Greg Foot Secrets of Everything Fran
Scott, Dominic Byrne EXECUTIVE PRODUCERS John
Farren, Emma Parkins
A 360 PRODUCTION FOR BBC WORLDWIDE GLOBAL CHANNELS
FOSSIL
NATUR
Buried tr
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capsules’
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exist in th
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PRESENTER
EXECUTIVE
A LION TELEV
ZENNOR TV C
A BBC PRODUCTION
The online catalogue is a fully comprehensive and constantly
updated web-based resource. Accessible to buyers, the online
catalogue (OLC) contains a raft of sales support including full
details of your programme, promo clips and after-sales marketing
tools including images for download. 
Programme photography is also used to promote titles on digital platforms such as iTunes, YouTube and BBC Store. We also require
early release images to post on Social Media for maarketing and promotional buzz - including behind-the-scenes and props photo-
TITLE | 3
Digital Media
SHOWCASE 2014 DISTRIBUTION CATALOGUE
SHOWCASE 2014 DISTRIBUTION CATALOGUE
Putting science to the test
Series 8 (8 x 30’) Available Now
Content-rich and authoritative yet full of
high energy, irreverence and humour, this
is the show that explains the world we live
in, and what’s going to change it. A blend of
family-relevant stories, spectacular stunts
and competitive team challenges, the show
is hosted by a group of presenters who are
passionate about science, and happy to share
their knowledge, banter with each other and
experiment. In this series, the team asks:
Is there a connection between the recent
flooding and global warming? Can a Rolls
Royce jet engine help detect secondary
brain injuries? Will we eventually run out
of power, and how do global relief efforts
help the emergency services? The trio also
tackles subjects as diverse as the UK’s ailing
railways, the big data revolution, the hunt for
new energy supplies and advances in the
treatment of cancer – offering the definitive
guide to every aspect of the science that
drives them.
COLIN WRATTEN
INSIDE MEN, WAKING THE DEAD
P roduCer
ADRIAN HODGES
C reator
MY WEEK WITH MARILYN, PRIMEVAL
and
L ead W riter
LUKE PASQUALINO SKINS, THE BORGIAS
TOM BURKE GREAT EXPECTATIONS, THE HOUR
SANTIAGO CABRERA MERLIN, HEROES
HOWARD CHARLES &ME
PETER CAPALDI DOCTOR WHO, THE HOUR, THE THICK OF IT
TAMLA KARI CUCKOO, THE INBETWEENERS MOVIE
MAIMIE MCCOY LOVING MISS HATTO
HUGO SPEER BEDLAM, FATHER BROWN
S tarring
LUKE
PASQUALINO
TOM
BURKE
SANTIAGO
CABRERA
HOWARD
Life in an ever changing landscape
CHARLES
3 x 50’
SERIES PRODUCER
ARIF NURMOHAMED
The world is new, and we are too!
How to Build a Planet, Rise of the Continents, Orbit: Earth’s Extraordinary Journey
EXECUTIVE PRODUCER
MARK HEDGECOE
The Challenger, Operation Iceberg, How to Grow a Planet
A BBC/PBS CO-PRODUCTION
FOR LOVE. FOR HONOUR.
FOR ADVENTURE.
10 x 50’
50 x 11’ & 1 x 22’
graphy which tells the “story behind the story”.
Distribution Clients
 Your images become part of the BBCW Picture Promotion
Kit and are made available to broadcasters when they buy
your programme. Broadcasters will use these images to create
a range of public-facing marketing and publicity materials in
their own territories including release to the Press for listings
and features, as well as websites and social media.
Detailed Delivery Requirements
Good photography plays an essential role in the promotional
campaign of the programme. The best results are achieved
by planning your photography strategy before production
commences. The help and involvement of the producer, and
the cooperation of key talent, are paramount in ensuring top
quality photography is realised.
Early discussion with all interested parties and stakholders at
BBCW, BBC Pictures or the press offices and publicists and
co-producers – will give you a better overall view of what is
needed and how it is to be used. If necessary, pre-production
meetings can be arranged as can regular picture reviews
during the production period.
Consumer Products and Other Uses
Your photography needs to be suitable for use on DVD
and Digital Ownership (DTO) artwork, for marketing and
merchandising, as well as for other product artwork. Strong, eyecatching images are essential - including portrait format iconic
images for the DVD cover. The photography and cover artwork
may be used for other media e.g. for tie-in books, publications,
live events, etc.
Photography should be pre-cleared for all rights and usage as
outlined in the contract. It should be possible to retrospectively
clear these rights if they were not part of the original
contractual obligations. .
Picture Plan
In order to ensure the most effective photography is
available, a photography plan template will be supplied which
needs to be completed and returned to BBCW before
filming commences. The plan should outline who will be
responsible on the team for ensuring suitable photography
is commissioned or acquired, how the necessary rights are
to be secured as well as outlining the tone and scope of the
coverage.
To avoid missed opportunities, it is recommended that a shot
list be incorporated into the film/studio schedule as an aide
memoire.
Photography Brief
For certain key titles, after consultation with Production, BBC
Worldwide may devise a detailed creative brief which captures
specific photographic requirements.
TITLE | 4
SCHEDULE
Discussion
3 x 50’
bbcworldwidesales.com
Quantity
• Drama – minimum of 20 digital images per episode, plus
an iconic and a representative set of generics featuring all
the key characters/talent where available
• Other Genres – minimum of 10 digital images per
episode, plus an iconic and a representative set of
generics featuring all the key characters/talent/species/
scenes/elements where available
• UK and Eire rights only titles – 1 landscape and 1 portrait
image per episode plus 5 generics. The images need to
represent the key elements of the programme
Be of varied composition, per episode and for all versions
unless otherwise stated by BBC Worldwide, to be retained for
the distribution period.
• Access to all photography, including images used by the
BBC or the commissioning broadcaster’s marketing teams
in all consumer campaigns including websites such as bbc.
co.uk and social media and ability to release images issued
by commissioning broadcaster simultaneously in the global
market.
• Where BBCW has invested into multiple versions eg
presenterless or presenterled, various durations, please
ensure that images and captions are delivered as separate
sets.
International broadcasters are increasingly requesting
photography used in consumer campaigns – having access to TV
guides, newspapers and magazines as well as websites including
bbc.co.uk in order to adopt a visually consistent marketing
approach with that of the commissioning broadcaster’s
campaign.
Digital Technical Specification
Digital images are acceptable at the following minimum
specification:
• Between 30MB-45MB before jpeg compression for unit
photography. 60MB before jpeg compression for iconic
photography.
• Access to artwork for any designed image, including the
layers and elements.
• Access to RAW files
• CGI images must be high resolution and layered, and,
where applicable, composited with conventional hi-res
stills. Screen grabs of CGI are not acceptable.
The images should be of the highest technical and editorial
standard possible and be “ready for use”, requiring no
substantial post production work such as cleaning backgrounds
or similar image remedial enhancements.
Asset List
A separate asset list appendix may be negotiated for certain
titles. This will be added to the Offer Document and outlines in
detail our photography requirements and rights.
Clearance & Contractual Requirements
The photography will need to be cleared of any copyright
or artist/contributor restrictions for world distribution and
for the rights outlined in the contract. As well as associated
programme publicity including print, online and product artwork,
The images need to be fully captioned with identification of
all characters/content featured and episode number - with a
corresponding typed caption list supplied electronically. Please
use the supplied caption list template and confirm the rights
listed are correct. Photographer name, any third party image
credits and rights should be included.
Contractual Requirements
It is the responsibility of the producer to ensure that all
contractual delivery requirements are met, i.e. to BBC
Worldwide or co-producers. The photographer needs to be
briefed accordingly.
It is strongly recommended that early negotiations take place
to secure rights and agree costs with third party copyright
owners including commissioning broadcasters, photographers
etc and BBC Worldwide will require electronic copies of
clearance documentation and licences.
Freelance professional photographers need to sign contracts
assigning copyright either to the BBC for in house productions
or to the independent production company. Should the
investments be confirmed during/after filming, a percentage of
BBC Worldwide’s investment needs to be set aside to obtain/
clear suitable publicity photography.
Compliance
Before we can use your images or supply them to clients we
must have written confirmation from both your executive
producer and the BBC’s that all images and captions supplied
comply with the BBC Editorial Guidelines. The guidelines are
available on the website below:
http://www.bbc.co.uk/editorialguidelines/page/guidance-stillsphotographs-full
Uses
See page 3
Other Rights
When BBC Worldwide has acquired pre-cleared secondary
rights eg DVD, Digital Ownership and Download to Own,
the producer must ensure that the photography has been
fully cleared for these media across all platforms throughout
BBC Worldwide’s distribution territory and that is suitable
for product packaging and associated uses such as product
catalogues, posters and point of sale and release to the press.
Also, when specified, photography may need to be cleared
for other uses such as publishing, live events. art works etc. In
certain cases “all media” may be required which will include
merchandising and all ancillary rights.
TITLE | 5
This is in addition to any requirement to BBC Television or
co-producers.
the photography should also be cleared, wherever possible, for
posting on social network sites such as Facebook.
