Content Delivery Book

MAY 2024 – V1.3

 Content Delivery book

BBC Studios is one of

the world’s leading
programme distributors

We represent formats and programmes

made by the BBC, as well as over 250 independent
producers, and have invested more than £1bn in the
UK creative sector since the millennium.

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 Content Delivery book

Guideline Usage

This Content Delivery Book has been put together to help productions
understand the requirements and expectations for materials delivered to
BBC Studios Distribution – this encompasses video assets, ancillary
assets and marketing and publicity assets. All assets must conform to the
delivery and technical specifications which have been outlined in this
document.

Productions should refer to these guidelines as early as possible when

planning for the delivery of BBC Studios assets, as some assets required
by BBC Studios may need advanced planning ahead of the post-
production process.

It's important to note that BBC Studios and the BBC are two separate
entities within the BBC group, and the specification outlined below relates
specifically to BBC Studios Distribution.

The guidelines are divided into the below two sections:

SECTION I
Technical Delivery Specifications

SECTION II
Marketing and Publicity Requirements

Please note that these guidelines are regularly updated as new technical
standards emerge and marketing and publicity demands change.
Please make sure to confirm with your BBC Studios contact that you
are referring to the latest iteration.

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 Content Delivery book

Section I – Technical Delivery Specifications

1. Section I - Introduction 5 7. Quality Assessment Review (QAR) 28

2. Prior to Delivery 7 7.1 QAR Grading
7.2 QAR Requirements
2.1 Key Contacts
7.3 QAR Fixes
2.2 Post-Production Schedule
7.4 Approved QAR Vendors
2.3 Content Delivery Timelines
2.4 BBC Studios Edits 8. Paperwork 31
2.5 Materials List and Checklist
8.1 1x Post Production Script
3. Versions 9 8.2 1x PasC Form
8.3 1x Music Cue Sheet
3.1 Durations
8.4 1x Captions List
3.2 Presenter-Led and Presenter-Less
8.5 1x PSE Test Certificate
3.3 Music Clearance
8.6 3x Episodic Synopses, 3x Series Synopses
3.4 Unique IDs (aka UIDs)
8.7 1x QAR Report
3.5 Running Orders
8.8 1x Bad Language List
3.6 Title Changes
8.9 1x Latin Species List
3.7 AS-11 / Access to TX
8.10 File Names for Paperwork
3.8 Edit Decision Lists
8.11 Legal Paperwork Delivery Items
3.9 Consumer Products Only Version
9. Production Recalls 35
4. Video 12
9.1 Recall Process
4.1 Layout & Textless Elements
9.2 Compliance Edits
4.2 Aspect Ratio
9.3 Editorial Edits
4.3 Framerates
9.4 Redelivery Thresholds
4.4 Clocks
9.5 Rejection Redeliveries
4.5 Branding
4.6 Recaps and Trails
4.7 Credits
4.8 Calls to Action Section II - Marketing and Publicity
4.9 Bad Language
4.10 Semi-Textless
4.11 Measurements 10. Marketing & Publicity
4.12 Subtitles Photography guidelines 37
5. Audio 15 10.1 Preparing the
Paperwork for
5.1 Audio Stems Photography
5.2 File Names for Audio Stems 10.2 Practical Considerations
6. File Delivery 16 10.3 Title Treatments

6.1 HD Programme and Audio Layouts 11. Section II - Introduction 40

6.2 HD File Specification
6.3 UHD HDR HLG Guidelines
12. Trade Deliverables 41
6.4 UHD Cameras 13. Consumer Deliverables 42
6.5 UHD File Specifications
6.6 UHD Programme and Audio Layouts
14. Collaboration 43
6.7 Non-UHD Material Quotas within UHD 15. Campaign examples 44
6.8 Audio Track Tagging Instructions
6.9 UHD Blu-ray Specification
6.10 Screener Specification
6.11 Other Specifications
6.12 IMF
6.13 File Naming Conventions
6.14 Delivery Mechanisms
6.15 Content Back-Up
6.16 Graphics Packages

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 Content Delivery book

Section I Technical Delivery Specifications

These technical delivery specifications are the

main point of reference for both BBC Studios
and Independent productions, and must be
referred to when submitting content to us for
international distribution.

Whether you’re UK-based or overseas, delivering

a version for international distribution, or a
language version, this document has been
created to provide a single reference guide for
technical standards, to help 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
including core master assets, ancillaries and
photography, as well as specific details on file
delivery to us.

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 Content Delivery book

Programme O p e r a t i o n s C o n t a c t I n f o r m a t i o n

Cameron Touchard-Harding
Senior Programme Operations Executive
[email protected]
020 8433 2698

If you have any general questions, please get in touch with the above contact.

For questions specific to the title you are delivering, please refer to the contact specified in
the materials list issued by BBC Studios within your distribution agreement.

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Prior to Delivery
Prior to delivery, please ensure you’ve read this document, flagging
any queries with the relevant programme operations contact.

2.1 Key Contacts

Failure to deliver to these timescales can
Please refer to your specific BBC Studios
expose us to additional rush charges from
contacts listed in your distribution
suppliers, and penalties from customers.
agreement with regards to asset deliveries.
Any additional costs directly related to
Once you’ve made contact with your late delivery will be passed back to the
programme operations contact, they will production team.
help you manage the delivery of assets to
BBC Studios, as outlined in this document. Where the programme content is defined
as topical or time sensitive, then any
2.2 Post-Production Schedule deviation from the standard delivery
timelines will be agreed at the point
For us to track delivery, we’ll require a
of commissioning.
copy of your most recent post-production
schedule, with delivery dates to BBC
Studios included. Please make sure you 2.4 BBC Studios Edits
supply updated versions to us as and BBC Studios reserves the right to attend
when available. edits for BBC Studios distributed versions,
to assist with any queries that may occur
2.3 Content Delivery Timelines prior to delivery.
For us to plan effectively, we need to take
delivery of your programme content far 2.5 Materials List
enough ahead of its transmission
BBC Studios will provide a materials list to
or launch date to enable transformation
production that states what assets are
to client requirements. This will allow our
expected for delivery.
sales teams to set expectations with
clients, and ensure that content is The checklist below will cover an
localised in good time for territories approximation of what is expected for
around the world. master assets, but note that each
production is unique and may have
This is particularly important for key particular requirements – so please confirm
brands and landmark titles which can be requirements with your programme
time sensitive with global launches. operations contact and what has been
agreed in your distribution agreement.
All content and associated
ancillaries must be delivered in For photography and marketing
full and to the agreed requirements, please refer to the separate
contractual delivery dates as photography and marketing section 2 in
outlined in your Distribution both this document and your distribution
Agreement. agreements.

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Materials List - Checklist

HD Video 1x HD ProRes 422 HQ

Texted Version with Textless Elements, Stereo Final Mix, Stereo Music & Fully Filled
Effects (or Mix Minus Narration as per programme genre), and 5.1 Final Mix (if
commissioned).
All masters should be 16:9FF. Additional Aspect Ratios should be supplied as
additional masters.

UHD Video 1x UHD HDR HLG ProRes 422 HQ

Texted Version with Textless Elements, Stereo Final Mix, Stereo Music & Fully Filled
(where applicable) Effects (or Mix Minus Narration as per programme genre), and 5.1 Final Mix (if
commissioned).
All masters should be 16:9FF. Additional Aspect Ratios should be supplied as
additional masters.

Stereo Audio Splits BWAVs - Stereo Split Audio Elements

Final Mix, M&E, DME, additional audio (i.e. singing, foreign dialogue, laughter,
(BWAVS) measurements, etc.)

5.1 Audio Splits BWAVs - 5.1 Split Audio Elements (if commissioned)
Final Mix, M&E, DME, additional audio (i.e. singing, foreign dialogue, laughter,
(BWAVS) measurements, etc.)
Final Screener - 1x clean of BITC, 1x BITC
Additional rough cuts, fine cuts, picture locks, picture and dialogue locks may be
Screeners required.
Please see within this document for technical specification of screeners.

Scripts Shooting Scripts & Post Production Scripts

*note – any foreign language dialogue needs to be delivered in both the original
language and English

Music Cue Sheets Either a template will be supplied, or a Silvermouse entry will need to be filled in
*note – this differs according to the production – please contact your Programme
Operations contact for clarity

PasCs Either a template will be supplied, or a Silvermouse entry will need to be filled in
*note – this differs according to the production – please contact your Programme
Operations contact for clarity

Captions Lists A template will be supplied – this should ideally be completed within the final edit.

