TECHNICAL

SPECIFICATIONS
for the delivery of
moving images

Version 1.0 – 01.02.2018

 TECHNICAL SPECIFICATIONS

CONTENTS
GENERAL NOTES ...................................................................................................... 1
A. QUALITY REQUIREMENTS FOR GLOBAL DISTRIBUTION ....................................... 1
B. PRODUCER RESPONSIBILITY ............................................................................. 1
C. TECHNICAL SUPPORT RESOURCES ................................................................... 1
D. PRE-APPROVAL OF FILMING AND DELIVERY FRAME RATE .................................... 2
E. RESTRICTIONS ON FRAME RATE MIXING .......................................................... 2
DELIVERY .................................................................................................................. 3
F. PROGRAM MASTER ......................................................................................... 3
F.1. PRORES ............................................................................................................ 3
F.2. XDCAM .......................................................................................................... 6
G. FAST DELIVERY ................................................................................................ 7
H. LIVE PROGRAM ............................................................................................... 8
I. SOCIAL MEDIA .............................................................................................. 10
J. SPHERICAL 360 VIDEO .................................................................................. 11
AUDIO ................................................................................................................... 13
K. AUDIO LEVELS ............................................................................................... 13
VIDEO .................................................................................................................... 14
L. VIDEO LEVELS, GAMUT AND COLOR SPACE ................................................... 14
M. SAFE AREAS.................................................................................................. 14
N. TIME CODE / PROGRAM START AND END ...................................................... 14
CLOSED CAPTIONS AND SUBTITLES ......................................................................... 15
O. DEFINITIONS & TERMINOLOGY ..................................................................... 15
P. TECHNICAL REQUIREMENTS .......................................................................... 15
GRAPHICS .............................................................................................................. 16
Q. FRAME RATES ............................................................................................... 16
R. SCAN TYPES ................................................................................................. 16
ANNEX: CLEAN VERSION ....................................................................................... 17
ANNEX: AUDIO GLOSSARY ..................................................................................... 18
ANNEX: CHANGELOG............................................................................................ 19
 TECHNICAL SPECIFICATIONS

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

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

A. QUALITY REQUIREMENTS FOR GLOBAL DISTRIBUTION

Red Bull Media House is a global content producer and distributor, delivering highly compelling programming
to broadcast and online audiences all over the world. As a result, all programming produced for and
delivered to Red Bull Media House from anywhere in the world must meet the highest technical quality
standards, both in its original delivery format, as well as after being converted or conformed to other
standards and frame rates used in other regions of the world.

This means that even minor imperfections, which might sometimes be acceptable for broadcast and/or
distribution in your region, cannot be accepted by Red Bull Media House since these minor imperfections are
likely to turn into bigger quality problems after frame rate conversions for other regions, making the converted
program unsuitable for broadcast and distribution.

B. PRODUCER RESPONSIBILITY
It is the responsibility of the producer (i.e. "Production Partner" or "Production Company") to ensure that all
delivered assets comply with all Red Bull Media House quality standards and requirements. Acquisition frame
rate and scan type, and delivery frame rate, frame size and scan type must be approved in writing by Red
Bull Media House Quality Management prior to the start of filming. Any later adjustment(s) of acquisition
frame rate and/or scan type, and/or delivery frame rate, frame size and/or scan type can only be made with
the prior written approval by Red Bull Media House Quality Management. Any video assets shot, edited
and/or delivered in frame rates not pre-approved in writing by Red Bull Media House Quality Management
may be subject to rejection. Producer acknowledges that it is the producer’s responsibility to communicate
regularly with Red Bull Media House Quality Management. Red Bull Media House reserves the right to refuse
delivery of otherwise finished video assets in cases where dropped and/or duplicated frames (freeze frames)
and/or other serious deficiencies are found even if deficiencies originate in sources obtained from Red Bull
Media House. Red Bull Media House may require the producer to bear any costs resulting from the producer’s
failure to comply with the timely instructions of Red Bull Media House Quality Management.

Deficient programs that fail the Red Bull Media House quality control process may be considered ‘not delivered.’

C. TECHNICAL SUPPORT RESOURCES

The quality requirements of Red Bull Media House will be described in detail in the course of the quality
assurance process, during which additional documentation will be provided. In addition to the standard Red
Bull Media House quality control, Production Partners are required to actively participate in the Red Bull Media
House quality assurance process prior to final delivery.