Non-Delivery
In the event of the photography not being available or the
delivery of reduced quantities or technically and aesthetically
unacceptable photography, BBC Worldwide reserves the right
to reduce the level of investment accordingly. Screen grabs
are only accepted in addition to the full delivery of the high
resolution still camera photography. Late delivery can delay
the final payment of the investment.
Delivery
Photography will be required at various stages before the final
delivery to meet marketing and product schedules.
As soon as available – please supply a few images to illustrate
the catalogue entry on our business to business website, other
associated marketing materials and presentations.
A small set of images suitable for the key TV festivals, to be
supplied during these months before your delivery or BBC
transmission year:
July for Mipcom
December for Showcase/MIP
Where applicable, images will also need to be provided
for ancillary product use as well as early press release.
It may also be necessary to supply a set of fully complied
images including the iconic well in advance of the delivery/first
tx date to allow time to develop global marketing campaigns.
Production to suply a full picture realease document detailing
holdbacks/embargoes and dates in list order as necessary.
Box:
Images can be uploaded to BBC Worldwide’s photo drop box
(Box), details will be sent to you directly by the photo unit.
Or post to BBC Worldwide, Global Photography,
1/C Television Centre, 101 Wood Lane, London W12 7FA
– contacts below.
Design Materials:
In addition, please deliver the on-screen title logo as either:
• Vector graphics file .eps, .ai or
• Photoshop file (.eps or .tiff), minimum 3mb @
300 dpi, including all necessary layers to the
Creative Operations Manager, Creative Services;
stefan.daniels@bbc.com
Global Photography Genre Contacts:
Natural History, Strictly Come Dancing
/Dancing with the Stars/Sherlock
Sarah Edwards
020 8433 2025
sarah.edwards@bbc.com
BBC Drama, Comedy, Light Entertainment & Formats
Lynn Diaz-Burtenshaw
020 8433 2354
lynn.diaz-burtenshaw@bbc.com
Documentaries & Religion
Penny Sims
020 8433 3599
penny.sims@bbc.com
WW Channels, Science & Independent Drama
Helen Benians
020 8433 1626
helen.benians@bbc.com
History, Arts & Music
Elena Sollazzo
0208 433 2399
elena.sollazzo@bbc.com
Doctor Who & Top Gear
Christine McLean-Thorne
020 8433 2264
christine.mclean-thorne@bbc.com
Lifestyle, Factual Entertainment & News & Current
Affairs
Simon Bromley
020 8433 3921
simon.bromley@bbc.com
Childrens, Continuing Drama, Sport, UK & Eire only
rights titles
Michael Swann
020 8433 2163
Michael.Swann@bbc.com
Specific titles across genres
Julian Wyth
0208 433 2271
julian.wyth@bbc.com
For general enquiies:
wwphotoqueries@bbc.com
MARKETING/BLICITY PHOTOGRAPHY
TITLE | 6
The full complement of images, captions, clearance
documentation and release strategy to be delivered either
• 2 months (3 months if we have dvd rights) before
the first UK transmission date or
• 2 months before the BBCW delivery date – whichever is
the soonest, unless otherwise stated
PLEASE REFER TO THE PHOTO PACK
FOR FULL DELIVERY DETAILS
BBC WORLDWIDE
STANDARD DELIVERABLES
The Asset Acquisitions team manage the delivery of programme materials for all BBCW invested programming to
allow content to be readily available for BBCW distribution. The team work alongside BBC Production teams and
Independents, monitoring all incoming deliverables according to scheduled delivery dates. The team are responsible
for the acceptance of all master materials, ensuring the technical evaluations on the delivered materials have been
carried out sufficiently and production teams have complied with contractual requirements. They are also responsible
for the acceptance of Post Production scripts, Music Reporting Forms and Programme as Completed Forms.
Masters
Delivery date to WW: TBC
• 1 x ProRes 422 HQ 1080/50i (or 25p) file with M&E
• 1 x HDCAM SR 1080/50i (or 25p) with M&E
Texted and Textless masters will be required if the programme contains more than 10 captions
• Access to BBC TX tapes / AS11 files (if applicable)
• 1 x BWAV Stereo Split Audio Elements Worldwide Version
• 1 x BWAV Stereo Split Audio Elements BBC TX Version
• 1 x BWAV 5.1 Final Mix and 1 x BWAV 5.1 M&E Worldwide Version
• 1 x DVD-R (16:9 Worldwide Version) must be delivered for each ep on or before TX
• Digital copies of QAR forms
• After Effects projects files (if applicable)
• Closed caption files (for non BBC TX titles)
• 4 x BITC DVD’s (if DVD investment)
• VAM (if applicable)
Paperwork
Post Production Script, Music Cues & Programme as Completed forms for all versions, including original BBC TX
version
Script delivery: no later than 48 hours after master tapes
PasC & Music Cue Sheet delivery: 2 weeks after master tapes
Quality Assessment Review:
All programme masters, tape or file, supplied to BBCW must pass a full Quality Assessment Review (QAR). Please
refer to our approved list of QAR facility houses on page 18
DELIVERABLES SUMMARY | 7
1.2. PAPERWORK
• 1 x PAL timecoded Post-Production Script to be delivered as a Word file, complete and accurate to dialogue and action,
the script must:
· Be timecoded
· Have captions in bold
· Include titles & end credits
· Have details of fonts used
· Any foreign language dialogue (including and particularly Latin) must be included in both original language and English
• Music Reporting Form
• Programme As Completed Form (including medium episodic synopsis)
• 2 x Synopsises to be delivered as a Word file, at the lengths stated below;
• Short 90 characters (inc spaces)
• Medium 500 characters (inc spaces)
• Latin Species List (for NHU and Science titles)
• Timecoded Bad Language List (if applicable)
Producer Clearance Statement – for BBC in-house content ONLY
A signed Producers Statement must be sent to CRD, cc’ing the Commercial Exec. You can download with ctrl+click here:
Producers Clearance Statement
For Indie content ONLY The following should be emailed and sent via hard copy to hannah.allison@bbc.com
BBC Worldwide, Media Centre, Room 1B1, 201 Wood Lane, London W12 7TS.
1) E&O Insurance: Clause 4.1 of the general terms of your contract details the required levels of E&O insurance.
BBC Worldwide will accept insurance cover for a minimum of 3 years, as opposed to cover for the full length of
the term. BBC Worldwide Ltd must be named on the insurance and also 2entertain Ltd if video/DVD distribution
is involved. The errors and indemnity insurance cover must be for £1,000,000 (one million pounds) on any one
claim and £3,000,000 (three million pounds) in the aggregate.
2) A Schedule of Residuals: A document listing all contributors to a programme and the residuals/repeat fees they are due for
commercial exploitation. Please note on this document any contributors who are bought out. A blank Schedule of Residuals
is attached to your contract.
3) Underlying agreements (Fiction): Each individual contributors agreement with the Producer for their services i.e. Equity
agreements, MU agreements, Writers agreements, stills/archive licences, producer/director agreements, format owners
agreements etc (in the event that they are not bought out).
DUAL PURPOSE MASTER
(aka Texted master with Textless elements)
PLEASE NOTE: If there are more than 10 captions in the body of the programme, BBC Worldwide will require separate Texted
and Textless masters of the programme
Master Formats:
High Definition – HDCAM SR 1080/50i or 1080/25p. (Please note content must not be a mixture of both progressive and interlace)
Master tapes must be seamless and fully edited and completed programme/s
The first frame of the programme must start at TCR 10:00:00:00
Master Duration – The final duration of BBCW masters can be up to 2 minutes either side of the programmes contracted
duration, but no longer or shorter without the approval of BBC Worldwide.
Picture must be 16:9 caption safe
Texted Version with Textless Elements
Opening
Title
Sequence
Stereo Final Mix Left
Ch2
Stereo Final Mix Right
Ch3
Stereo M&E Left
Ch4
Stereo M&E Right
Closing
Credits
BBC WW
End Sting
Textless Elements,
Recaps & Trails
If you are delivering 5.1 audio, please follow the track layout as detailed below. Tracks 5-10 are standard for the discrete 5.1
Ch5
5.1 Final Mix Left
Ch6
5.1 Final Mix Right
Ch7
5.1 Final Mix Centre
Ch8
5.1 Final Mix LFE
Ch9
5.1 Final Mix Surround Left
Ch10
5.1 Final Mix Surround Right
Notes on M&E:
Drama sequences – Stereo Music and fully filled Effects mix soundtrack, with no dialogue.
Documentary sequences – Stereo, “level” Music, Effects and Sync dialogue only. Voice-over or dialogue from contributors not
seen in vision must NOT be included on the M&E track. The exception being dialogue where the contributor comes in and out
of sync throughout one sequence.
Episode Numbers - Please do not include episode numbers in the clocks, tapes or paperwork of your programme, only include
the episode titles. This is to ensure that in case of any changes to your series running order we can reflect this easily in our
systems and tell our clients accordingly. Failure to do this could result in clients either rejecting their masters for having incorrect
ep numbers or they could TX episodes in the old running order.
Ch1
Body of
Prog.