QAR Reports QAR checks can only be supplied by approved BBC Studios QAR vendors.
Completed reports should be sent from the QAR vendor directly to the BBC Studios
Programme Operations contact.

PSE Test PSE tests should be carried out using approved software as per the latest
Certificates DPP Supplement - PSE Devices report

Synopses 3x episodic synopsis to be delivered in advance of TX per episode

3x series synopsis to be delivered in advance of TX
Short: 90 characters, Medium: 180 characters, Long: up to 600 characters
*note - A new document should be supplied for each of the above. This is separate
to any synopsis included on the PasC form

Bad Language Lists Only required where bad language is used within a programme.
Note this is a separate requirement from a compliance form submitted for broadcast.
(where applicable)

Latin Species Lists Only required where animal species are featured.

(where applicable)

Graphics Packages If content is GFX heavy, please discuss this requirement with your Programme
Operations contact as a separate graphics package may be required.

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Versions
We distribute content globally, and therefore need to supply assets that match to our
clients varied requirements. BBC Studios may therefore request more than one
‘version’ of a programme to be delivered.

Typically, BBC Studios would require the commissioned duration, plus additional
‘cut-down’ durations. We may also require additional masters where the aspect ratio
or frame rate does not match with our standard specifications, or where specific
clearances are required.

Additionally if a title has a Co-Producer attached, unique edits and assets bespoke
to the Co-Producers requirements and specifications may be required.

Note that for all BBC Studios invested titles we require all masters to be delivered
seamless without advertisement breaks.

All version requirements should be outlined in your Distribution Agreement, and

should be discussed with your Programme Operations contact.

3.1 Durations BBC Commissions:

The Distribution Agreement should For most TX durations commissioned by

confirm the exact durations that are the BBC, BBC Studios will require a
required for delivery. The below is a rough copy of the TX version duration cleared
guide to typical durations required. for international use. If the BBC TX
version is 60 minutes, a 50 minute cut-
For both BBC and Non-BBC down of this programme for clients to air
Commissions, BBC Studios may invest in in a commercial hour may be additionally
a different content configuration than required.
typical e.g. BBC Studios could require a 2
x 45’ version in addition to a 1 x 90’ Non BBC Commissions:
version.
If the programme you’re delivering airs
A duration leeway of 2 minutes is on a non-BBC Channel, BBC Studios
acceptable either side of the agreed will generally require the
duration; however, we recommend that commissioned length (unless
there is consistency in timings across a otherwise specified), seamless.
series.
3.2 Presenter-Led and Presenter-Less
The final duration must include all For factual programmes, presenters may
branding and stings assigned to each be used who are not internationally
programme. If the programme is below or recognised. We may therefore require a
exceeds agreed timings, please contact version of this programme with the
your programme operations contact to presenter removed.
seek approval.
Presenter-led and Presenter-less
Please note that co-producers may invest versions will be discussed at the point of
in a different duration/version, e.g. cut to investment with the BBC Studios
clock. In these instances, please refer to Content Partnerships team. Please refer
the relevant investment documents for to the Distribution Agreement for further
further details. details.
In certain cases BBC studios may
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accept a Presenter-Light version, but version.

only with express permission in
Non BBC Commissions:
advance.
If a title airs on a non-BBC channel, then
3.3 Music Clearances BBC Studios will need to create a UID for
All masters delivered to us must be fully you to use. Contact your assigned
cleared for international distribution as programme operations contact who will
per the rights agreed at the point of supply you with the exact UIDs that will be
investment. If tracks are used that are required for each BBC Studios version.
not cleared for international distribution, Co-Producer Versions:
we will require the master to be delivered
with these tracks replaced with cleared Co-producer versions will also be issued with
music. UIDs as well. These may either be BBC
Studios UIDs or an ID unique to the co-
For full music clearance details, please producer themselves. Contact your assigned
refer to your Distribution Agreement. If programme operations contact who will
you have any questions, please contact: supply you with the exact UIDs required.
[email protected]
3.5 Running Orders
3.4 Unique Programme IDs (aka UIDs)
BBC Studios catalogue all assets by TX
UIDs are BBC title and version identifiers order. This ensures that all talent accounting
made up of a core number and a suffix - and payments are processed correctly.
for example: DRIJ121E (Core) / 50 (suffix). Please confirm your TX running order as
soon as it is known.
Contact BBC Studios in advance of
delivery to confirm your UID assignments. For this reason we request that RX, or
Please note that your UID information must production orders, are not referred to on any
be correct and visible on all master assets master assets or paperwork.
(including the clock and filename) and
Sometimes TX orders may change once
paperwork supplied to BBC Studios.
assets have been delivered, as a result,
Once a UID has been assigned to an where applicable please do not use episode
episode then it must stay with the UID numbers on clocks or paperwork, refer
allocated – i.e. if a running order changes, instead to episode titles and UIDs.
we need the episode and UID to keep their
relationship. 3.6 Title Changes
Note that UIDs do not change for different Please keep us updated with changes to
technical specifications (i.e. HD / UHD, or titles; in some cases BBC Studios may
Aspect Ratio). adopt a different title to the commissioned
title.
BBC Commissions:
3.7 Access to TX / AS-11
Titles that air on the BBC and UKTV will
have core numbers allocated by the In most cases, BBC Studios will have
commissioner. Once you have been invested in taking a copy of the TX version
assigned your UIDs from the BBC or to BBC Studios technical specifications.
UKTV, please send them to your assigned This differs from the BBC Public Service
programme operations contact. We will technical specification.
then supply you with different exact UIDs However, where BBC Studios has only
that will be required for each BBC Studios

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invested in Access to TX rights, we will

access the AS-11 digital file made for
BBC Public Service via BBC Archives.
These must be cleared for the territories
in which BBC Studios has invested. If
assets are not cleared, a cleared version
must be delivered to the BBC Studios
digital file specification.
BBC Studios requires that all available
audio stems are delivered for the TX
version. Please submit textless elements
where possible on the AS-11 files and
notify your programme operations contact.
Content Delivery Operations (CDO) at
BBC Public Service is able to accept
textless elements on AS-11 files delivered
to them, to which BBCSD also have
access.
If unsure of which technical specification
you should be delivering to, please
contact your programme operations
contact to clarify.

3.8 Edit Decision Lists

In some cases BBC Studios will require
an Edit Decision List (EDL) for all the
various versions delivered to BBC
Studios, please clarify this requirement
with your programme operations contact.

3.9 Consumer Products Only Version

Where BBC Studios has only invested for
Consumer Products rights (including DVD
and/or electronic sell through aka EST),
we require deliverables as per the
standard specification for the cleared TX
version,. This includes the master,
paperwork, and stills documented later in
the delivery book. If you have any
questions, please contact
[email protected]

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Video
4.1 Layout and Textless Elements some territories will not accept widescreen
letterboxed content.
BBC Studios only accept Dual Purpose
masters. This means, following the main If your production is shooting or post
programme that is fully texted with producing in a different aspect ratio, please
captions, graphics and credits, there will notify BBC Studios as early as possible.
then be textless backgrounds for all texted
and graphics based shots placed after a
minimum of ten seconds black. 4.3 Frame Rates

Textless elements (cleans) are required The frame rate should be either 25p or 50i –
for all onscreen text, opening titles and in the event the native frame rate is different
credits. The element must cover the entire from this, BBCS will require a copy of the
shot, to and from a cut point to facilitate native in addition to 25p or 50i. Please notify
editing, and be synchronous and frame your programme operations contact as early
accurate with the actual programme. as possible if a different native frame rate
will be used.
All elements must be documented in the
Video Captions List and the QAR report.
The caption list must be supplied to the 4.4 Clocks
QAR vendor prior to QAR taking place.
Clocks must carry the following:
Where text appears on archive content • UID
and cannot be removed, please notify
your BBC Studios programme operations • Series Title
contact in advance and ensure the QAR • Series Number
vendor documents the timecodes of this • Episode Title (or Episode Number if
on the QAR report. no title available)
Text constitutes (but is not limited to): • Dual Purpose
• Lower Thirds • Aspect Ratio
• Captions
• Numerals Forced Narrative Files that do not have the correct UID will be
Subtitles rejected and must be fixed at production’s
cost.
Graphic Sequences constitutes (but is
not limited to): The clock or slate may display telephone
• Maps contact numbers for the post-production
facility and production company along with
• Charts
company branding. Where a moving clock is
• Graphs used, it must provide a clear countdown of
• Newspapers / Text Messages / at least 7 seconds, including a hand moving
Social Media Content in 1 second steps (i.e. not smooth motion)
around a circular clock face. Clocks with
4.2 Aspect Ratio only digital countdown are not acceptable.
There must be no audio tone or ident over
All content must be delivered to BBC the clock.
Studios in the original aspect ratio
commissioned (such as 2:1), and
additionally as a 16:9 full frame if the
original aspect ratio is different. Note that
a 16:9 FF master is always required as