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TECHNICAL SPECIFICATIONS

D. PRE-APPROVAL OF FILMING AND DELIVERY FRAME RATE

Acquisition frame rate and scan type, and delivery frame rate, frame size and scan type must be
approved in writing prior to the start of filming by Red Bull Media House Quality Management. Any
footage or programs shot, edited and/or delivered in frame rates not pre-approved in writing by Red Bull
Media House Quality Management may be subject to rejection by Red Bull Media House, and no funds
provided by Red Bull Media House may be used to cover the cost of unauthorized filming, editing and/or
delivery.

E. RESTRICTIONS ON FRAME RATE MIXING

The mixing of shooting frame rates (shooting in 25 and 29.97 fps for the same program, for example)
is generally not acceptable, and we also strongly caution against the mixing of frame rates in post-
production. Especially if you are planning to use pre-existing footage, it is mandatory that you document in as
much detail as possible the format(s) and frame rate(s) and legal clearance potential of the pre-existing
footage prior to the start of shooting in order to assist to the best of your ability the Red Bull Media House
Quality Management in determining the shooting and delivery format that will best suit your program.
Any later adjustment(s) of acquisition frame rate and/or scan type, and/or delivery frame rate, frame size
and/or scan type can only be made with the prior written approval by Red Bull Media House Quality
Management.

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TECHNICAL SPECIFICATIONS

DELIVERY
This chapter outlines a series of potential delivery formats. The decision which delivery format is applicable to
your production will be made during the quality assurance process.

F. PROGRAM MASTER
One copy of each of the following must be delivered:

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

The program master delivery codec that applies to your production (ProRes or XDCAM) will
be determined in your production agreement or during the briefing process.

F.1. PRORES
Apple ProRes 422 (HQ) or, upon prior written approval or request by Red Bull Media House Quality
Management, Apple ProRes 422 or Apple ProRes 4444 in .mov QuickTime container are the only
acceptable formats/codecs for ProRes deliveries.

The following Resolution / Frame Rate combinations are acceptable:

FRAME SIZE* FRAME RATE FIELD RATE SCAN TYPE
1080i/25 1920x1080 25 50 Interlaced
1080i/29.97 1920x1080 29.97 59.94 Interlaced
1080p/25 1920x1080 25 n/a Progressive
1080p/29.97 1920x1080 29.97 n/a Progressive
1080p/50** 1920x1080 50 n/a Progressive
1080p/59.94** 1920x1080 59.94 n/a Progressive
UHD/25 3840x2160 25 n/a Progressive
UHD/29.97 3840x2160 29.97 n/a Progressive
UHD/50** 3840x2160 50 n/a Progressive
UHD/59.94** 3840x2160 59.94 n/a Progressive
*Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions (letterboxing and pillarboxing is not allowed).
**Deliveries in 1080p/50, 1080p/59.94, as well as 2160p/50, 2160p/59.94, 4K, and HDR formats are not part of
our standard range of delivery formats but may be accepted (or required) upon prior written approval by Red Bull Media
House Quality Management.

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TECHNICAL SPECIFICATIONS

The audio included in the dirty and clean QuickTime files must be delivered as discrete PCM channels at
48 kHz sample rate, in sync with the picture, in phase, and with a depth of 24 bits in the following channel
layout.
For further explanations on audio channel naming and contents please refer to the section "Audio Glossary" at
the end of this document.

CHANNEL CHANNEL NAME

01 Full Mix stereo left
02 Full Mix stereo right
03 Full Mix excl. Voice Over stereo left (undipped)
04 Full Mix excl. Voice Over stereo right (undipped)
05 Effects / NAT stereo left (undipped)
06 Effects / NAT stereo right (undipped)
07 SFX stereo left (undipped)
08 SFX stereo right (undipped)
09 Music stereo left (undipped)
10 Music stereo right (undipped)
11 Voice Over stereo left
12 Voice Over stereo right [optional] *
13 Interviews / OT stereo left
14 Interviews / OT stereo right [optional] *
15 Full Mix 5.1 Left *
16 Full Mix 5.1 Right *
17 Full Mix 5.1 Center *
18 Full Mix 5.1 LFE *
19 Full Mix 5.1 Ls *
20 Full Mix 5.1 Rs *
* Optional! Please leave those channels silent if they are not applicable to your production.