(Texted)
Black
Prog. starts
10:00:00:00
Bars, Tone
& Clock
The body of the Programme must contain opening titles, all captions, English language graphics, translation subtitles, and closing
credits. Textless elements are required for the opening titles, all captions, English language graphics, translation subtitles, and
closing credits. These should be placed after one minute of “black level” following the main programme, to and from a “cut point”
to facilitate editing. Elements should be synchronous and in chronological order with those used in the actual programme:
Recaps, Trails and Teasers – Please put these at the end of the masters following the Textless Elements. Trails should not include
time specific references such as ‘Next Week’. Instead please use phrases like ‘Next Time’.
Bad language and other post watershed content – Please leave all audio and video free from beeps, blurring and other forms of
censoring. We will require a timecoded list of all instances of censorable material.
For programmes with complicated graphics sequences that include text, please contact your Asset Acquisitions Co-ordinator to
discuss delivery of textless versions as After Effects project files may be required.
All measurements on Worldwide masters must be provided as metric measurements. It is acceptable to use miles rather than
kilometres if the term is used consistently.
Programme Numbers - Please check link below for details of how the BBC assign UIDs:
http://www.bbc.co.uk/commissioning/tv/production/delivery/programme-duration.shtml
Worldwide versions should end with /50.
TEXTED MASTER
Master Formats:
High Definition – HDCAM SR 1080/50i (or 1080/25p) (Please note content must not be a mixture of both progressive and
interlace)
Texted Master
Opening
Title
Sequence
Ch1
Ch2
Ch3
Stereo M&E Left
Ch4
Stereo M&E Right
Body of
Prog.
(Texted)
Closing
Credits
BBC WW
End Sting
Black
Bars, Tone
& Clock
Prog. starts
10:00:00:00
The body of the Programme to contain all captions, English language graphics and translation subtitles. Clean opening and closing
titles at end after one minute of “black level” following the main programme, to and from a “cut point” to facilitate editing.
Recaps, Trails and Teasers – Please put these at the end of the masters following the Textless elements. Trails should not
include time specific references such as ‘Next Week’. Instead please use phrases like ‘Next Time’.
Bad language and other post watershed content – Please leave all audio and video free from beeps, blurring and other
forms of censoring. We will require a timecoded list of all instances of censorable material.
Textless Opening Titles
& Closing Credits Only,
Recaps & Trails
5.1 Final Mix Left
Ch6
5.1 Final Mix Right
Ch7
5.1 Final Mix Centre
Ch8
5.1 Final Mix LFE
Ch9
5.1 Final Mix Surround Left
Ch10
5.1 Final Mix Surround Right
Ch11
-
Ch12
-
Notes on M&E:
Ch5
TEXTLESS MASTER
Master Formats:
High Definition – HDCAM SR 1080/50i (or 1080/25p)
(Please note content must not be a mixture of both progressive and interlace)
Textless Master
Textless
Opening Title
Sequence
Ch1
Ch2
Ch3
Stereo M&E Left
Ch4
Stereo M&E Right
Body of
Prog.
(Textless
clean of all
captions)
Textless
Closing Credits
BBC WW
End Sting
Black
Prog. starts
10:00:00:00
Bars, Tone
& Clock
The body of the Programme to be clean of all captions, English language graphics/maps and translation subtitles. Captioned
opening and closing titles at end after one minute of “black level” following the main programme, to and from a “cut point” to
facilitate editing. Please ensure any graphics sequences or maps are supplied TEXTED at the end of the textless master to be
used as a point of reference.
Recaps, Trails and Teasers – Please put these at the end of the masters following the Texted elements. Trails should not include
time specific references such as ‘Next Week’. Instead please use phrases like ‘Next Time’.
Bad language and other post watershed content – Please leave all audio and video free from beeps, blurring and other forms of
censoring. We will require a timecoded list of all instances of censorable material.
For programmes with complicated graphics sequences that include text, please contact your Asset Acquisitions Co-ordinator to
discuss delivery of textless versions as After Effects project files may be required.
Texted Opening Titles &
Closing Credits
Texted graphics & maps
(where applicable)
Recaps & Trails
5.1 M&E Left
Ch6
5.1 M&E Right
Ch7
5.1 M&E Centre
Ch8
5.1 M&ELFE
Ch9
5.1 M&E Surround Left
Ch10
5.1 M&E Surround Right
Notes on Documentary M&E:
Ch5
BBC WORLDWIDE PRO
RES 422 HQ SPECIFICATION:
File Naming
Convention
Files for delivery to BBC Worldwide must comply with correct naming convention:
WWID*_Series Name _Episode No.mov
e.g.
A2012000214-TD_Top Gear Series12_Ep2.mov
*WWID will be provided by BBC Worldwide Global Operations
Programme
Content Layout
• File to start at T/C 09.59.00.00
• 30” EBU bars+tone and 30” clock (final 3 secs black) to
• First frame of Programme start at T/C 10.00.00.00
• Programme in its entirety
• Minimum 10 second gap before additional elements
• Minimum 5 seconds black to end of file
US Master material may have a different layout (e.g. SMPTE B&T+Picture in@01.00.00.00) – Only
by prior approval from BBC Worldwide Global Operations
All Channels must be DISCRETE
Audio
Content
Layout
Channel
Configuration Name
Audio Assignment QuickTime
1
Main Stereo Left
Left
2
Main Stereo Right
Right
3
M&E Stereo Left
Left
4
M&E Stereo Right
Right
5
Main Front Left
Left
6
Main Front Right
Right
7
Main Centre
Centre
8
Main LFE
LFE Screen
9
Main Surround Left
Left Surround
10
Main Surround Right
Right Surround
Video Source
Digital: (HD)SDI
Video Codec Profile
Apple ProRes 4:2:2 (HQ)
Container
MOV (All files must have a .mov file extension)
Stream type
QuickTime
Video Frame Rate
As per Source. (23.98PsF, 24PsF, 25PsF, 29.97PsF, 50i, 59.94i permitted)
Resolution including
aspect ratio
1920 x 1080
• Tracks must be laid out sequentially as noted above.
• The content of Channels 1 & 2 must be final mix.
• Dolby E encoded 5.1 mix and other audio content layouts may be permitted with prior
approval from BBC Worldwide Global Operations.
Audio tracks must be correctly Tagged (e.g. using QuickTime Pro) See notes below.
Scan Flag
As per Source. Interlaced OR Progressive. (Mixed material may only be delivered with prior
approval from BBC Worldwide Global Operations. The file must be accompanied with a
comprehensive schedule specifying the timecodes of the relevant sections.)
Bit Depth
10-bit
Video Bitrate
Typically 185Mbps for 50i content (set by relevent encoding profile)*
Video Compression Mode
VBR
Video Colour Space
YUV (YCbCr)
Pixel aspect ratio
Square
Frame Structure
I-Frame Only
Intra Frame Distance
1
Macro-block structure Chroma Sampling
4:2:2 (709)
Audio Sound Format
Stereo and/or 5.1 Surround
Sample Frequency
48kHz
Audio bit depth
24-bit, Other bit-depths by prior approval
Audio Codec
PCM (Uncompressed) Big Endian or Little Endian
Audio Compression Mode
CBR
Audio Bitrate
2.3Mb/s per channel pair (24-bit)
Edit Markers
In/out Edit markers must be positioned at the beginning of file.
Display Resolution
Display resolution must match original picture resolution within MOV
Timecode
As per source (e.g. programme starts at 10:00:00:00). QT T/C Track.
*The Apple ProRes codecs are designed to target the data rates shown. Because most sequences contain simple frames, actual
bit rates are typically 5 to 10 percent lower than these targets.
Audio Track Tagging Instructions:
• Opening the file in QuickTime Pro
• Click Window > Show Movie Properties (figure 1).
• Double click the track name field to modify the track Name labels according to the table above.
• On the window that pops up click on the first audio track then click on ‘Audio Settings’
• On the right you’ll see a box that says ‘Channel’ and ‘Assignment’ If exported out of FCP as mono tracks this will be labelled
as ‘Mono’ click on it and you will see options to change this.
• This will need changing according to the audio content layout table above.
• Do this for all audio tracks, close the window down and hit File > Save.
• To check it’s all done correctly click on Window > Show Movie Inspector.This will show you the correctly labelled audio channels.
SPLIT TRACK AUDIO
BWAV’s to be delivered on Single Layer DVD disc.
To include matching timecode (including head build of programme master) and synchronisable to the programme, with tracks as
per below with sound undipped:
– Stereo Dialogue
– Stereo Music
– Stereo Effects – including wild track atmos
– Stereo M&E combined music and fully filled effects (where available)
– Voice Over/Narration
– Actuality vocals including non-sync dialogue
(Please discuss availability of stems with your Asset Acquisitions Co-ordinator)
5.1 AUDIO
BWAV’s to be delivered on Single Layer DVD disc.