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4.5 Branding Franchise Branding:

BBC Studios will set out the exact • An episode may contain specific
branding requirements for each title. franchise branding (such as Doctor
Who, Top Gear, Planets, etc.)
Please check the Distribution
Agreement for any specific branding • This may be in addition to or instead
requirements, and confirm this with of other branding, and should always
your programme operations contact. be discussed with programme
operations first.
Branding is continually evolving at BBC
Studios, so please also ensure you check Co-Production Branding:
you have the most recent branding from • Some co-produced versions may
your programme operations contact, and have different branding requirements
do not rely upon information from a and should be confirmed prior to
previous production. delivery with your programme ops
coordinator.
Below is a list of potential branding
scenarios that may be applied to a title: Production Endboard:
Upfront Branding: • The production endboard should
have been agreed contractually
• An animated upfront sting between BBC Studios and
accompanied with audio. Production prior to delivery on what
• Typically 5s in duration, but may credits should be placed and in what
be different depending on contract. order.
• BBC Studios has multiple different
types of upfront branding.
4.6 Recaps and Trails
• Certain versions within a title may
apply different upfront branding As some of our clients will air titles back to
(for example, one version may back, for recaps (previously on) and trails
apply BBC Studios, another may (next time), we require these only as an
apply Britbox). additional element at the end of the master,
with a 5 second buffer of black / silence
Final ‘Distributed By BBC Studios’ following the textless elements.
Endboard:
Please ensure these are not time specific
• The final endboard is the very last
(e.g. tomorrow, next week etc.), and that
image visible to a viewer prior to
any recaps and trails have textless
black and is part of the full
elements, any associated audio (including
programme duration.
split track audio), and they are documented
• Typically 3s in duration, but may in the script and music cue sheet
be different depending on contract.
Please flag if there are no recaps and/or
• The endboard is black with white trails for your programme, and be aware that
text stating ‘Distributed by BBC some co-producers may insist on trails and
Studios’, and should be both static recaps being made as part of their
and mute without edit such as investment.
fades etc.
Embedded Branding:
• Embedded branding will often 4.7 Credits
appear shortly after the start of an BBC Studios will accept credits according to
episode (for example, the BBC the commissioning broadcaster guidelines.
Blocks will fade up and down). Your Distribution Agreement should contain
• Textless elements should be details on what should be contained and
supplied for all embedded positioning, please send screenshots of
branding. these credit boards to your Programme Ops
contact for reference. Please note, that

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credit assignment may vary depending on If a semi-textless master is required for your
co-producers’ agreements. Any logos delivery, you will be notified by your
used in credits must be uploaded to the programme ops contact.
programme Dropbox folder with a
screenshot for reference of how these
were used. 4.11 Measurements
Please ensure that all credit requirements International versions for factual
and their arrangement are confirmed with programming should be delivered using the
BBCS. metric system for VO & graphics. US Co-
producers may require alternative lines
A thorough name and spelling checks
recorded using US imperial measurement
to credits are carried out before
system (e.g. Fahrenheits instead of
supplying to BBCS. BBC Studios
Celsius). Miles are accepted if used
reserves the right not to resupply to
consistently throughout the programme and
clients for minor credit errors.
cannot be replaced. Please make sure
correct measurements are used and noted
on all post production paperwork.
4.8 Call to Action
Any calls to action (including, but not
limited to: website addresses, telephone 4.12 Subtitles
numbers and hashtags) will need to be
Foreign dialogue should have burnt-in
removed from BBC Studios masters,
English subtitles, free from spelling and
unless otherwise agreed.
grammatical errors, and held for a sufficient
time to be comfortably read. Subtitles must
4.9 Bad Language also be clearly visible at all times; if subtitles
are positioned over an area of the screen
Please leave all audio and video free from which is the same colour as the font; a trim
beeps, blurring and other forms of or drop shadow must be utilised and for
censoring. We will require a timecoded list consistency this should be used on all
of all instances of censorable material. subtitles throughout the programme or
feature. Note that textless elements must
also be supplied for all on screen subtitles.
4.10 Semi-Textless
A semi-textless master, as currently
defined by our clients, is one that does not
include any burned-in subtitles. Such
subtitles would exist due to translations of
spoken languages that differ from the
native language, in cases where the
native spoken language is inaudible or
somehow obscured, and in cases where
sign-language is used. Original language
inter-titles or location-establishing text
may be included to preserve creative
intent, including opening credits, main
titles, and end credits in the original
language of the title as well.

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Audio
5.1 Audio Stems Music: Any music used in the programme,
BBC Studios requires comprehensive whether live or commercial, must be
audio stems for all content in order to supplied. Live music (with the exception of
create localised versions and promotions. recognised artists) must be free of vocals,
All audio stems must be delivered in and the singing must be provided
stereo and 5.1 (unless otherwise agreed separately.
at point of investment). Please note that it Effects: These can be sourced from a Foley
is mandatory for 5.1 audio to be delivered session, library tracks or from the production
for all UHD content. We will also require recordings. All effect stems must be fully
all audio tracks as discrete stems, and filled.
these must be synchronous (e.g. with bars
and tone) to the programme. All audio Foley: If Foley has been commissioned,
stems must be provided as undipped. please provide this as a separate stem.
Audio stems will need to be uploaded to Narration (Scripted): For Children’s
the designated location given by your content, or where a narrator is used as a
Programme Operations contact. Please story telling device, please split this out from
do not zip the files. the dialogue and provide as a separate
stem.
If your delivery includes Dolby Atmos this
should always be supplied as audio stems Narration (Non-Scripted): Any narration
and not on the master video. needs to be split out from the dialogue that
has remained on the mix minus narration.
An inventory document of all audio stems This includes any off-camera contributors
delivered should be supplied to your that may have been used as narrators at
Programme Operations contact. specific points in the programme.
Required stems will include (but are not Wild Track (Non-Scripted): This is to be
limited to): delivered for the full programme duration.
Final Mix: This is as per programme Singing: This must be provided separately
broadcast, and must be EBU R128 to the music (unless it is commercial music
compliant. ATSC A85 compliant mix is by a recognised artist).
acceptable for US Commissions.
Foreign Dialogue: Any overlapping
Music and Effects (Scripted): This will dialogues must be provided separately. For
have all discernible dialogue removed, example, a German client would want to
and must be fully filled, whether by Foley retain the foreign dialogue, but replace the
or library tracks. Please note, it’s a English with German.
requirement for all incoming Children’s
titles without exception as they are fully Fictional Language: Any overlapping
dubbed worldwide. dialogues must be provided separately.
Mix Minus Narration (Non-Scripted): Laughter: Must be split out from the
This is the final mix minus any voiceover dialogue track, where possible.
added in post-production. If your
programme is narrated, you must provide 5.2 File Names for Audio Stems
Mix Minus Narration tracks. For the audio stems please use the
Music and Effects (Non-Scripted): Due following naming convention:
to synchronous dialogue being recorded UID_SeriesTitle_SeriesNumber_EpisodeTitl
on location, effects must be recreated e (if applicable)_Audio Stem_Frame Rate
using either Foley or library tracks. A true
M+E must be created in post-production. e.g.
FKAF117S_50_EarthFromSpace_S1_Chan
Dialogue (including split out ge_FinalMix_L_50i
overlapping dialogues): This is all
programme dialogue excluding narration. Incorrectly named files will be rejected.
Any foreign dialogue used needs to be
split out onto an additional stem. The
same is true of singing. For details on all
three please see below.
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File Delivery Specifications

The below contains the file specification requirements for delivery of HD and
UHD files to BBC Studios. Please note that Co-Producers may specify different
requirements from the below and should be checked before delivery.

6.1 HD Programme and Audio Layouts

Programme Content Layout:

• File to start at T/C 09:59:30:00
• 20” EBU bars and 10” clock (final 3 secs black) to
• First frame of programme start at T/C 10:00:00:00
• Programme in its entirety including opening and closing credits, including any
branding specified.
• Minimum 10 second black gap before additional elements.
• Minimum 5 second black gap to end of file.

