Netflix deliverables.

[TVPostSound]

OK, Got my first Netflix show coming up.
Had a conference call with them, the online editor was with me.
They were very specific regarding 4K video specs, but very vague
with audio.
First, I need to deliver a 5.1 (for a reality show??), no worries here, but they also want a 2.0, and specified that they will not accept a downmixed/matrixed 2.0.
Needs to have a separate LoRo 2.0 pass. OK, will do. Luckily the 2.0 can be ITU-R BS.1770-3
Lets see if we can up the budget for that!!

Where the vagueness lies, is that they do not require any stems but a print master, and an M&E. Instead, they want a Pro Tools session. I tried to dig deeper, on what they wanted: A session as I mixed it with plugins missing when they open it? A session made up of only stems? A session with tracks frozen? A session with tracks committed??
But I could not get a straight answer.

So who has delivered a show for Netflix, that can tell me what was delivered, and not rejected??

Please no responses with guesses, to hypothetical answers, please.

[MIKEROPHONICS]

I would only hand over a stem session, never the elements. That is a) your intellectual property b) they will not have the copyright to your sfx.
People ask for a PT session because everyone else does - it's a timecode wrapped security blanket.
I would consider approaching it around the other way, mix in stereo (with very mono sync and dialogue) and then quickly up-mix the music and poss the sfx stem with either Penteo or Halo (in safety mode) as both of these are exemplary with phase correlation. Reality TV doesn't contain much 5.1 material (if at all) apart from the music. Possibly the odd sfx sting. It is not drama.
M&E will mix minus narration/commentary - simples.

I have only mixed a feature which is hopefully being sold to Netflix, so can't give accurate tech spec, but I would be shocked if you were far from wrong with -24 with -3 TP.


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[mgoorevich]

Please see the attachment document as required for deliveries to Netflix.

You don't have to provide a full PT session but they might need only the stems session.
You need to comply to ITU-R BS.1770-3.
You can fold down from 5.1 - no separate mix indeed needed. (they will never know).
If your mixes are accurate enough, you'll be fine. They are quite tolerable despite of the huge bureaucracy on delivery specs.

[TVPostSound]

Mike,
Thats a great idea, a reverse down mix!! Ill look into that.

Speaking of phase correlation, I could never get Penteo 7 to have the down mix and original cancel each other out. In the same test swapping for Halo results in complete cancellation.



Michael G,

I did get that PDF, but was emailed another during the call.
See the last paragraph about Pro Tools,

[MIKEROPHONICS]

Penteo is really good if you have a stereo mix (no stems) and need a sensible upmix. Nothing else touches it for that. However, I like Halo - but I am biased as helped with its development and the panners.

Mixing for the predominance is wise. One of my drama mixing friends mixes all his 5.1 dramas by monitoring in stereo first, his logic being that if the stereo is good, then the 5.1 will be fine too.


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[tom_lowe]

Originally Posted by MIKEROPHONICS

Penteo is really good if you have a stereo mix (no stems) and need a sensible upmix. Nothing else touches it for that. However, I like Halo - but I am biased as helped with its development and the panners.

Mixing for the predominance is wise. One of my drama mixing friends mixes all his 5.1 dramas by monitoring in stereo first, his logic being that if the stereo is good, then the 5.1 will be fine too.


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Thought this was another Penteo-ad-style post that's been appearing on GS lately!

I have Halo as was on the beta test (not got the Atmos extension) and absolutely love it. I always found Penteo a little too limiting control wise, but if it's better when working with full mixes I may take another look.

What way do you find it better?

[polyh3dron]

You'll want to probably apply the logo audio directly on to the stems in your recorder machine after your stems and printmaster are shifted to compensate for delay. Make sure you also apply Netflix's stereo logo audio to your LtRt and LoRo printmasters as opposed to your LtRt encoder encoding the 5.1 version.

Netflix is very particular about the timing of the logo audio (down to the sample). the audio files need to be start precisely on the first frame of the logo video. Also, unless you're doing a theatrical delivery, where I've received confirmation that you can adjust it, the volume level must remain as it is in the provided audio file.

The logo audio is probably the most annoying part of Netflix deliverables in my opinion, but once you know exactly how they want it, it's not so bad.

[its2loud]

I have delivered a lot of Netflix shows.
They have been inconsistent every single time.

That being said. Here are the rules.

1. absolutely mix to -24 Lkfs or whatever your region requires.

2. if your show is non-scripted (reality) or documentary then you will absolutley need to have a conversation about a the fully-filled MnE requirement. It's imperative you do so immediately.

3. Do not worry about the separate LoRo mix and do NOT mix in stereo and then upmix in Penteo. This is the wrong way to do it. Netflix is only concerned about their Ident (Netflix) audio getting screwed up in the downmix. Just save yourself the time and downmix as you normally would from a 5.1 mix and make sure it measures correctly. This includes all stems as well. The DIA, MUS, FX can just be an LoRo mix from the encoder.

4. NAMING! make sure you name all your files the correct way according to their naming convention. Any other way and they will get refused.

5. DO NOT run their 5.1 and Stereo Ident audio through any additional processing. Either copy and paste on your final stems or run it on tracks bussed directly to your record tracks, bypassing any compression, limiting, etc. If you don't do this, IT WILL GET REJECTED. If you're recording to a Dubber that has inherent delay then you will want to copy/paste for sure and consolidate the file. DO NOT edit the Ident audio at all. Use it exactly as you received it. The entire clip gets placed at exactly the first frame of white of the logo. Do not place the waveform in sync when you see the N. If you do it will be wrong.

6. You will DEFINITELY get QC notes back.

7. They are now requiring, not requesting, that all Mix Stage sessions get uploaded to their Content Hub. This is for Netflix Original Programming only.
What does this mean for you? Save Copy In, include all audio files, remove ALL automation from your session. Done

8. You have to upload all of your audio deliverables to the Content Hub. You should have been given access to this with a username and password. If not, you'll need to contact your Post Supervisor or the contact person at Netflix to get access.

9. Follow these rules and you will be golden. Just don't have any expectation that you will pass QC and allow yourself some extra time later on to address the QC notes. You can push back on any QC note that you, or the creatives do not deem necessary. Netflix loves to give creative notes in there MnE QC. Things like "Foley is too loud" and "Footsteps sound like they're on marble, not wood".

[Brandonx1]

Originally Posted by its2loud

I . Netflix loves to give creative notes in there MnE QC. Things like "Foley is too loud" and "Footsteps sound like they're on marble, not wood".

OMG seriously???!!! Notes like this drive crazy

[TVPostSound]

Thread resurrection?

Well, Im on my fourth Netflix series.
The Protools sessions to be delivered have to be frozen now!!!

Absolutely no QC notes on my last 8 episode series!!