To include matching timecode (including head build of programme master) and synchronisable to the Programme as described
above, with track layout as follows with sound undipped:
:5.1 Main Audio
Audio track 1: Main Left
Audio track 2: Main Right
Audio track 3: Main Centre
Audio track 4: Main LFE
Audio track 5: Main Surround Left
Audio track 6: Main Surround Right
Audio track 7: Main Stereo Left Total
Audio track 8: Main Stereo Right Total
1 x BWAV M&E
Audio track 1: M&E Left
Audio track 2: M&E Right
Audio track 3: M&E Centre
Audio track 4: M&E LFE
Audio track 5: M&E Surround Left
Audio track 6: M&E Surround Right
Audio track 7: M&E Stereo Left Total
Audio track 8: M&E Stereo Right Total
DVD SCREENERS
DVD Copyright Warning
The following caption card should appear (Copyright Caption must be thumbnail #1 so that it comes on prior to start
of first title):
All Rights of the Producer and of the owner of the Recorded work reserved. Unauthorised Copying, Public Performance,
Broadcasting, Duplication, Sale, Hiring, Rental or Loan of the recording is strictly prohibited.
© (Year in numerals) BBC Worldwide Ltd.
We recommend your BBCW Spec DVDs are made at one of our approved QAR facilities, at point of QAR, as they have our full DVD
spec and all required elements.
1 x DVD-R required per ep (16:9 Texted (or Dual Purpose Version) – single layer disc - must be delivered for each ep on or
before TX. The DVD-R Screener Master can be recorded on standard DVD recorders directly from your master tape,
but we ask that it include a copyright warning before the programme, and a BBC Worldwide watermark (DOG) throughout. Please
do not include a menu as this prevents the DVD from playing automatically. Discs must be clean of BITC.
BBC WORLDWIDE BRANDING
For BBC In-House Productions
Please contact your Asset Acquisitions Co-ordinator (see contact details on the front page of the Materials Delivery Pack)
to arrange for access to the Branding Portal, where you will be able to download the required files outlined below.
In-programme Branding
3” ‘keyable animation which should be edited into the
beginning of the programme.
The branding:
• should not appear in the first two seconds of the
programme but can appear at any other point in the
title or pre-title sequence
• must be shown for 3 seconds
• must appear within the grid for front credits
• be centred wherever possible
The preferred version here is the Purple colour with
transparent layers. If due to technical restrictions you are
unable to deal with transparency layers within mattes
please use version labelled ‘no transparency.’
End-credit branding
3”animation, with sound design, to be edited onto the
end-credits.
The branding must include the relevant copyright line.
Stings have been created with copyright for 2012. If the
copyright is for a different year, please create and add it to
the sting as follows:
• follow style of existing versions
• typeface Gill Sans Regular. HD pixel height 30, SD pixel
height 17
• year in numbers, not roman numerals
• the positioning is centred to the BBC Patch but for
continuity previous versions should be followed.
Look for the following items on the Branding Portal:
• 3 second BBC Worldwide Masterbrand Intro keyable
loop. Purple patch, with transparent layers
• 3 sec BBC Worldwide Masterbrand Intro keyable
loop-matte. Purple patch, with transparent layers
Look for the following items on the Branding Portal:
3 sec BBC end credit animation BBC Patch 2012
Blank version also required for insertion of alternative
year credit
This section explains the in-programme and closing
sequence for programmes made by Independent
production companies
For independent productions, a distributor credit must be
added to the end-credits. The 3” animations are the same,
however, to reflect that BBCW is just the distributor of the
content, the end-frame is different, see below:
The sting must:
• be added to the end credits after the Indie credit
• appear for a full 3 seconds
Please contact Asset Acquisitions (See contact details on
the front page of the Materials Delivery Pack) to arrange
access to the Branding Portal, where you will be able to
download the following:
• 3 sec BBC Production end credit Animation BBC patch
‘Sales & Distribution’ (for Indies)
FOR INDIE PRODUCTIONS
ACCESS TO BBC
TRANSMISSION TAPES
BBC WORLDWIDE to access the seamless BBC HDCAMSR TX tape or AS11 digital files (if applicable). Please confirm with
your Asset Acquisitions Co-ordinator that the TX tapes are pre-cleared as required. If they are not cleared then 1 x HDCAMSR
seamless master must be delivered and Tech Reviewed/Spot checked:
Textless Elements for titles/captions to be supplied at end of tape, if available (please advise).
Audio Channel 1 (left) and 2 (right): Stereo Final Mix.
Audio Channel 3 (left) and 4 (right): Stereo M&E if available (please advise).
BWAV discs of this version are also required (as outlined in section 5.1)
BBC WORLDWIDE APPROVED QAR
FACILITY HOUSES
London
Ark
9 Bateman Street
London W1D 4AQ
Contact: Ivana Capaldo
ivana@theark.uk.com
020 7734 2623
Deluxe 142
142 Wardour St
London W1F 8DD
Contact: Sonji Clarke
sonji.clarke@deluxe142.co.uk
020 7149 2791
RRMedia
Monarch House, Victoria Road,
London W3 6UR
Contact: Perry Foran or Debbie Healy
perry.foran@rrmedia.com or debbie.healy@rrmedia.com
020 8357 5400
Refine
316-318 Latimer Rd
London W10 6QN
Contact: Vicky Harvey
vicky.harvey@refine-group.com
020 8962 2616
BBC Studios & Post Production
Odyssey Business Park
West End Rd, South Ruislip
Middlesex HA4 6QQ
Contact: Tony Hurt
BBCStudiosAndPostProductionReviewCentre@bbc.co.uk
0203 3277 445
Technicolor Lexington Street
28-32 Lexington Street
Soho, London
W1F 0LA
Contact: Mel Baldwin
mel.baldwin@technicolor.com
01753 658748
and
Contact: Louise Stevenson
louise.stevenson@technicolor.com
020 7319 4900
The Loft
Studio 4, Power Road Studios
114 Power Road
London W4 5PY
Contact: Roger Heales
roger.heales@loftlondon.co.uk
020 3651 9901
dock 10
MediaCityUK, Blue,
Manchester, M50 2HQ
Contact: Emma Ruston
Emma.Ruston@dock10.co.uk
0161 886 5245
Films at 59 Ltd
59 Cotham Hill
Bristol, BS6 6JR
Contact: Phil Mead
pm@filmsat59.com
0117 906 4300
Ediworks
The Hub, Pacific Way
Glasgow G51 1EA
Contact: Rebecca Wallace
rebecca.wallace@editworks.co.uk
0141 419 9448
All regional BBC Post Production facilities are also approved for QAR.
Please contact BBCW to discuss QAR vendors if your production is not based in the UK
Regions
FAQ’S
1. Does every tape need to be QAR’d?
Yes, every master tape or file must be
QAR’d, including HD, SD, digital files and
co-production masters.
2. Can I deliver an english master with
clean elements even if there are more
than 10 captions?
This may be acceptable but please contact your BBCW
co-ordinator to discuss prior to delivery.
3. Do I need programme/core numbers?
Where do I get them?
Programme/core numbers will be provided by the BBC
for content that will TX on the BBC. Please use the same
numbers for WW delivery but with the suffix /50 for
BBCW versions. Please contact your BBCW co-ordinator
for programme/core numbers for content that will not TX
on the BBC.
4. Can I leave names of people and places on textless
versions?
No. All text must be removed from textless versions –
including numbers
5. The content has complicated graphics sequences that
will be difficult to re-create.
What should deliver for a textless version?
Please contact your BBCW co-ordinator to discuss as we
may require the graphics package
7 How do i access the BBCW branding portal?
Please contact your BBCW co-ordinator who can arrange
access. The branding is not available via email so it is
preferable for the post facility to have access directly.
Please supply email address for contact person.
8. Do you have any credit guidelines?
BBCW do not have any credit guidelines, so please follow
the BBC credit guidelines as per BBC TX content.
Http://www.bbc.co.uk/commissioning/tv/production/creditguidelines/
10.What info should be on the clock?
Please include the following:
Programme/core number
Episode subtitle (if applicable)
Version
Please note no technical information should be included
11.Does the duration have to be exact?
No. BBCW will accept a duration of 2’ either side of
the invested duration – so between 48’-52’ for a 50’
investment.
12.Is there a script layout I should follow?
No. BBCW require scripts to be timecoded. Please
highlight any captions in bold and remember to include the
end credits.
13.M&E – What should I expect for WW Versions?
FACTUAL
A factual title will arrive from production with the industry
standard M&E called ‘final mix minus narration’.
In this case, the M&E will include on screen contributor
dialogue (sync), but no narration (non sync), so the
dialogue in situations where a contributor is talking to
camera will remain on the M&E, even if they are not in
shot throughout. Please be aware that this is not always
consistent, and long sections where contributors are out of
sync throughout may be removed from the M&E. The M&E
for Presenter-led and presenter-less versions may vary
according to the investment agreed by the Content team.
Factual content always delivers with the split stem audio
tracks on a BWAV. Typically, this will be stereo music,
stereo sync (fx including sync dialogue), and a mono
narration track. Please note that it is not possible to
separate the contributor (sync) dialogue from the fx.
COOKERY
Because these are studio based these will not come with
full factual M&E. There is usually only one microphone on
the studio to record the whole programme so there will
be minimal split audio available – possibly just stereo music.
6. How do I check that music is cleared under
the BBC blanket agreement?