Timecode Duration Picture Sound

09:59:30:00 20” EBU bars Line-up tone

09:59:50:00 7” Ident Clock or Slate Silence

09:59:57:00 3” Black Silence

10:00:00:00 Programme Programme Programme

End of Programme 5” Freeze Fade or cut to silence by

end of programme
Additional Elements Min 10” gap from end As required As required.
of programme
End of File Min 5” Black Silence

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Audio Content Layout:

• All channels must be DISCRETE.
• Tracks must be laid out sequentially (as noted in below table).
• Channels 1&2 must be Final Mix.
• Audio indicators / tags must match the below configuration.
• Audio tracks must be correctly tagged (e.g. using Quicktime©) – if you or your
QAR vendor are unable to tag the content please get in touch with your
programme operations contact.
• Audio stems should be supplied separately unless otherwise directed. Please
refer to ‘Audio’ section for a full list of audio stems that should be supplied.

Audio Configuration Layout:

Channel Configuration Name Quicktime© Audio Assignment

1 Main Stereo Left Left

2 Main Stereo Right Right

3 M&E or Mix Minus Narration Stereo Left Left

4 M&E or Mix Minus Narration 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

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6.2 HD File Specifications

Video Source Digital: HD-SDI

Video Codec Profile Apple ProRes® 4:2:2 (HQ)

Container MOV (All files must have .mov extension)

Stream Type QuickTime®

50i or 25p and a copy in the native frame rate if different to this
Frame Type (23.98PsF, 24PsF, 25PsF, 29.97PsF, 50i, 59.94i permitted)

As per source. Interlaced OR Progressive.

(Mixed material may only be delivered with prior approval from
Scan Flag BBC Studios Global Operations. The file must be accompanied by
a comprehensive schedule specifying the timecodes of the relevant
sections.)
Bit Depth 10-bit

Video Bitrate Typically 185Mbps for 50i content (set by relevant encoding profile)
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 per cent lower than these targets.
Video Compression VBR (Variable Bit Rate)
Mode
Colour Space YUV (YCbCr)

Pixel Aspect Ratio Square

Frame Structure i-Frame only

Intra Frame Distance 1

Audio Sound Format Stereo and / or 5.1 Surround (Dolby Atmos where applicable)

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 CBR (Constant Bit Rate)

Mode
Audio Bit Rate 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 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)

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6.3 UHD HDR HLG Guidelines

Please note all UHD content delivered to BBC Studios must adhere to the UHD frame-
size (3840x2160 pixels) and not that for 4K (4096x2160 pixels). All UHD content must
have a High Dynamic Range (HDR) colour-space unless by prior agreement with BBC
Studios. Please ensure that you preserve the HDR picture information throughout the
production and post-production process. You should shoot using a compatible file
format (e.g. LOG/RAW). The correct HDR curve should also be loaded in the
camera/s. Post-production processes (e.g. edited, grading, VFX, etc.) must also
preserve the HDR picture information.
BBC Studios has adopted the Hybrid Log Gamma (HLG) standard for HDR as
proposed by the BBC. All BBC commissioned programmes should deliver HLG. For
non-BBC commissioned programmes BBC Studios will accept (with prior discussion)
delivery of HDR10, HDR10+, HLG, Dolby Vision, and Advanced HDR. Please flag with
your programme operations coordinator as soon as you know which UHD+HDR
standard you wish to use.

6.4 UHD Cameras

The cameras used should be checked prior to production The European Broadcast
Union (EBU) Recommendation EBU R118 has details of UHD cameras and
acceptable sensor resolutions. Please refer to: https://tech.ebu.ch/docs/r/r118.pdf
The EBU divides UHD cameras into two tiers:
UHD1 Tier 1 sensor resolution must be 3840x2160 in each of R & G & B. Where other
sensor matrix technologies are employed, the actual resolution may have to be
confirmed be measurement (EBU Tech 3335). As a guide, a Bayer pattern sensor
would need to be at least 5760x3240 to achieve full UHD1 resolution.
UHD1 Tier 2 sensor resolution must be greater than 2880x1620. The use of UHD1
Tier 2 cameras requires approval from BBC Studios before they can be used.

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6.5 UHD File Specifications:

Video and Video Format Standard ITU-R BT.2100 (3840 x 2160 25P)
Codec
Profile HDR Format Hybrid Log-Gamma

Reference White* 75 IRE (code value 721)

Colorimetry ITU-R BT.2100 (as defined in ITU-R BT.2020)

Colour Space 4:2:2 YCRCB

Display Aspect Ratio 16:9

Frame Rate 50 or 25 frames per second progressive

Scanning Progressive

Bit Depth 10 Bit

Pixel Aspect Ratio Square

Structure Intra Frame (I-Frame) only

Container MOV – QuickTime

Format Apple ProRes 422 (HQ)

Bit Rate 700 Mb/s

Encoding Profile High

Audio and Audio Format Stereo, Surround (5.1), Dolby Atmos (where
Codec Profile applicable)
Content Main (BBC TX) and International

Sample Frequency 48Khz

Bit Depth 24-bit

Codec PCM (Uncompressed)

Compression Mode CBR

Bit Rate 1.152Mb/s per channel

Edit Markers In/out edit markers must be positioned at the

beginning of file
Display Display resolution must match original picture
Resolution within MOV
Timecode As per programme content layout section (e.g.
programme starts at 10:00:00:00). Must use QT
T/C Track.

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6.6 UHD Programme and Audio Layouts

Programme Content Layout:
• File to start at T/C 09:59:30:00
• 20” DPP UHD Line Up
• 10” clock (final 3 secs black, or optional peak white as described below) to
• First frame of programme start at T/C 10:00:00:00
• Programme in its entirety including opening and closing credits, including any
branding specified.
• 5” Freeze or “Living Hold” fade or cut to silence by end of programme.
• Minimum 10 second black gap before additional elements.
• Minimum 5 second black gap to end of file.

Timecode Duration Picture Sound

09:59:30:00 20” DPP UHD Line-up Line-up tone

09:59:50:00 Between 7”00fr and Ident Clock or Slate Silence

7”05fr
09:59:57:06 2fr 2fr peak white 1fr tone (on first video
(optional) white frame)
09:59:57:06 2” 19fr Black Silence

10:00:00:00 Programme Programme Programme

End of Programme 5” Freeze or “living hold” Fade or cut to silence by

end of programme
Additional Elements Min 10” gap from end As required As required.
of programme
End of File Min 5” Black Silence

Audio Content Layout:

• All channels must be DISCRETE.
• Tracks must be laid out sequentially (as noted in below table).
• Channels 1&2 must be Final Mix.
• Audio indicators / tags must match the below configuration.
• Audio tracks must be correctly tagged (e.g. using Quicktime©) – if you or your
QAR vendor are unable to tag the content please get in touch with your
programme operations contact.
• Audio stems should be supplied separately unless otherwise directed. Please
refer to ‘Audio’ section for a full list of audio stems that should be supplied.

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Audio Configuration Layout:

Channel Configuration Name Quicktime© Audio Assignment

1 Main Stereo Left Left

2 Main Stereo Right Right

3 M&E or Mix Minus Narration Stereo Left Left

4 M&E or Mix Minus Narration 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

6.7 Non-UHD Material Quotas within UHD

Some UHD programmes will contain material from SD and HD originals and sources
which are not considered to meet UHD broadcast standards. To maintain a high
standard and meet audience expectations, the amount of non-UHD material is limited
to a percentage of the programme’s total duration
Programmes should conform to the following quotas when using Non-UHD material
within a UHD programme. Percentages for all other genres, and any deviation
requests for the below guide, require prior approval from BBC Studios.
Drama: 0-5% non 4k or non UHD material.
Natural History: 25% non-4k or non-UHD material (target across a series).
Documentaries: 25% non-4k or non-UHD material (no or limited use or archive
sources).

6.8 Audio Track Tagging Instructions

Please follow the below instructions carefully when tagging audio within QuickTime. If
you are not able to tag the programme, please get in touch with your programmes
operations coordinator first before arranging a fix during QAR as dispensation may be
possible.
• Open 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 shown below.
• On the window that pops up, click on the first audio track, then click on ‘Audio
Settings’.