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TECHNICAL SPECIFICATIONS

AUDIO STEM PACKAGE

In the event that a surround mix is commissioned, an audio stem package must be delivered as a ZIP archive
(one archive per stem package). File format: BWAV; Sample rate: 48 kHz; Depth: 24 bit; duration of audio
tracks must match video master exactly.

Each file represents a separate discrete mono channel.

AUDIO STEM PACKAGE 5.1 FILE NAME

Full Mix excl. Voice Over Left (undipped)
Full Mix excl. Voice Over Right (undipped)
Full Mix excl. Voice Over Center (undipped)
Full Mix excl. Voice Over LFE (undipped)
Full Mix excl. Voice Over Ls (undipped)
Full Mix excl. Voice Over Rs (undipped)
[VIN_DIRTY]_Full_Mix_EXCL_VO_51_L
[VIN_DIRTY]_Full_Mix_EXCL_VO_51_R
[VIN_DIRTY]_Full_Mix_EXCL_VO_51_C
[VIN_DIRTY]_Full_Mix_EXCL_VO_51_LFE
[VIN_DIRTY]_Full_Mix_EXCL_VO_51_LS
[VIN_DIRTY]_Full_Mix_EXCL_VO_51_RS

For further explanations on audio channel naming and contents please refer to the section "Audio Glossary" at
the end of this document.

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TECHNICAL SPECIFICATIONS

F.2. XDCAM
XDCAM HD422 in .mxf container is the only acceptable format/codec for XDCAM deliveries.

The following Resolution / Frame Rate combinations are acceptable:

FRAME SIZE* FRAME RATE FIELD RATE SCAN TYPE
1080i/25 1920x1080 25 50 Interlaced
1080i/29.97 1920x1080 29.97 59.94 Interlaced
1080p/25 1920x1080 25 n/a Progressive
1080p/29.97 1920x1080 29.97 n/a Progressive
*Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions (letterboxing and pillarboxing is not allowed).

The audio included in the Dirty and Clean MXF files must be delivered as discrete PCM channels at 48 kHz
sample rate, in sync with the picture, in phase, and with a depth of 24 bits in the following channel layout.
For further explanations on audio channel naming and contents please refer to the section "Audio Glossary" at
the end of this document.
CHANNEL XDCAM 8 CHANNEL LAYOUT XDCAM 4 CHANNEL LAYOUT XDCAM 5.1 LAYOUT
01 Full Mix stereo left Full Mix stereo left Full Mix stereo left
02 Full Mix stereo right Full Mix stereo right Full Mix stereo right
Effects / NAT & SFX stereo left Full Mix excl. Voice Over
03 Full Mix 5.1 Left
(undipped) stereo left (undipped)
Effects / NAT & SFX stereo left Full Mix excl. Voice Over
04 Full Mix 5.1 Right
(undipped) stereo right (undipped)
05 Music stereo left (undipped) Full Mix 5.1 Center
06 Music stereo right (undipped) Full Mix 5.1 LFE
07 Voice Over mono Full Mix 5.1 Ls
08 Interviews / OT mono Full Mix 5.1 Rs

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TECHNICAL SPECIFICATIONS

G. FAST DELIVERY
If, due to limited bandwidth, a fast delivery of the Program Master is not possible and if fast distribution is
necessary, a file in the following format has to be provided. Nevertheless, the Program Master has to be
delivered within 7 days (see section "Program Master" for details).

The following Resolution / Frame Rate combinations are acceptable:

FRAME SIZE* FRAME RATE SCAN TYPE
1920x1080 25 progressive
1920x1080 29.97 progressive
3840x2160 25 progressive
3840x2160 29.97 progressive
*Aspect Ratio must be 16:9 Full Frame Height (1.78:1) for all resolutions (letterboxing and pillarboxing is not allowed).