Please use the BBC fastclear system to check music
clearances.
Fastclear can be found at:
www.bbc.co.uk/vision/co/tmg/musicfastclear Username: fastclear;
Password: iwantmusic
9. How much non-HD content can be used in a
programme?
HD deliveries must not have more than 25% of non-HD
content, although this may be flexible if there is a large
volume of non HD archive content. Please alert your
BBCW co-ordinator prior to delivery.
FAQ’S
MUSIC
Live concerts will not have an M&E as these are recorded
as live – they’ll usually deliver with final mix only, and often
a 5.1 final mix. 5.1 is usually supplied for all new music
titles, either on the tape or on a BWAV. Please check SPS.
Music Documentaries tend to have the contributors/
talking heads voice over left on the M&E as the
contributors face may be in and out of sync so it wouldn’t
make sense to strip the dialogue out altogether. Many
clients prefer it this way. Also, in some instances it may
be that Production do not wish for the narrator to be
dubbed (if for example it was Beyonce narrating her Life
is But a Dream documentary, it may be requested by her
management that this narration is not dubbed).
DRAMA
Due to the high quality and large budgets for most drama
titles, there will always be a 100% fully filled M&E track
which does not include any scripted dialogue.
The dialogue, music and effects will always be supplied on
a BWAV. Sometimes 5.1 will also be delivered, dependent
on whether it was commissioned by the broadcaster.
Please check SPS. Children’s Drama will also have a fully
filled M&E.
ACCESS TO TX
Generally, TX tapes will not have an M&E, as it is not
required for broadcast.
Production may have split audio available but this is a
special request that will need to be flagged in advance so
the AA team can have the conversations with Production.
M&e is unlikely to be available for Rights Archive titles.
COMEDY
The M&E that delivers for a Comedy is based largely on
the level of investment.
Studio shows such as Alan Carr: Chatty Man will not be
supplied with an M&E as it is recorded live in a studio.
For Sitcoms that are filmed in front of a live audience,
production may deliver a ‘Partial M&E’. This includes things
like background effects and music , but is not a full M&E as
all audio is recorded on the night and rarely any additional
audio work is done post the recording. Comedy content
does not have big budgets like Drama so therefore cannot
afford a Foley artist to create a fully filled fx track. For
large investment titles, it may be that a fully filled drama
M&E will be delivered.
POST PRODUCTION CHECKLIST
1. Please confirm TX date with BBCW co-ordinator – both estimated and once confirmed
2. If BBCW have invested for access to the BBC TX version, please advise your BBCW co-ordinator
that the masters are cleared for BBCW to access
3. If TX versions are cleared, please ensure you confirm whether textless elements and/or M&E is
present on the TX tapes, and supply spool numbers.
4. Please contact your BBCW co-ordinator asap if delivery is going to be delayed
5. Please confirm which approved QAR facility you will use and what date QAR’s will take place
6. Please ensure there is a recording report with each tape – confirming the in and out timecodes
for all content, including additional elements at the end
7. Masters (including BWAV discs) follow the correct line-up and tone as outlined in the tech spec
8. Content is to the correct aspect ratio throughout
9. Music & FX track is in sync with the picture
10. Correct elements are present at the end of each tape (see pages 3-5)
11. Film effect has not been used on HD content.
12. Please flag if there is more than 25% of non-HD content in an HD programme
13. Please flag any archive content in advance of the QAR.
DELIVERY CONTACTS:
Emma Kemp – Senior Assets
Acquisitions Exec – Key Brands/Titles
(Doctor Who, Sherlock, Top Gear)
020 8433 2752
Jo Gudgeon – Asset Acquisitions
Co-ordinator – NHU, NACA,
Religion & Sport
020 8433 3579
Laura McManus – Asset Acquisitions
Executive – Drama
020 8433 1574
Matthew Reeve - Asset Acquisitions
Co-ordinator – Lifestyle, Science,
History & Arts
020 8433 2766
Vanessa Waters – Asset Acquisitions
Co-ordinator – Comedy, Children’s &
3rd party distributors (N-Z)
020 8433 3867
Nicola Kibbler – Asset Acquisitions Coordinator – Docs, Music & 3rd party
distributors (0-M)
020 8433 1058
If you have any feedback regarding
this Content Delivery Handbook please
contact:
Jackie Walton – Head of Asset
Management
020 8433 2754
Master assets, Script, PasC and Music Reporting Forms: Name – Asset Coordinator (See below)
DVD INVESTED DELIVERABLES
DVD Deliverables, Consumer Products –
BBC TX
• HD CAM SR Master tape/s of main feature and extras
– preferably UKTX masters that are cleared or can be
cleared for the required territories (as stated in the
contract), unless there are clearance issues. In this instance,
(Consumer Products) would need to discuss which
version is best to use.
• 4 x DVD-R (with BITC) of each main feature episode
and extras for compliance, submission to BBFC and for
subtitling – with master delivery
• 1x DA-88 or BWAV of each episode with matching time
code, containing split music, effects and dialogue elements
– with master delivery
• OR 1x DA-88 or BWAV 5.1 Final Mix of each episode with
matching time code. (If you are delivering 5.1 please arrange
for us to receive the separated, uncompressed 5.1 (not
Dolby E) - with master delivery)
• Compliance Forms for broadcast exported as PDF or
Word documents from Compliance Manager – as soon
as available and no later than twenty eight days after
transmission of each episode
• Post Production Scripts for main feature and extras – to
be received alongside master delivery to ensure timely and
accurate completion of subtitles. (If these are not available,
please send shooting scripts)
• Music Cue Sheets for main feature and extras – required
up to two weeks after master delivery
• Programme as Completed Forms for main feature and
extras - required up to two weeks after master delivery
• Any specially composed music for menus as a WAV file with master delivery
• Schedule of residuals– if applicable -with master delivery
• Approved artwork – which should include iconics and
episodics with preference of images clearly labelled.
• Approved synopsis
• Credit listing – this will be for the back of sleeve and
we usually include: creator; writer; producer; director;
executive producer and anyone else that the production
team may want to include
• Billing Block – this will be for either the front or the back
dependent on space and will be names of all the actors
that the production team want to credit.
• Quotes – any quotes that would be good for use for the
release. These may need to be shortened depending on
size
• Extras – a list of the titles of any extras as the production
team would like them to appear on DVD menus and
sleeves
• Copyright line – confirmation of the © line required on
the sleeve, on-body, etc.
• Any logos which need to be on the sleeve – ESP format
preferred
• Master delivery – preferably 3 months prior to release
date. Release date is determined as the first Monday after
transmission of the final episode, where no holdback
applies. The shortest time is 6 weeks on fast-track, though
this is not always possible and must be agreed in advance
with Consumer Products. It also leaves little approval time,
which isn’t ideal on talent-led projects where their sign off
is required.
• Menu approval – 8 weeks prior to release (shorter lead
times on fast-track)
• Final sleeve artwork approval – 8 weeks prior to release,
though components required will be needed
in advance
DVD Deliverables, Consumer Products –
Non-BBC TX (Channel 4, Sky, UKTV, etc)
• HD CAM SR Master tape/s of main feature and extras
– preferably seamless UKTX masters that are cleared or
can be cleared for the required territories (as stated in the
contract), unless there are clearance issues. In this instance,
would need to discuss (Consumer Products) which
version is best to use.
• 4 x DVD-R (with BITC) of each main feature episode
and extras for compliance, submission to BBFC and for
subtitling – with master delivery
• 1x DA-88 or BWAV of each episode with matching time
code, containing split music, effects and dialogue elements
- with master delivery
• OR 1x DA-88 or BWAV 5.1 Final Mix of each episode
with matching time code. (If you are delivering 5.1
please could we arrange for us to receive the separated,
uncompressed 5.1 (not Dolby E) - with master delivery
• Compliance Forms from the production company and/
or broadcaster as PDF or Word documents – required up
to two weeks after master delivery and no later than one
week prior to the transmission of each episode
• Post Production Scripts for main feature and extras – to
be received alongside master delivery to ensure timely and
accurate completion of subtitles. (If these are not available,
please send shooting scripts)
• Music Cue Sheets for main feature and extras – required
up to two weeks after master delivery
• Programme as Completed Forms for main feature and
extras - required up to two weeks after master delivery
• Any specially composed music for menus as a WAV file with master delivery
• Schedule of residuals – if applicable – with master delivery
DVD INVESTED DELIVERABLES | 21
Sleeve Requirements
(for the Product Manager)
DVD Lead Times
Sleeve Requirements
(for the Product Manager)
• Approved artwork – which should include iconics and
episodics with preference of images clearly labelled.
• Approved synopsis
• Credit listing - this will be for the back of sleeve and
we usually include: creator; writer; producer; director;
executive producer and anyone else that the production
team may want to include
• Billing Block – this will be for either the front or the back
dependent on space and will be names of all the actors
that the production team want to credit.
• Quotes – any quotes that would be good for use for the
release. These may need to be shortened depending on
size
• Extras – a list of the titles of any extras as the production
team would like them to appear on DVD menus and
sleeves
• Copyright line – confirmation of the © line required on
the sleeve, on-body, etc.