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• Below, you’ll see a box that says ‘Channel’ and ‘Assignment’. If exported out of
FCP as ‘Mono’. Click on it and you will see options to change this.
• This will need changing according to the audio content layout tables above.
• Do this for all audio tracks, close the window down and hit File > Save.
• To check it has been completed correctly, click on Window > Show Movie
Inspector. This will show you the correctly labelled audio channels.

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6.9 UHD Blu-Ray Specification

Please note that before using the below spec, further confirmation should be sought
from your programme operations contact.

UHD Checklist Examples Definition

File Type and 16-bit TIFF RAW File type and format (video or image sequences) can
Format (YUV) DPX usually be confirmed by examining the file name and
extension used. Note, however, that the metadata found
internally to the image file (TIFF, DPX) is unreliable and
frequently incorrect. Format should include the bit-depth
in each colour channel (such as 8-bit, 10-bit, or 16-bit).
Programme 720-204318 First Frame of Picture and Last Frame of Picture. Frame
FFOP/LFOP number and/or timecode of the first and last frames not
01:00:00:00- including any pre-roll or post-roll of the master.
03:21:24:06
Resolution 3840x2160 Width and height of the full picture in pixels.
1920x1080
Colour Space BT.2020 P3 RGB colour primaries which define chromaticity (CIE xy)
of red, green, and blue channels. One of the standard
colour spaces (such as BT.2020, DCI P3, BT.709, or
sRGB) should be specified. (The standard colour spaces
define the chromaticity of colour primaries to be used.)
Transfer Function PQ (ST 2084) Non-linear function used to encode light values. Also
known as gamma, or electro-optical transfer function
(eotf). One of the standard transfer functions (such as
PQ, ST 2084, BT.2020, BT.709, or sRGB) should be
specified.
Frame Rate 23.976 / 29.97 Frame rates in frames per second.

Levels Full Head Code value quantization range which defines the black
level and white level. Full range (0 – 100%) is
recommended for image sequences. Head range (64 –
940) is assumed for 10-bit raw YUV. Other levels (such
as Legal, Limited, SMPTE, Studio...) may be specified but
require clarification of code values for black and white.
SMPTE ST2086 Green SMPTE ST 2086 is metadata to specify the colour volume
Metadata (the colour primaries, white point, and luminance range)
(0.2650,0.6900) of the display that was used in mastering video content.
Blue Colour primaries G, B, R and the white point may be
specified directly in chromaticity CIE xy, or as a reference
(0.1500,0.0600) to a standard (e.g. P3 for primaries, D65 for white point).
Red Max and min luminance may be specified in units of nits.
These values then need to be converted into an encoder
(0.6800,0.3200) setting. Refer to the attached ST2086 worksheet for
conversion when the encoder setting (cell G16) is
D65
needed.
(0.3127,0.3290)
4000 nit Max
0.005 nit Min
CEA MaxCLL and 1977 nit MaxCLL MaxCLL indicates the maximum light level of pixel, in
MaxFALL units of nits (1 cd/m2), in the entire playback sequence.
Metadata 1112 nit MaxFALL MaxFALL indicates the maximum value of the frame
average light level, in units of nits (1 cd/m2), in the entire
playback sequence. Note that these are statistically
derived values which should be different and provided for
each video content.

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6.10 Screener Specification

Productions may be required to deliver advance screener copies to BBC Studios –
generally these will be, but not be limited to; Rough Cuts, Fine Cuts, Picture Locks,
Picture and Dialogue locks, Final Screeners. Your BBC Studios programme
operations contact will instruct on the expected screener deliverables.
Note that for titles that require localisation, we may require ‘Picture and Dialogue’
locked screeners at least 6 week prior to TX, to give sufficient time for both the
localisation process and securing of talent.

Total Bitrate 2628kbps

Video Codec H.264

Container / Wrapper MP4

Frame Rate 25fps (or native)

Frame Size 1280x720

Aspect Ratio 16:9

PAR 1:1

Video Bitrate 2500kbps (CBR)

Passes 1

Video Keyframes Exactly one keyframe every 25 frames. GOP length strictly 25. No
natural keyframes (This is for fast-forward functionality)
Audio Codec AAC LC

Audio Sample 48kHz

Frequency
Audio Bitrate CBR, 128kbps

Cropping To 98% of active picture width and height

Content Programme Element Only

Timecodes None

6.11 Other Specifications

If you’re delivering theatrical, giant screen (4K), 3D content, or another type of content
not specified above, please contact your programme operations contact to discuss the
technical requirements directly.
6.12 IMF
BBC Studios will only accept IMF packages for specific titles and with pre-agreement.
If you would prefer to deliver an IMF package, please get in touch with your
programme operations contact to discuss the possibility further. An IMF package may
be requested of production by exception when key co-producers and / or
commissioning partners have a requirement.

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6.13 File Naming Conventions

Files need to be delivered to the BBC Studios naming convention as outlined below.
UID_SeriesTitle_SeriesNumber_EpisodeTitle_DP_FrameRate_AspectRatio_HD/UHD
_SDR/HDR_HLG
*note - if episode title is not applicable, please use episode number.
Incorrectly named files will be rejected.
Please ensure there are no spaces in the filename, using an underscore where a
space is required. Please add the correct frame rate and aspect ratio to the file name.
Production will need to request UIDs prior to delivery in order to generate file names.
If the programme is Texted / Textless / SemiTextless – please reference that instead
of DP (Dual Purpose) in the filename.
Example
For the example below, the series title is Earth From Space, the series number is S1,
the episode title for EP3 is Change, it is a dual purpose master, so DP must be
included, the frame rate is 25p, the aspect ratio is 16:9, and the definition is HD. The
UID for Earth From Space: Series 1 EP3 is: FKAF117S/50
Example filename: FKAF117S_50_ EarthFromSpace_S1_Change_DP_25p_169_HD
6.14 Delivery Mechanisms
Content will need to be delivered to one of BBC Studios digital upload vendors. If your
QAR vendor cannot upload to our digital backbone (DBB), please deliver via Aspera
(or preferred method) to one of our upload vendors that will be specified by your
programme ops contact. In some cases, where content is flagged as sensitive, we
may require delivery of assets to a specific vendor. This will be discussed in advance
of delivery.
6.15 Content Back Up
It is the responsibility of production partners to retain a copy of the content in order to
fix any technical issues that may arise in future. BBC Studios do not require content to
be sent via LTO.
6.16 Graphics Packages
Clients will want to use all the graphic elements contained in the original programme to
maintain high production values. To achieve this, we require elements to be supplied
as follows:
Project Specifications
Ideally graphics files should be sent in Adobe After Effects® format. If you would like
to send anything else, please discuss with your BBC Studios co-ordinator. After
Effects® projects must have a resolution of 1920x1080 and a frame rate that matches
the frame rate of the programme. Square pixels must be used throughout. Projects
must have a colour depth of minimum 8 bits per channel using ITU-R709 working
space. Project audio must have a sample rate of 48 KHz. The project must be created
using Adobe After Effects® CC 2015 or later.
Rendered Output
After Effects® layers within projects must be split into two groups: editable text layers,
and background elements.
Editable Text Layers
These are any text layers that would ordinarily be expected to change during

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international language versioning. Editable text layers must be maintained as separate

layers in the After Effects® project. Editable text layers may not have characteristics
that are based on After Effects® ‘Expression’ functions.
Background Elements
These are the underlying video, banners, and other elements that make up the
backdrop for the editable text. All of these layers are required for the international
language versioning process. Two versions of each composition must be held within
the project. The first version must contain all the components required to create all the
elements within the project. The second version must contain all background elements
as pre-rendered video layers alongside all the editable text layers. Please render all
back plates, all elements that include third party plug-ins and any matte layers which
would overlap an editable text layer. Pre-renders must be rendered using either Apple
ProRes HQ® or QuickTime® Animation codecs within a QuickTime® (.mov) wrapper.
Pre-renders may be rendered as progressive video or as interlaced video with upper
field first dominance. Pre-renders must be rendered at a resolution of 1920x1080.
Collecting After Effects® Projects
After Effects® projects must be ‘collected’ and pre-rendered prior to delivery. All files
used in a project must be consolidated to the delivery directory using the After
Effects® ‘Collect Files’ command. The ‘Reduce Project’ option must be selected. The
collection process gathers any media elements imported in the After Effects® project
into a ‘Footage’ sub-folder. The collection report generated by After Effects® must also
be included. This report must include a list of all third-party plugins used in the project.
BBC Studios will reject graphics masters that have After Effects® projects without
these elements.
Fonts
The collection report provided with the project must list all fonts that were used in the
project. Please make sure that all fonts used in the programme are cleared for
international distribution. Please do not supply any fonts but specify the font name and
the size used.
Non After Effects® Graphics
Graphics elements that contain moving video must be delivered as a single video
layer. Multilayer elements must be flattened into a single layer, excluding any layers
that contain text.
• Resolution of 1920 x 1080
• Field Dominance set to ‘Upper’ for files containing interlaced video
• Frame rate that matches the frame rate of the programme
• Apple ProRes HQ® or the QuickTime® Animation codec
• Files encoded using the Animation codec must have spatial resolution set to 50
• Bit Rate is set automatically as a function of frame size and frame rate
• The file must have a bit depth of minimum 8-bits
• Alpha Channel: Yes, if available
• The file must use the ITU-R709 colour space
• Pixel aspect ratio set to 1:1 (square)
• QuickTime® (.mov) wrapper

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Quality Assessment Review (QAR)

QAR is an important part of our workflows, and the focus for us is on
ensuring quality is maintained to a high standard across all or content
consistently.