VIDEO

Container: .MOV or .MP4

Video Codec: H.264
Video Bit Rate (HD): 15 Mbit/s or higher
Video Bit Rate (UHD): 40 Mbit/s or higher

AUDIO
CHANNEL CHANNEL NAME
01 Full Mix (English) stereo left
02 Full Mix (English) stereo right
Audio Codec: AAC
Audio Bit Rate: 256 kbit/s
Audio Sample Rate: 48 kHz
Audio Loudness Compliance: -8 dBTP / -23 LUFS (same as Program Master; see section "Audio Levels" for
details)

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TECHNICAL SPECIFICATIONS

H. LIVE PROGRAM
If live content is delivered via satellite feed or IP network the following specs apply.

HIGH DEFINITION
Material delivered as Live Program must maintain the following specifications:
FRAME SIZE* ASPECT RATIO FRAME RATE FIELD RATE SCAN TYPE
1080i/25 1920x1080 16:9 25 50 Interlaced, top field first
1080i/29.97 1920x1080 16:9 29.97 59.94 Interlaced, top field first

PROGRESSIVE SEGMENTED FRAME - PSF

Progressive formats (25p,29.97p) need to be delivered in PsF to maintain 50i/59.94i signal format. Cuts must
happen on frame boundaries: Odd/Upper Field/1st Field.

AUDIO CHANNEL MAPPING

CHANNEL CHANNEL NAME
01 Full Mix stereo left
02 Full Mix stereo right
03 Full Mix excluding Voice Over stereo left
04 Full Mix excluding Voice Over stereo right
05* Effects stereo left
06* Effects stereo right
07* Voice Over mono
08* Interviews / OT mono
* Only required if technical circumstances of satellite transmission permit more than 4 channels.

RECORDING
Upon request of Red Bull Media House a high-quality recording of the Live Program must be delivered as
Apple ProRes in .mov QuickTime container ('Live Program' audio layout applies; all other technical details
must comply with section 'Delivery > Program Master > ProRes')

TRANSMISSION - UNCOMPRESSED VIA OPTICAL FIBRE

1.485 Gb/s HD-SDI connection, SMPTE 292M, [often known as 1.5Gbs HD-SDI]. This remains uncompressed
along its route to the point of delivery.
Wherever possible, practical, or cost-effective, program should use an uncompressed 1.485Gbs HD-SDI
connection.
In all instances where the signal can be carried uncompressed, stereo audio for the program should be carried
as discrete linear.

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TECHNICAL SPECIFICATIONS

TRANSMISSION - COMPRESSED VIA OPTICAL FIBRE

Links that provide a 1.5Gbs HD-SDI connection at the point of delivery, but which use
compression/decompression along their route.
Compression Codecs:
JPEG2000 – min.100 Mbps, ideal > 140 Mbps;
H.264 Part 10, Long GOP 4:2:2 – min. 15Mbps, ideal > 25 Mbps.
MPEG2, Long GOP, 4:2:2 – min. 60 Mbps.

TRANSMISSION VIA SATELLITE

MODULATION ENCODING
Standard: 1080i50/59.94
Codec: MPEG 4
CBR: enabled
Entropy: CABAC
Color Sampling: 4:2:0
Bit depth: 8
Bandwidth: 9 MHz
Hiera. B frames: enabled
Modus: DVB-S2
Delay Mode: standard
FEC: 3/4
GOP Structure: 2
Roll Off: 20%
GOP length: 24
Symbol rate: 7,5
Closed GOP: enabled
Pilot: On
adaptive GOP: disabled
Info rate: 16,33 Mbit/s
HRD: enabled
IDR Pictures: enabled
Number of Stereo pairs: 1-4
Audio (Stereo):
MPEG1, 256 kbps (Sport/Entertainment)
MPEG1, 384 kbps (Music)

PRE-EVENT PROCEDURE – LINE-UP WITH MCR

1. Feeds need to be identified visually during Line-up e.g. with different graphics, if more than one feed
is going transmitted.
2. Tone identification to separate audio channels on each feed in alignment with MCR.
3. Lip-sync verification with Vistek Valid or MatchBox Valid via complete signal path to MCR.

TALKBACK COMMUNICATION TO MCR

Intercom communication to on-site (OB Van) is mandatory for live events.
Different possibilities available on MCR end: ISDN, telephone POTS, SIP, Skype interface.
Type of communication needs to be discussed and organized in advance with Production Management.