• Any logos which need to be on the sleeve
– EPS format preferred
DVD Lead Times
• Master delivery – preferably 3 months prior to release
date. Release date is determined as the first Monday after
transmission of the final episode, where no holdback
applies. The shortest time is 6 weeks on fast-track, though
this is not always possible and must be agreed in advance
with Consumer Products. It also leaves little approval time,
which isn’t ideal on talent-led projects where their sign off
is required.
• Menu approval – 8 weeks prior to release (shorter lead
times on fast-track)
• Final sleeve artwork approval – 8 weeks prior to release,
though components required will be needed in advance
EST (Digital) ONLY Deliverables and
Lead Times
For EST currently airing content
• tapes/files a minimum of 1 week before TX of each
episode.
• an image
• title treatment
• series description & episodics - required 2 weeks before
TX of first episode.
For catalogue content
• The lead times are much longer - 4 weeks before release
date for images & descriptions and 3 weeks for video
assets
Fiona Ball
UK & International Production Manager
BBC Worldwide Consumer Products
33 Foley Street, London W1W 7TL
t: +44 (0) 20 7612 3188
m: + 44 (0) 7834 841855
e: fiona.ball@bbc.com
For Artwork enquiries
Vicky Abery
Head of Creative Services
t: +44 (0) 20 7612 3065
e: vicky.abery@bbc.com
DVD INVESTED DELIVERABLES | 22
DVD team
3D SPECIFICATIONS FOR BLU RAY
Delivering your 3D footage:
Frame Sequential 3D material may be delivered on HDCAM-SR tape in the dual SDI 3D Stereoscopic format (3D 4:2:2x2). This is a
form of recording where two video tracks are simultaneously laid to one HDCAM-SR tape.
Or two separate HDCAM or HDCAM-SR tapes can be supplied, one for the left eye and one for the right eye. The programmes
must start and finish at the exact same time code. And the two programmes must match exactly the entire way through. If they
are a single frame out of sync at any point the 3D footage will be unusable.
Lastly Frame Sequential 3D material may be delivered as pairs of files (with “left eye” or “right eye” noted in the filename). These
must also start and finish on the same frame.
Whether delivered on file or tape, 3D content must be in one of the following compatible frame rate/sizes:
Formats permitted for 3D (frame sequential) content:
• 1920x1080 23.976p x2
• 1280x720 59.94p x2
• 1280x720 50p x2 *
*(PAL regions only, not for US release)
Formats permitted for 2D content:
• 1920x1080 24p
• 1920x1080 23.976p
• 1920x1080 50i *
• 1920x1080 59.94i
• 1280x720 23.976p
• 1280x720 50p *
• 1280x720 59.94p
•NTSC
•PAL*
Note that 1920x1080 24p content is not supported by Blu-ray 3D, however, footage supplied at this frame rate can be
conformed to 23.976fps at capture stage if your master is supplied on HDCAM-SR
2D material can also be included on the same disc as
in any HD or SD format that is permitted on a regular 2D Blu-ray.
Video Files
We can encode from most codec types that will play back in QuickTime or Windows Media player. But...
Better quality source file = better quality encode
The file MUST be a Blu-ray compliant frame size and frame rate
Avoid compression when possible on the source file – compressing twice gives poor results
Other codecs may be acceptable but please check with your producer if not listed above. Files should be delivered on a PC formatted
(NTFS) portable USB or firewire drive. Supplying your files on a Mac formatted drive may cause delays in production.
Audio Files
Audio can be laid to one or both HDCAM-SR tapes or supplied as uncompressed wav files.
We encode audio separately so any audio embedded in a video file will need to be extracted. This is relatively simple for most
sources, but our preferred method of supply is:
Each channel as 16 or 24bit 48khz PCM Uncompressed mono file.
All audio files should be clearly labeled with their channel and match the runtime of the supplied video file exactly with no
header, pips, tone or lead-in.
If your video is supplied on tape, your audio should contain exactly one second of silence prior to the first frame of video, i.e. if
the first frame of your program is at 10:00:00:00 on your master tape, then your audio file should start at 09:59:59:00
A single interleaved stereo file is acceptable for stereo presentations.
Subtitles
Subtitles should be delivered in the same format as standard Blu-ray. (an .xml control file and numbered .png files).
3D subtitles also contain a “depth stream” file to set the depth of each so as not to intersect with anything in your 3D feature.
3D SPECIFICATIONS FOR BLU RAY | 23
Acceptable Video Codec’s for file delivery include:
•Blackmagic/Decklink
• AJA Kona/Xena
• ProRes 422 HQ
•Uncompressed
• Apple Animation
TECHNICAL STANDARDS FOR THE
HD FOREIGN LANGUAGE TAPE DELIVERY
TO BBC WORLDWIDE
The foreign language version team is here to manage, control and
advise on all matters relating to the delivery and supply of foreign
language versions, in support of all divisions requiring the service
and manage the contracts and relationship with providers of
localisation services [dubbing / subtitling / lectoring / voice-over /
audio description / close captioning] and ensure that contractual and
quality thresholds are achieved. They also, take specific responsibility
for managing the commissioning supply chain and develop
consistency between the creation of Foreign Language Versions
across Sales, Consumer Product and Channels and the sharing of all
media/assets across the divisions.
This document covers the technical requirements for programmes
commissioned in High Definition (for delivery as HD tape) which are
to be distributed by BBC Worldwide.
Language Operations Team
wwlanguageoperations@bbc.com
Vanessa Lecomte
Senior Language Version Executive
vanessa.lecomte@bbc.com
0208 433 1260
Erick Basly
Dubbing Executive, EMEA
erick.basly@bbc.com
0208 433 2054
Saverio Perrino
Language Version Coordinator
saverio.perrino@bbc.com
0208 433 2173
Rob Bell
rob.bell@bbc.com
0208 433 1551
HD FOREIGN LANGUAGE TAPE DELIVERY | 24
BBC Worldwide aims to maintain the highest technical standards.
This document sets out the minimum acceptable standards required
for programmes delivered to BBC Worldwide for international
distribution, in such a way that the programme may reliably be
broadcast by BBC Worldwide customers.
CONTACTS
Tape for delivery to BBC Worldwide must comply with the correct Labelling:
ON TAPE
1.0
Labelling
conventions
ON FRONT
ON SPINE
Dubbing House name
BBC Worldwide
Original series title + series number
Foreign series title + series number
Original episode title + episode number
Foreign episode title + episode number
Clock: start of programme
Clock: end of programme
Duration
Format
Description of foreign title (e.g., French)
Aspect ratio
Tracks layout
See figures 1, 2, 3 on page 3
1.1
Programme
Content
Layout
• Minimum 30 seconds black to end of tape
US Master material may have a different layout (e.g. SMPTE B&T+Picture in@01.00.00.00)
– Only by prior approval from BBC Worldwide Global Operations
ALL CHANNELS MUST BE DISCRETE
1.2
Audio
Content
Layout
Configuration Name
QuickTime Audio Assignment
1
Foreign Main Stereo Left
Left
2
Foreign Main Stereo Right
Right
3
Main (original language) or M&E Stereo Left
Left
4
Main (original language) or M&E Stereo Right
Right
5
Foreign Main Front Left
Left
6
Foreign Main Front Right
Right
7
Foreign Main Centre
Centre
8
Foreign Main LFE
LFE Screen
9
Foreign Main Surround Left
Left Surround
10
Foreign Main Surround Right
Right Surround
11
Foreign Dialogue or Dolby E Ch1
Mono or Discrete-0
12
Foreign Commentary or Dolby E Ch2
Mono or Discrete-1
• Tracks must be laid out sequentially as noted above
• The content of channels 1 & 2 must be foreign final mix
• 5.1 mix and other audio content layouts may be permitted with prior approval from BBC Worldwide
Global Operations
• Where M&E tracks have been created by the vendor (ie not originally supplied by BBC Worldwide),
these must also be supplied separately as a BWAV; contact BBC Worldwide Global Operations for
further detail
Channel
Figure 1 Front
Figure 2 Spine
Figure 3 Tape
TECHNICAL STANDARDS FOR THE SD
FOREIGN LANGUAGE TAPE
DELIVERY TO BBC WORLDWIDE
commissioned in Standard Definition (for delivery as SD tape) which are
to be distributed by BBC Worldwide.
BBC Worldwide aims to maintain the highest technical standards. This
document sets out the minimum acceptable standards required for
programmes delivered to BBC Worldwide for international distribution,
in such a way that the programme may reliably be broadcast by BBC
Worldwide customers.
Please Note:
NOT for textless master delivery. Please refer to separate specification.