All content sent to BBC Studios is subject to a quality assessment review

(QAR) prior to delivery, at the cost of the production partner. Any
programmes failing to meet the required technical standards, or are
found to be in breach of other layout requirements, will be referred back
to the supplying production partner.

QAR should only be carried out by an approved BBC Studios QAR vendor
who will know both our delivery specifications and QAR guidelines inside
and out, be well equipped, and be able to meet the challenges and
demands of providing a fast turn-around service balanced with our
quality needs.

7.1 QAR Grading

Most BBC Studios QAR vendors will subject content to the ITU/CCIR5 point grading
system (or equivalent) which is used to assess programmes for quality.
Grade 5 – imperceptible impairment
Grade 4 – perceptible, but not annoying impairment
Grade 3 – slightly annoying impairment
Grade 2 – annoying impairment
Grade 1 – very annoying impairment
Programmes should meet a minimum of grade 4 for sound and vision quality. Grade 3
is a borderline grading, where there may be valid reasons for technical exemption. In
such cases, details must be referred back to BBC Studios for sign off. Grades 1 and 2
are automatic fails.
Any grades 1-3 signed off by production need to be shared with your programme
operations contact for BBC Studios approval.
Upon completion, a passed QAR report must be uploaded to the programme
operations contact.
7.2 QAR Requirements
Video and audio must be checked for the duration of the programme, including any
elements separate to the main programme.
Please see below for a basic, non-exhaustive QAR checklist to check a programme
against before submitting for QAR to avoid some common fails.

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QAR Checklist

Check clock states the correct UID number, programme title, episode title,
aspect ratio

Clock Check clock states master is Dual Purpose (unless Texted / Textless as
advised by programme ops contact)

Check clock has no episode number (unless no episode title is available)

Duration Check programme duration matches expected contracted duration

Titles Check the opening title is correct

Spot check of Final Mix - 5 point check

Full check of M&E / MMN (confirming it is clean of all dialogue, has all
effects fully filled, all VO is removed from the MMN, all continuous off screen
dialogue used in a narration style is removed from the MMN). Note - partial
Audio M&E will be failed without prior approval from your programme ops contact

Check is EBU R128 compliant

Check audio is tagged correctly in QuickTime

Text Safe Check text safe areas

Call to Action Check no calls to action are present

Check correct branding has been applied both front and end - please check
Branding
with your programme ops contact

Credits Check rolling credits quality, if problematic, a card is advised instead.

Titles / Credits Check for obvious spelling errors

Check all Textless Elements are present, in order, and of correct duration -
Textless refer to Video Captions List for full list.
Elements Check opening title is supplied clean, including the opening BBC blocks
section
Check next times/previously on’s have been removed and placed at the end
Next Time /
of the programme within the elements section (unless agreed otherwise with
Previously
BBCSD’s approval)
If production sign off any issues, it still needs to be approved by your
Sign Off
programme ops contact

7.3 QAR Fixes

In the event content is found to have errors that have not been picked up during QAR,
BBC Studios have the option to undertake any fixes if content is required for TX by
any clients. Costs of these fixes will be charged back to production.
7.4 Approved QAR Vendors
All QARs must be conducted by one of BBC Studios’ approved QAR vendors. A full
list is available in this book. Please contact BBC Studios to discuss QAR vendors if
your production is not based in the UK.

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QAR Vendors
The Ark Memnon
1 Royal College Street Unit 15, Youngs Industrial Estate
London, NW1 0RU Stanbridge
Tom Impey / Conor O’Reilly Road Leighton Buzzard, LU7 4QB
(firstname)@theark.uk.com Clive Kingston
020 7383 9200 [email protected]
01525 450 001
Blazing Griffin Post Production
1st Floor, 101 Portman Street Picture Shop
Glasgow, G41 1EJ 58-62 Newman Street
Joanna Clements London W1T 3EE
[email protected] Ian Mosedale (Scripted) -
0141 406 5000 [email protected]
Priscilla Ho (Unscripted) -
Deluxe [email protected]
32 Perivale Park 44 (0)20 7437 6677
Perivale, Greenford, UB6 7RH
Laurie Ranson Silver Trak Digital
[email protected] 10 Addison Road
020 7149 2724 Marrickville, NSW, 2204,
Darryl McKee
dock10 [email protected]
MediaCityUK, White (also copy: [email protected])
Manchester, M50 2NT +612 90075600 / Mobile: +61412 584 602
[email protected]
0161 886 5333 The Street
40 Pacific Quay, BBC Scotland
Doghouse Post Glasgow, G51 1DA
11 Belgrave Road [email protected]
Bristol, BS8 2AA [email protected]
Flo Bird / Liz Warriner 0141 422 7521
(firstname)@doghousepost.tv
0117 973 5588 VDMS
316-318 Latimer Road,
Films at 59 Ltd London, W10 6QN
59 Cotham Hill James Greenwall
Bristol, BS6 6JR [email protected]
Phil Mead Jono Mahoney
[email protected] [email protected]
0117 906 4300 +44 (0) 20 8962 2600

Gorilla TV
GloWorks, Heol Porth Teigr
Cardiff, CF10 4GA
Richard Moss
[email protected]
0292 039 9800

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Paperwork
For each episode and version delivered to BBC Studios we will require the
below separate documents to be supplied. Your programme operations contact
will supply file delivery locations for where and how these documents should
be supplied. Please remember that a programme can sell commercially across
different media many years after broadcast, so it is important that paperwork is
both complete and comprehensive to facilitate deals.

8.1 1x Post Production Script

A fully timecoded post-production script to be delivered as a MS Word® file, complete and
accurate to dialogue and action. Script must include titles and full closing credits. Captions
and subtitles to be highlighted in bold. Any foreign language dialogue must be included in
both the original language and English. Please include lyrics where audible and recognizable,
including live performances. Also include any background dialogue in any language if it is
pertinent to the plot.
The post-production script should be supplied at the same time as video assets to enable
localisation. If there is a significant localisation requirement, the scripts may be required
sooner alongside early screeners.
Additionally, early shooting scripts may be required to facilitate initial localisation quoting and
work.
8.2 1x PasC Form
Every TV programme produced by the BBC or commissioned by the BBC from an
independent production company must have a Programme as Completed (PasC) form.
The PasC is a record of all the clearances that have already been made for the programme –
it is the end of the process through which rights owners have been located, fees negotiated
and contracts signed - which within the BBC should all have happened through liaison
between the production and the BBC’s Rights Teams and also Programme Acquisition within
Vision.
The PasC form is the primary record of the content of a programme and provides valuable
information on the copyright, contributors and archive material used. It is an essential
document when clearing the programme for further use or exploitation as it gives a record of
the rights already obtained or information on where to find the information about clearance
required to allow further use of the material. If a PasC is incomplete or inaccurate it may mean
that the BBC is unable to exploit the programme. The form is also used for cataloguing the
programme in the archive and for research by current programme makers with a view to
making re-use of material in their own programmes.
PasCs should be submitted within two weeks of TX. The PasC must be amended by
production staff and re-submitted if any of the information is incomplete, incorrect or changes
have been made to the programme.
If your programme is BBC commissioned, we will require the PasC to be submitted via
Silvermouse. Individual entries will be added in Silvermouse that pertain to the BBC Studios
version which your programme operations contact can help with.
If your programme is not commissioned by BBC, we will provide a document template to
complete and a guidance document to assist with completion.
Once Production are happy with the accuracy of their PasCs, and Business Affairs have
emailed confirmation to Production that the necessary ACON/contract changes annotated on
the reconciliation report have been completed and all underlying rights have been cleared in