CONTACT MCR RED BULL MEDIA HOUSE (AT)

Email: mcr@at.redbullmediahouse.com
Tel: +43 662224028626
Mobile: +43 6642650850
FAX: +43 662224029726

CONTACT MCR RED BULL MEDIA HOUSE (US)

Email: vnoc@us.redbullmediahouse.com

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TECHNICAL SPECIFICATIONS

I. SOCIAL MEDIA
For content that is intended for distribution on Social Media platforms only, a file in the following format must
be provided.
The following Resolution / Frame Rate combinations are acceptable:
FRAME SIZE FRAME RATE ASPECT RATIO SCAN TYPE
1920x1080 25 16:9 progressive
1920x1080 29.97 16:9 progressive
1080x1920 25 9:16 (vertical) progressive
1080x1920 29.97 9:16 (vertical) progressive
1080x1620 25 2:3 (vertical) progressive
1080x1620 29.97 2:3 (vertical) progressive
1080x1350 25 4:5 (vertical) progressive
1080x1350 29.97 4:5 (vertical) progressive
1080x1080 25 1:1 (square) progressive
1080x1080 29.97 1:1 (square) progressive

VIDEO
Container: .MOV or .MP4
Video Codec: H.264
Video Bit Rate: 10 Mbit/s or higher

AUDIO
Audio Channels: 2 (stereo)
Audio Codec: AAC
Audio Bit Rate: 256 kbit/s
Audio Sample Rate: 48 kHz
Maximum Peak: max -1 dbFS

Any further technical details specified in the sections "Video" and "Audio" are not mandatory for Social
Media deliveries.

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TECHNICAL SPECIFICATIONS

J. SPHERICAL 360 VIDEO

PROGRAM MASTER

Apple ProRes 422 (HQ) in .mov QuickTime container is the only acceptable format/codec for the delivery
of a Program Master.

One copy of each of the following must be delivered:

Master #1 dirty - including all graphics and text (final program master)
Master #2 clean - without overlay graphics and text; time code and duration identical to dirty
version; a detailed definition of "clean" can be found in "Annex: Clean Version"

The following Resolution / Frame Rate combinations are acceptable upon prior approval by Red Bull
Media House Quality Management:

FRAME SIZE* FRAME RATE SCAN TYPE

1920p/25 3840x1920 25 Progressive
1920p/29.97 3840x1920 29.97 Progressive
1920p/50 3840x1920 50 Progressive
1920p/59.94 3840x1920 59.94 Progressive
*Aspect Ratio must be 2:1 Full Frame Height for all resolutions.
The audio included in the Dirty and Clean QuickTime files must be delivered as discrete PCM channels at 48
kHz sample rate, in sync with the picture, in phase, and with a depth of 24 bits in the following channel
layout:
CHANNEL CHANNEL NAME
01 Full Mix stereo left
02 Full Mix stereo right
03 Full Mix excl. Voice Over stereo left (undipped)
04 Full Mix excl. Voice Over stereo right (undipped)
05 Effects / NAT stereo left (undipped)
06 Effects / NAT stereo right (undipped)
07 SFX stereo left (undipped)
08 SFX stereo right (undipped)
09 Music stereo left (undipped)
10 Music stereo right (undipped)
11 Voice Over (original language) stereo left
12 Voice Over (original language) stereo right [optional] *
13 Interviews / OT stereo left
14 Interviews / OT stereo right [optional] *
* Optional! Please leave those channels silent if they are not applicable to your production.

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TECHNICAL SPECIFICATIONS

Program true peak levels of each Full Mix must not exceed -8 dBTP (True Peak) with an Integrated Program
Loudness of -23 LUFS and a Loudness Range (LRA) of 15 LU or less. All measurements must be determined in
compliance with the recommendations of EBU R128 (but with maximum true peak levels compliance as stated
above).
Additional spatial audio deliverables may be accepted or required upon prior written approval from RBMH
Quality Management.

ALTERNATIVE DELIVERY FORMAT

If due to production circumstances the Program Master requirements above can't be fulfilled a delivery is also
possible in the following format (requires prior written approval):

VIDEO
Container: .MOV or .MP4
Video Codec: H.264
Video Bit Rate: 40 Mbit/s or higher

The following Resolution / Frame Rate combinations are acceptable:

FRAME SIZE* FRAME RATE SCAN TYPE
1920p/25 3840x1920 25 Progressive
1920p/29.97 3840x1920 29.97 Progressive
1920p/50 3840x1920 50 Progressive
1920p/59.94 3840x1920 59.94 Progressive
*Aspect Ratio must be 2:1 Full Frame Height for all resolutions.

AUDIO

CHANNEL CHANNEL NAME

01 Full Mix stereo left
02 Full Mix stereo right

Audio Channels: 2 (stereo)

Audio Codec: AAC
Audio Bit Rate: 256 kbit/s
Audio Sample Rate: 48 kHz
Audio Loudness Compliance: -8 dBTP / -23 LUFS (same as Program Master; see section "Audio Levels" for
more details)

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TECHNICAL SPECIFICATIONS

PROJECTION TYPE
Must always be of type "Equirectangular".