CONTACTS
Vanessa Lecomte
0208 433 1260
Erick Basly
erick.basly@bbc.com
0208 433 2054
Saverio Perrino
0208 433 2173
SD FOREIGN LANGUAGE TAPE DELIVERY | 27
Rob Bell
rob.bell@bbc.com
0208 433 1551
Tape for delivery to BBC Worldwide must comply with the correct Labelling:
ON TAPE
1.0
Labelling
conventions
ON FRONT
ON SPINE
Dubbing House name
BBC Worldwide
Original series title + series number
Foreign series title + series number
Original episode title + episode number
Foreign episode title + episode number
Clock: start of programme
Clock: end of programme
Duration
Format
Description of foreign title (e.g., French)
Aspect ratio
Tracks layout
See figures 1, 2, 3 on page 3
1.1
Programme
Content
Layout
• Minimum 30 seconds black to end of tape
US Master material may have a different layout (e.g. SMPTE B&T+Picture in@01.00.00.00)
– Only by prior approval from BBC Worldwide Global Operations
1.2
Audio
Content
Layout
Configuration Name
1
Left
2
Right
3
Main (original language) Stereo Left
Left
4
Main (original language) Stereo Right
Right
• Tracks must be laid out sequentially as noted above
• The content of channels 1 & 2 must be foreign final mix
• Where M&E tracks have been created by the vendor (ie not originally supplied by BBC Worldwide),
these must also be supplied separately as a BWAV; contact BBC Worldwide Global Operations for
further detail
Channel
Figure 1 Front
Figure 3 Tape
Figure 2 Spine
TECHNICAL STANDARDS FOR FILE
DELIVERY OF HD FOREIGN LANGUAGE
TEXTED SERVICING MASTERS TO BBC
WORLDWIDE
commissioned in High Definition (for delivery as HD Servicing
Foreign Language Master Files) which are to be distributed by
BBC Worldwide.
CONTACTS
Vanessa Lecomte
0208 433 1260
Erick Basly
erick.basly@bbc.com
0208 433 2054
Saverio Perrino
0208 433 2173
Rob Bell
rob.bell@bbc.com
0208 433 1551
HD FOREIGN LANGUAGE TEXTED SERVICING MASTERS | 30
Please Note:
NOT for textless master delivery. Please refer to separate specification.
e.g.
File Naming Convention
*WWID will be provided by BBC Worldwide Global Operations and will be composed as follows:
<Alpha Id>-<Picture Code>
The Alpha Id takes the form Ayyyy123456 (where A is a prefix, yyyy is the year and 123456 is a number)
and the Picture Code is TD for Texted material, TL for Textless (clean) material and DP for Dual Purpose
material (to be used where only a Texted version is to be produced and it includes Textless elements)
Example where the Alpha Id is A2012123456
For texted material the filename will be: A2012123456-TD_Top Gear Series 12_Ep2.mov
For textless material the filename will be: A2012123456-TL_Top Gear Series 12_Ep2.mov
For dual purpose material the filename will be: A2012123456-DP_Top Gear Series 12_Ep2.mov
Programme Content Layout
US Master material may have a different layout (e.g. SMPTE B&T+Picture in@01.00.00.00) –
Only by prior approval from BBC Worldwide Global Operations
Channel Configuration Name
Audio Content Layout
1
Left
2
Right
3
Main (original language) Stereo Left
Left
4
Main (original language) Stereo Right
Right
5
Foreign Main Front Left
Left
6
Foreign Main Front Right
Right
7
Foreign Main Centre
Centre
8
Foreign Main LFE
LFE Screen
9
Foreign Main Surround Left
Left Surround
10
Foreign Main Surround Right
Right Surround
11
Foreign
Mono or Discrete-0
12
Foreign Commentary or Dolby E Ch2
Mono or Discrete-1
• The content of Channels 1 & 2 must be Foreign final mix.
• Foreign Dolby E encoded 5.1 mix and other audio content layouts may be permitted
with prior approval from BBC Worldwide Global Operations.
• Audio tracks must be correctly Tagged (e.g. using QuickTime Pro) See notes below.
Video Source
Digital: (HD)SDI
Video Codec Profile
Container
Stream type
QuickTime
Video Frame Rate
Resolution including aspect
ratio
1920 x 1080
Scan Flag
approval from BBC Worldwide Global Operations.The file must be accompanied with a
Bit Depth
10-bit
Video Bitrate
VBR
Video Colour Space
YUV (YCbCr)
Pixel aspect ratio
Square
I-Frame Only
Video Frame Rate
Resolution including aspect ratio
1920 x 1080
Scan Flag
approval from BBC Worldwide Global Operations.The file must be accompanied with a
Bit Depth
10-bit
Video Bitrate
VBR
Video Colour Space
YUV (YCbCr)
Pixel aspect ratio
Square
1
4:2:2 (709)
Audio Sound Format
Stereo and/or 5.1 Surround
Sample Frequency
48kHz
Audio bit depth
24-bit, Other bit-depths by prior approval
Audio Codec
CBR
Audio Bitrate
2.3Mb/s per channel pair (24-bit)
Edit Markers
In/out Edit markers must be positioned at the beginning of file.
Display Resolution
Timecode
*The Apple ProRes codecs are designed to target the data rates shown. Because most sequences contain simple frames, actual bit
rates are typically 5 to 10 percent lower than these targets.
• On the right you’ll see a box that says ‘Channel’ and ‘Assignment’ If exported out of FCP as mono tracks this will be labelled as
‘Mono’ click on it and you will see options to change this.
• To check it’s all done correctly click on Window > Show Movie Inspector. This will show you the correctly labelled
audio channels.
Figure 1
Frame Structure
TECHNICAL STANDARDS FOR
FILE DELIVERY OF SD FOREIGN LANGUAGE
TEXTED MASTERS TO BBC WORLDWIDE
commissioned in Standard Definition (for delivery as SD Foreign language
version Master Files) which are to be distributed by BBC Worldwide.
Please Note:
This specification is suitable for both texted AND textless master deliverables.
Vanessa Lecomte
0208 433 1260
Erick Basly
erick.basly@bbc.com
0208 433 2054
Saverio Perrino
0208 433 2173
Rob Bell
rob.bell@bbc.com
0208 433 1551
SD FOREIGN LANGUAGE TEXTED SERVICING MASTERS | 33
for programmes delivered to BBC Worldwide for international distribution,
in such a way that the programme may reliably be broadcast by BBC
Worldwide customers.
CONTACTS
e.g.
File Naming Convention
*WWID will be provided by BBC Worldwide Global Operations and will be composed as follows:
<Alpha Id>-<Picture Code>
The Alpha Id takes the form Ayyyy123456 (where A is a prefix, yyyy is the year and 123456 is a number) and
the Picture Code is TD for Texted material, TL for Textless (clean) material and DP for Dual Purpose material
(to be used where only a Texted version is to be produced and it includes Textless elements)
Example where the Alpha Id is A2012123456
For texted material the filename will be: A2012123456-TD_Top Gear Series 12_Ep2.mov
For textless material the filename will be: A2012123456-TL_Top Gear Series 12_Ep2.mov
For dual purpose material the filename will be: A2012123456-DP_Top Gear Series 12_Ep2.mov
Programme Content Layout
All Channels must be Discrete
Audio Content Layout
Channel
Configuration
Name
QuickTime
Assignment
1
Foreign Main
Stereo Left
Left
2
Foreign Main
Stereo Right
Right
3
Main (original
Language)
Stereo Left
Left
4
Main (original
Language)
Stereo Right
Right
For MONO sources single tracks
should be replicated to create dual
MONO pairs. E.g Ch1 &Ch2 both
contain the same MONO final mix.
• The content of Channels 1 & 2 must be Foreign final mix.
• Other audio track layouts may be permitted with prior approval from BBC Worldwide
Programme Operations.
• Audio tracks must be correctly Tagged (e.g using QuickTime Pro) See notes below.
Video Source
Digital: SDI
Video Codec Profile
Container
Stream type
QuickTime
Video Frame Rate
25 or 29.97
Resolution including aspect
ratio
Active Picture 720 x 576 PAL, 720 x 486 NTSC
Scan Flag
Interlaced OR Progressive. (Mixed material may only be delivered with prior approval from
BBC Worldwide Global Operations. The file must be accompanied with a comprehensive
schedule specifying the timecodes of the relevant sections.)
• Minimum 10 second gap before Textless Elements
US Master material may have a different layout (e.g. SMPTE B&T, Clock+Picture
in@01.00.00.00) – Only by prior approval from BBC Worldwide Global Operations
10-bit
Video Bitrate
61Mbps for 25fps content, 63Mbps for 29.97fps content*
VBR
Video Colour Space
YUV (YCbCr)
Pixel aspect ratio
4x3 or 16x9 Anamorphic, CCIR 601 (5:4) NON SQUARE
Frame Structure
I-Frame Only
1
4:2:2 (601)
Audio Sound Format
Stereo or Dual Mono
Sample Frequency
48kHz
Audio bit depth
24-bit (other bit depths by prior approval)
Audio Codec
CBR
Audio Bitrate
2.3Mb/s per channel pair (24-bit).
Edit Markers
In/out Edit markers must be positioned at the beginning of the file.
Display Resolution
Timecode
*The Apple ProRes codecs are designed to target the data rates shown. Because most sequences contain simple frames, actual
bit rates are typically 5 to 10 percent lower than these targets.
• On the right you’ll see a box that says ‘Channel’ and ‘Assignment’ If exported out of FCP as mono tracks this will be labelled
as ‘Mono’ click on it and you will see options to change this.