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line with the agreed investment terms where relevant, Production can confirm that the PasC to
ACON reconciliation is accurate and complete.
In order to confirm this, the Production Executive or nominated colleague need to complete
‘sign off’ on the Producer’s Clearance Statement (PCS) located on Silvermouse. Following
this, they or their Commercial & Business Development Exec must also send an email to
[email protected] to advise that the PCS has been signed.
For BBC TX/BBC Commissions, an email confirmation to advise that the PCS has been
signed off is enough. An actual physical copy of the signed PCS is normally only sent out for
non-BBC TX titles/non-BBC commissions. The PCS forms should be emailed to:
[email protected].
Please note: The programme will not be set up on Studios rights systems in order for
secondary sales and payments to be processed until the signed PCS/PCS sign off
email confirmation is received by CRD Managers.
If you require further guidance or help with the completion of the PasC, please contact either
your programme operations contact, or [email protected].
8.3 1x Music Cue Sheet
The Music Cue Sheet is an essential element to a programme’s post production paperwork.
BBC Studios is required to report all music used within its programming, whether this is music
licensed under a blanket agreement, or specially-composed music contracted for the
programme, to ensure the correct parties are paid. All music used in a programme must be
reported in the Music Cue Sheet. Much as with the PasC, in order to ensure full exploitation of
a programme, please provide a cue sheet in a complete, accurate and timely fashion.
Music Cue Sheets should be submitted within two weeks of TX. The Music Cue Sheet must
be amended by production staff and re-submitted if any of the information is incomplete,
incorrect or changes have been made to the programme.
If your programme is BBC commissioned, we will require the Music Cue Sheet to be
submitted via Silvermouse. Individual entries will be added in Silvermouse that pertain to the
BBC Studios version which your programme operations contact can help with (as per the
PasC).
If your programme is not commissioned by BBC, we will provide a template to complete.
If you require further guidance or help with the completion of the Music Cue Sheet, please
contact your programme operations contact.
8.4 1x Captions List
Production is responsible for sending a Captions List - a timecoded list of all texted elements
within the programmes and where this corresponding shot is in the textless elements when
the programme delivers for QAR.
It is essential for Captions Lists to be submitted to the QAR vendor at point of QAR.
QAR vendors will then use the captions list to cross reference both the list and media against
each other to confirm the validity of both the document and the content’s textless elements.
BBC Studios has identified that missing textless elements are a common fail point at QAR and
a frequent reason for client rejections. Additionally, the caption list is a vital component in the
creation of Semi-Textless masters.
A template for the caption lists will be supplied to be completed, which additionally contains a
detailed list of caption definitions on the right hand side of the document for reference.
If the Captions List cannot be submitted in time for QAR, please clarify this with your
programme operations contact.

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8.5 1x PSE Certificate

Production is responsible for delivering a master video file that has passed a PSE
(Photosensory Epilepsy) test, using a PSE device that meets the guidance given by Ofcom.
The DPP maintains a list of devices which should be checked prior to testing and delivery.
Pass PSE reports should be supplied at the same time as the master video delivery.
Note that this should be a separate document to the QAR report.
8.6 3x Episodic Synopses per episode, 3x Series Synopses
For each episode, and each series, BBC Studios require the supply of a synopsis for each of
the below categories. The below character limits include spaces and punctuation:
Short: 90 characters
Medium: 200 characters
Long: up to 600 characters
Each episode and series should be supplied as one document (i.e. one document each for
EP1, EP2 etc., and one document for the series). A template for the document will be supplied
by your programme ops contact.
Note: this is a separate requirement to any synopsis supplied on the PasC document.
Synopses should be supplied as soon as available in the production process, preferably prior
to delivery of the main deliverables, but no longer than 2 weeks post video delivery.
8.7 1x QAR Report
Please refer to the QAR section in this document for guidance on QARs. The QAR pass
report must be supplied in tandem with the delivery of the master video. If there are any sign-
offs on issues within the report that have been made by production, these should be clearly
flagged.
Note that BBC Studios reserves the right to challenge sign-offs that are made and request
redelivery and re-QAR where reasonable.
8.8 1x Bad Language List
A Bad Language List is required where profanity is used within a programme. This should be
timecode logged. If your title does not contain profanity, this list is not required for delivery.
Note that this is a separate document to any compliance forms that are carried out for the
commissioner.
8.9 1x Latin Species List
A Latin Species List is required where animals feature within a documentary (non-scripted)
title. This list should contain the exact timecode points that an animal is featured, it’s common
name, and its exact name in Latin as per binomial nomenclature. This ensures exact species
references can be both cross checked and accurately translated for a high standard of factual
accuracy in localisation. Note that an animal should be listed whether it is explicitly mentioned
by narration / presenter / VO or not. This list is not required for scripted titles.
8.10 File Names for Paperwork
For all paperwork delivering please use the following naming convention:
UID_SeriesTitle_SeriesNumber_EpisodeTitle_AssetType
E.g. FKAF117S_50_EarthFromSpace_S1_Change_Script
All forms should have the correct UID. Failure to do so may impact on contributor and music
royalty payments.

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Please refrain from putting episode numbers on paperwork to avoid relabelling issues if
running order changes occur.
8.11 Legal Paperwork Delivery Items
The following items for each programme are required to be delivered to BBC Studios over
email to: [email protected]
Any further legal paperwork will be requested via BBCS legal team. If you have any questions,
please contact: [email protected]
1x Schedule of Residuals
In order for the BBC Studios Distribution to record talent residual obligations accurately we
require a completed Schedule of Residual from our independent production partners. It is
essential that the information in the SoR is accurate and submitted on time, as it is a
document on which BBC Studios Distribution will base future payments to contributors.
1x Underlying agreements (where requested)
We may request copies of underlying agreements – outlining any agreements with any
contributor involved in a programme such as equity artists (including child artists), stunt
performers, composers, writers, directors and producers. As a minimum, all productions
should deliver copies of the writers, format, and composer agreements as standard where
appropriate.
1x Errors and omissions insurance policy certificate
1x Certificate of authorisation and origin

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Production Recalls
If the need to edit a programme should occur after delivery, requiring the master
video and audio and/or any ancillaries to be updated, BBC Studios will issue a
production recall. These are classified as either compliance or editorial edits.

9.1 Recall Process

If a production needs to redeliver content, please contact your programme operations contact
with full details of the issue as soon as possible, including:

• description / details of the exact issues

• timecodes of where the issues occur
• where / who has actioned the need for a recall
• if patches are available in addition to the master file redelivery
• the redelivery dates expected of both the master file and the patches
• if any paperwork and BWAVs have been impacted by the change and requires
redelivery
• the level of importance production places on both a client receiving a redelivery, and
if clients can air without taking delivery of the fix

Production should deliver both a new master and a patch for the fix of the file. It is important to
note that a patch is not sufficient for redelivery, a new master file will be required,
however the patch can assist us with those clients that need an urgent fix. BBC Studios also
requires all redelivered files to undergo a new QAR prior to delivery.
Please check with your programme operations contact if a UID change is required –
sometimes an issue will not require this and it is not always the same circumstances as BBC
Public Service. If a UID change is required it must be reflected on the clock and filenames.
It is important to consider if the change being made to the content will necessitate any
redelivery of paperwork. If a UID requires updating then new corresponding paperwork with
that UID must be supplied even if there are no other changes.
For the patch delivery, your programme operations contact will supply a new delivery end-
point for you to supply to.
For the master redelivery, this will usually occur through the same route as the original
delivery, however, please confirm this with you programme operations contact.
9.2 Compliance Edits
Compliance edits are where there may be a serious implication if BBC Studios continues to
distribute the content. These instances include, but are not limited to:

• OFCOM complaints
• Music clearances
• Archive clearances
• Contributor sensitivities

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• Uncleared telephone numbers

9.3 Editorial Edits
Editorial edits and technical fixes are where there are issues that arise that production would
prefer to fix in order to maintain production values. Examples may be, but are not limited to:
• Updating VFX
• Visible Production Kit
• Credit Changes (Contributor Misspellings)
• Factual Inaccuracies

9.4 Redelivery Thresholds

BBC Studios wants to ensure that our audiences gain the best experience of our content, and
so for the majority of recalls we will supply a new version to clients.
To ensure we also maintain the best customer experience we will operate under reasonable
endeavours to resupply those clients who are already under license. On occasion, we may for
minor issues consider whether a redelivery mandates a full recall, or only for new clients.
Credit change redeliveries (one of our most frequent issues), for example, will be made at
BBC Studios discretion based on the severity of the issue, and we cannot guarantee it will
mandate a redelivery to clients. Productions should therefore take particular care to ensure all
credits have been supplied correctly upon delivery.
Your programme operations contact will discuss with you the severity of any issue that
production attaches to any redelivery, and make a decision on the best action accordingly.
9.5 Rejection Redeliveries
If a client finds an issue with the content supplied, BBC Studios may approach production to
resupply the content and / or supply patches. As with production recalls, BBC Studios will take
a view on the best approach and requirement to resupply other clients.