STEREOSCOPIC
currently not supported;

METADATA
If requested, metadata should be inserted into the delivered file and formatted according to Google Spherical
Video RFC: https://github.com/google/spatial-media/blob/master/docs/spherical-video-rfc.md

AUDIO

K. AUDIO LEVELS
Program true peak levels of each Full Mix must not exceed -8 dBTP (True Peak) with an Integrated Program
Loudness of -23 LUFS and a Loudness Range (LRA) of 15 LU or less. Upon written approval, we also accept
LRA higher than 15 LU. All measurements must be determined in compliance with the recommendations of EBU
R128 (but with maximum true peak levels compliance as stated above).
Upon prior written approval by Red Bull Media House Quality Management, programs may be delivered to
comply with the legacy recommendation of EBU R68 instead, where program peak levels in the Full Mix
(Program Master) must not exceed -9 dBFS and shall not be under -18dBFS.
Contact the Red Bull Media House Quality Management prior to delivery should you have any questions or
concerns.

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TECHNICAL SPECIFICATIONS

VIDEO

L. VIDEO LEVELS, GAMUT AND COLOR SPACE

Video files have to be delivered in Rec.709 (ITU-R BT.709) color space with studio range levels. Tolerances of
video levels (luma, chroma, RGB gamut) must comply with the recommendations of EBU R103-2000, i.e.,
luminance (Y) must be within -1% and 103% (-7mV and 721 mV), RGB components within -5% and 105% (-
35mV and 735mV), with errors being registered if the total out-of-gamut elements exceed 1% of picture area.
Videos that meet these requirements are considered "broadcast safe". These requirements do not apply to
deliveries of source material.
Please note that Rec.709 and EBU R103-2000 also apply to the delivery of graphics.

M. SAFE AREAS
All graphics must fall within the revised high definition 16:9 title safe areas as specified in SMPTE ST 2046-1-
2009, with protection of 90% area / 5% margins for titles and 93% area / 3.5% margins for action.
For productions in North America, additional title safe requirements may apply.

N. TIME CODE / PROGRAM START AND END

Start Time Code: 00:00:00:00
Continuous time code (drop frame time code is required in the case of 29.97 fps-based deliveries).
If program starts in black, audio signal must be present. If program fades to black, last
frame must be completely black. Slates, additional black frames or color bars prior to the
first frame of action or following the last frame of action are not permitted.

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TECHNICAL SPECIFICATIONS

CLOSED CAPTIONS AND SUBTITLES

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

O. DEFINITIONS & TERMINOLOGY

Closed Captions: contain speech and non-speech elements for the hard of hearing; can be turned on/off by
the user
Subtitles: contain speech elements only; can be turned on/off by the user OR can be burned into the video
Forced Narrative Subtitles: for certain parts of a program subtitles must be displayed for all viewers (e.g.
for inaudible speech or during foreign language parts); this can be achieved through burning the subtitles into
the video OR through activating a separate subtitle stream.
Forced Narrative Subtitles should always be burned into the video by the production partner! For detailed
burn-in subtitle design specifications please refer to the document Red Bull Media House Subtitle User-Guide

P. TECHNICAL REQUIREMENTS

For each language, Red Bull Media House is requesting a separate caption file that adheres to the following
specifications:
XML file that conforms to the TTML profile EBU-TT-D 1.0 (EBU-Tech 3380)
Maximum of 37 characters per line, maximum of 2 lines
Average reading speed: 16 characters per second
Start time code: 00:00:00.000
Begin and end time codes for each subtitle must be in milliseconds
Allowed positions: centered bottom, centered top; position definition must be done via region
elements; region ID must be "top" or "bottom"
Allowed inline text formatting: line break, italic; formatting definitions must be done via style elements
(maximum of 2 style elements); first style ID must be "normal", second style ID must be "italic"; every
style must use tts:wrapOption="noWrap"
Minimum duration of a subtitle: 1 second
Maximum duration of a subtitle: 7 seconds
Tolerance on scene cuts: Subtitles have to be removed latest 2 frames before a scene cut / inserted
earliest 2 frames after a scene cut
Minimal distance between two subtitles: 4 frames
Language and country codes: according to EBU-TT-D Spec; for English please use "EN_US" as a
default value
File naming convention: VIN_LANGUAGECODE_OPTIONALCOUNTRYCODE_CCORSUBTITLE.XML

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TECHNICAL SPECIFICATIONS

GRAPHICS
All delivered graphics (that are intended to be used within video) must comply with the specifications for safe
areas, video levels, gamut and color space as stated in this document.