• To check it’s all done correctly click on Window > Show Movie Inspector. This will show you the correctly labelled
audio channels.
Figure 1
Bit Depth
3D REQUIREMENTS
WW require Dual stream and Right eye Left eye masters
and a 2D version of that programme.
Left Eye, Right Eye Requirements
• 1 x HDCAM SR 1080/50i (or 25p) operating at 880Mbs (Twin channel 4:2:2 x 2 mode)
LEFT EYE (3D Programme) Texted Version with Textless Elements & 5.1 M&E
RIGHT EYE (3D Programme) Texted Version with Textless Elements & 5.1 M&E
Or, if the programme contains more than 10 captions, BBC Worldwide will require separate
Texted and Textless masters (see page 2 for details) as follows:
LEFT EYE (3D Programme) Texted Master with 5.1 M&E
LEFT EYE (3D Programme) Textless Master with 5.1 M&E
RIGHT EYE (3D Programme) Texted Master with 5.1 M&E
RIGHT EYE (3D Programme) Textless Master with 5.1 M&E
Dual Stream Requirements
DUAL STREAM (3D Programme) Texted Version with Textless Elements & 5.1 M&E
• 1 x BWAV Stereo Split Audio Elements (D/M/E)
• 1 x BWAV 5.1 Final Mix and 1 x BWAV 5.1 M&E
• 1 x Blu Ray of 3D Programme
Link to EBU guidelines
http://tech.ebu.ch/docs/r/r135.pdf
3D REQUIREMENTS | 36
TECHNICAL STANDARDS FOR
DELIVERY OF TELEVISION PROGRAMMES
TO BBC WORLDWIDE
commissioned in Standard Definition (for delivery on Digital Betacam)
and/or High Definition (for delivery on HD CAM SR) which are to be
distributed by BBC Worldwide.
CONTACTS
BBC Worldwide:
Asset Acquisition Team
Global Sales & Digital Distribution
Room MC1A1, Media Centre
201 Wood Lane, London W12 7TQ
Executive: +44 (0)20 8433 2752
Coordinators: +44 (0)20 8433 2408
+44 (0)20 8433 2347
Assistant:
+44 (0)20 8433 3459
TECHNICAL STANDARDS TELEVISION PROGRAMMES | 37
TECHNICAL ACCEPTANCE PROCEDURES
All programmes delivered on videotape must be subject to
a Quality Assessment Review (QAR) prior to delivery. Any
programmes failing to meet the required technical standards,
or in breach of other acceptance requirements will be
referred back to the supplying production company.
The ITU / CCIR 5 point grading scale is used to assess
programmes for quality.
Checklist
Where masters include a full M&E, these tracks should receive
a full QAR, with Final Mix and (where present) 5.1 audio
tracks being spot checked.
• Missing or incomplete VTRR - Videotape Recording Report
(see 5.3)
If a master only includes Final Mix then these tracks should
undergo full QAR.
Guidelines for QAR
The review covers both technical quality of each master
tape, and that the master tape contains the various content
elements required for international distribution.
Overall quality of sound and vision will be separately assessed
in controlled monitoring conditions against the ITU-R fivepoint impairments grading scale as shown below and any
impairments noted.
Grade 5
Grade 4
Grade 3
Grade 2
Grade 1
Imperceptible impairment
Perceptible but not annoying impairment
Slightly annoying impairment
Annoying impairment
Very annoying impairment
Programmes should meet a minimum of Grade 4 for sound
and vision quality. Grade 3 is a borderline pass where there
are valid reasons for technical exemption, in which case details
should be clearly stated on the recording report. Grades 1
and 2 are automatic fails.
• Incorrect Line up Bars and Tone (see 3.3 and 4.1)
• Ident Clock and Captions fall outside Caption Safe Area
• Programme does not have the correct Aspect Ratio
(see 3.6)
• Music and Effects are not fully filled if required (see 1.3)
• Doc M&E for drama sequences (see 1.3)
• Missing M&E (see 1.3)
• Incorrect audio layout (see 4)
• Audio Peaks (see 4.1)
• Distorted audio (see 2.2)
• Masters and DA88/BWAV are out of sync (see 4.4)
• Clean Elements for Titles and Credits are missing on
Texted masters (see 1.4)
• Texted Elements for Titles and Credits are missing on Textless
masters.This includes texted maps or graphics, which should
be included as a point of reference (see 1.4)
• Clean Elements have not been included for all captions
within the body of the programme including clean maps
for textless versions (see 1.4) Note: not applicable in cases
where Texted & Textless masters are being supplied. (See
5.1)
• Film Effect on HD material or causing aliasing or soft
pictures on SD material (see 3.2)
• Time specific trails/redcaps and teases (see 1.7)
• Lipsync errors (see 4.3)
• Blanking errors (see 3.5)
• Luminance peaks (see 3.4)
• Neg stratches (see 2.1)
• Inappropriate Grading changes (see 2.1)
• Discovery Bug Clearance area contains captions
(See Discovery Spec).
Your WW Asset Acquisitions team Co-ordinator at BBC
Worldwide can advise on approved facility houses authorised
to carry out a QAR.
To ensure your masters pass through QAR as quickly and
successfully as possible, it is advisable to pay particular
attention to the following delivery requirements. These are the
most common reasons for QAR failure:
Definitions of a Music and Effects Track
All programmes are required to have an “M&E” track, unless
otherwise specified in the investment contract.
Drama
100 per cent fully filled effects, footsteps and foley to be
supplied which includes the atmospheric effects of crunching
gravel, background atmos etc.
No speech should be heard at all on m/e
Documentaries
We accept Final Mix Minus narration and non-sync dialogue,
this means:
No commentary, no extra readings or voiceovers should be on
the music and effects. The levels should not be dipped.
BBC Logo
All masters delivered for WW distribution have to include the
logo in opening sequence and within clean backgrounds for
opening sequence.
Please note Independent productions are exempt from this
rule.
All programmes must add the BBC Worldwide end sting
(duration 3” additional to programme duration) after the
existing transmission end card.
The BBC logo and end sting are available from BBC
Worldwide (see contacts page)
Programme Duration
Include title sequence and end credits. BBC Worldwide can
accept a duration 2mins either side of the agreed duration a
50’ programme (i.e. 48’-52’)
If a contributor appears speaking to camera, this sync dialogue
must continue throughout that piece on the M&E tracks, even
if they do not appear in vision throughout.
Programme trails/recaps
Definition of Clean Title Backgrounds
Sometimes referred to as Textless backgrounds or Neutral
backgrounds, they are used for Broadcasters to translate the
titles into their own language.
The clean shots should be continuous and from cut point
to cut point to enable the clients to drop in the section. For
in-house BBC productions, cleans should still include the BBC
logo blocks.
Clean backgrounds should be supplied for opening sequences
and closing credits on all Worldwide masters.
If this cannot be provided clean due to digitally created
titles then some kind of alternative should be supplied and
discussions with relevant co-ordinator should take place.
Programme trails are acceptable should the programme air in
more than one part, but the commentary should avoid time
references such as “next week…”; “tomorrow…” and instead
refer to “next” or “previously”.
Any dialogue recorded on location but not used in sync
should not appear on the M&E.
GENERAL QUALITY REQUIREMENTS
Picture Quality
The picture must be well lit and reasonably but not artificially
sharp.
The picture must be free of excessive noise, grain and digital
compression artefacts.
The picture must be free of excessive flare, reflections,
lens dirt, markings and obstructions (e.g. lens hood), and lens
aberrations.
Sound Quality
Sound must be recorded with appropriately placed
microphones, giving minimum background noise and without
peak distortion.
The audio must be free of spurious signals such as clicks, noise,
hum and any analogue distortion.
The audio must be reasonably continuous and smoothly
mixed and edited.
Movement must appear reasonably smooth and continuous,
and must not give rise to distortions or break-up to moving
objects, or cause large changes in resolution.
Audio levels must be appropriate to the scene portrayed and
dynamic range must not be excessive. They must be suitable
for the whole range of domestic listening situations.
The picture must be free of excessive black crushing and
highlight compression. Hard clipping of highlights (e.g. by
legalisers) must not cause visible artefacts on screen.
Stereo audio must be appropriately balanced and free from
phase differences which cause audible cancellation in mono.
Colour rendition, especially skin tones, must be consistent
throughout, and a realistic representation of the scene
portrayed unless it is altered as an editorially essential visual
effect.
The picture must be stable and continuous - i.e. no jumps,
movements, shifts in level or position.
There must be no visible contouring / artefacts caused by
digital processing. Quantisation noise must not be apparent.
There must be no noticeable spurious signals or artefacts e.g.
streaking, ringing, smear, echoes, overshoots, moiré, hum, crosstalk etc.
For the BBC delivery spec please follow this link
http://www.bbc.co.uk/guidelines/dq/contents/television.shtml
The audio must not show dynamic and/or frequency response
artefacts as a result of the action of noise reduction or low bit
rate coding systems.
There must be no noticeable horizontal or vertical aliasing, i.e.
jagged lines, field or frame rate fluctuations in fine detail.

bbc worldwide content delivery book

Transcription

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