Q. FRAME RATES
The base frame rate of graphics projects should always match the frame rate of the corresponding master
content (25 fps OR 29.97 fps).
For certain productions, Red Bull Media House will request graphics projects to be delivered in two frame
rates (25 fps AND 29.97 fps).

R. SCAN TYPES
The preferred scan type for graphics is progressive (even for otherwise interlaced productions).

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TECHNICAL SPECIFICATIONS

ANNEX: CLEAN VERSION

Important: Time code and duration of the Clean version must be identical to the Dirty version.
Color Grading: Footage in the Clean version must have the same color grading as in the Dirty version.

CLEAN FILES MAY CONTAIN

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

CLEAN FILES SHALL NOT CONTAIN

lower thirds, including lower third backgrounds
any text or numbers (to allow for future re-versioning in additional languages, including non-Latin type-
faces such as Chinese, Cyrillic etc.)
corner bugs, including any show or series packaging graphics
open captions (burned in subtitles)
bumpers
credit rolls

GENERAL NOTE as it may be difficult in certain cases to determine whether or not certain elements should be
removed, please consult Red Bull Media House Quality Management during the creation of animations and
other graphic elements, should you have any questions or concerns.

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TECHNICAL SPECIFICATIONS

ANNEX: AUDIO GLOSSARY

This section provides further explanations and synonyms for our audio channel terminology.
CHANNEL NAME EXPLANATION / SYNONYMS
The final mix of the program that includes all audio channels incl. Voice Over /
Full Mix Narration.
Must comply with -23LUFS Integrated Loudness and -8dbTP True Peak levels.
Full Mix
excluding Voice Also known as 'Mix Minus' or 'IT'
Over
Atmosphere or Ambient sound as recorded on set; also known as Production Sound,
Natural Sound (NAT), Original Sound or On-location Sound.

Effects / NAT Additionally includes effects intended to be indistinguishable from NATs. e.g., artificial
ambient sounds, Foley and background sound effects; 
 no SFX, no Music, no Voice
Over / Narration, no Interviews.
Any and all music contained in the program, including pre-mixed, recurring elements
Music
in a series, e.g. open, close.
Sound Effects not related to the footage, e.g. sounds complementing graphic overlays,
SFX
transitions or animations; not to be confused with "Effects"
Interviews / OT Also known as Dialog.
Voice Over Also known as Commentary or Narration; abbreviation: VO
any adjustments made to accommodate Voice Over or Interviews / OT should be
removed, but cross-fades between different sources as well as any EQ effects should
be preserved;
undipped
For Full Mix excluding Voice Over only adjustments made to accommodate Voice
Over should be removed but adjustments for Interviews / OT should remain
unchanged.
dipped dipped stems must constitute the full final mix when combined

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TECHNICAL SPECIFICATIONS

ANNEX: CHANGELOG
VERSION DATE CHANGES
Initial Release of RBMH Technical Specifications for Delivery
Changes to previous RBTV Specifications:
Main change: merged old RBMH Specs and RBTV Specs into one document
Added XDCAM Delivery
Added 9:16, 2:3 & 4:5 vertical Delivery for Social Media
Added Newsroom UHD Delivery types
Added VR Delivery Specs
Added "producer responsibility" paragraph
Added more detailed specifications to section "Live Program"
Added note "separate CC file optional for production partners"
Removed "Dirty Non English Master"
Removed all Audio Stem Packages (except for 5.1)
1.0 01/02/2018
Removed Full Mix Stems from 5.1 Stem Packages
Removed section "Low Resolution Preview"
Removed section "Promotion Assets"
Removed 23.98fps
Updated definition of Annex: Clean Version
Audio channels ProRes: removed additional languages
Audio channels ProRes: same audio channel layout for clean and dirty
Audio channels: Added "NAT / " to Effects
Audio channels: Re-ordered Voice Over and Interview channels
Fast Delivery: Bitrate recommendation raised from 10 to 15 Mbps; added
UHD bit rate
Program Start and End: Updated Definition

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