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Marketing & Publicity

Photography guidelines
Clearance, Captions, Contracts and Compliance and Copyright.

As part of your contract you’ll have been Contractual Requirements

assigned a budget for marketing assets. It’s your responsibility to ensure that
We want to help you get the most out all contractual delivery requirements
of this budget, however large or small are met and that your photographer is
it is, and ensure time is appropriately briefed accordingly.
allocated, from the outset, to capture
these essential materials. We strongly recommend that negotiations
begin early as you’ll need to secure
To make sure any photography rights and agree costs with third party
supplied is usable, pay attention to the copyright owners including commissioning
following: broadcasters, photographers, etc.
You’ll need to supply BBC Studios
Clearance with electronic copies of clearance
All photography will need to be cleared documentation and licences.
of any copyright or artist/contributor
restrictions for world distribution and for Freelance professional photographers
the rights outlined in your contract. need to sign contracts assigning copyright
either to BBC Studios (for in-house
As well as associated programme publicity productions) or to the independent
– including print, online and product artwork
– the photography should also be cleared production company. Should the
for posting on social network sites such as investments be confirmed during/
Facebook and Twitter. after filming, a percentage of BBC Studios’
investment must to be set aside to obtain/
Captions clear suitable publicity photography.
Images need to be fully captioned
with identification of all Compliance
characters/content featured along Before BBC Studios can use your images,
with the episode number. A or supply them to buyers or broadcasters,
corresponding typed caption list must we must have written confirmation from
also be supplied electronically. We’ll both the executive producer and the BBC
provide you with a caption list template executive producer (where applicable) that
and ask you to confirm the rights listed all images and captions comply with the
are correct. Your photographer’s name, BBC Editorial Guidelines (http://www.bbc.
any third-party image credits and rights co.uk/editorialguidelines).
should also be included.

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Additional Rights 1.2 Practical Considerations

When BBC Studios has acquired pre- Timings
cleared secondary rights, eg. DVD, Digital Please refer to the dates stipulated in your
Ownership and Download to Own, your contract / distribution agreement.
producer must ensure that your
photography has been fully cleared for Quantity
these media across all platforms Our requirements vary by genre. Please
throughout BBC Studios’ distribution refer to your contract/distribution
territory. They must also confirm that agreement for full details.
it is suitable for product packaging and
Quality
associated uses such as product
Images should be of the highest technical
catalogues, posters and point of sale as
standard possible and be “ready for use”,
well as release to the press. When
requiring no substantial post production
specified, photography may need to be
work — such as cleaning backgrounds or
cleared for other uses such as publishing,
similar image remedial enhancements.
live events, art works etc.
Images are acceptable at the following
In certain cases “all media” may be minimum specification:
required which will include merchandising
Between 45MB–60MB (4800 pixels on the
and all ancillary rights.
longest side), before JPEG compression, for
1.1 Preparing the paperwork for unit photography. 60MB (5600 pixels on
photography the longest side), before JPEG compression,
for specials/iconic photography.
Photography plays an essential role in the
promotion of programmes. So it’s crucial Access to artwork for any designed image,
that photographic shoots are built into including the layers and elements.
your production schedule from day one.
Access to RAW files.
To get the best possible quality, we will
need your help and involvement and the CGI images must be high resolution and
co-operation of your key talent, right from layered, and, where applicable,
the outset. composited with conventional hi-res stills.
Screen grabs of CGI are not acceptable.
Working With Us
We’ll be in touch regarding photography
requirements and can help with a brief or
treatment outline as well as help with
photographer choice where appropriate.

Some Offer Documents will also have a

separate asset list appended to them. This
outlines, in detail, our photography
requirements and rights.

Where a Picture Publicist has been

engaged, it is essential that they adhere to
our guideline document detailing key
deliverables and timings.

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Delivery 1.3 Title Treatments

Images can be uploaded to BBC Studios’
Title treatments are required for BBC
asset sharing Dropbox account. Details will
Studios to create artwork and graphics to
be sent to you directly by the photo team.
promote titles.
The on-screen design material, i.e. title We require title treatments to follow the
treatment/logo should be delivered to
below specifications.
[email protected]
Preferably:
Or you can post to: Vector graphics — an Illustrator® or EPS
BBC Studios file, with all fonts outlined.
Global Photography
or:
1/C 1, Television
Photoshop® file — either a PSD of TIFF
Centre 101 Wood
file on a transparent background. High
Lane London
resolution 300ppi at as large size as it
W12 7FA
exists, including all necessary layers with
Non-Delivery outlined fonts and effects flattened.
As photography is a contractual If available:
obligation, for which BBC Studios has Horizontal and stacked versions.
provided budget, we reserve the right
to reduce our level of investment if Any language versions (sometimes
the photography is not available, not we translate title treatments for
sufficient or not useable for technical different regions).
or aesthetic reasons. Screen grabs will
only be accepted in addition to the full The font or name of the font of the
delivery of the high resolution still camera title treatment.
photography. Late delivery can delay the
final payment of the investment. The on-screen design material, i.e. title
treatment/logo should be delivered to
[email protected]

For general enquiries please contact

[email protected]

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Section II MARKETING AND PUBLICITY

REQUIREMENTS

To give our sales teams the best opportunity

to sell your title to international buyers (trade)
and global audiences (consumers) they need
the highest quality marketing assets. In many
cases, we need to start this conversation before
production has commenced.
Trade Deliverables
We begin our marketing drive as soon as our involvement with a
programme is confirmed.
Examples of trade use include:

Pre-Markets
Our first opportunity to discuss your title Key Art
with potential buyers and broadcasters. As We may need to create high
the name suggests, these take place resolution, high quality print materials
ahead of the major trade festivals and like stand walling, advertising,
often when you are still at the early stages
posters, etc. in addition to our sales
of your shoot. Even though the timing may
not be ideal, we may ask you to provide catalogue, small format promo cards
early assets for promos, sizzle reels and and merchandise. We need a
assemblies, and early release images for selection of images, including iconic
print marketing. photography and artwork.

Trade Festivals Bespoke art may be required. Some

Festivals such as MIPCOM, MIPTV and festivals give distributors the
our own Showcase are bust places where opportunity to create event experiences
great content vies for attention. In such and incredible installations that give
competitive environments, we need to buyers the chance to interact with
make sure your content shines through. programmes and be captivated by their
content.
Buyers need to know how our audiences
will connect with our programmes. They Footage
need to be drawn in. Intrigued. They’re We’ll ask for footage in three stages
bombarded by images every day so ours during production – for pre-markets,
have to stand out. markets, and final delivery. Given the
timing of these events this may be
required while you’re still in
production, with early footage rushes
needed to produce promos and sizzle
reels at appropriate times.

Online Catalogue
Our online catalogue (OLC) is a
constantly updated resource for buyers
and ongoing sales to new markets. It
features full details of your
programme, promo clips and
aftersales marketing tools such as
downloadable images and ratings
reports.
 Content Delivery book

Consumer Deliverables
For the global consumer market, we need assets to create bespoke
marketing campaigns and merchandising as well as other print,
filmed and digital materials. Our challenge here is to produce
strong, eye-catching video, title graphics and ‘Value Added
Materials’ for a huge variety executions across multiple platforms.

Examples of Campaign Elements: Digital Platforms:

We supply marketing assets to digital
On and Off-Air Campaigns: platforms such as Amazon, Netflix,
To drive audience engagement pre, iTunes and YouTube as well as the
during and post TX, we need final BBC iPlayer. These channels are
footage for promos, trails and reels, increasingly asking for Value Added
as well as press and communications. Materials.

Photography Assets: Value Added Materials

Once a programme has been bought, (including EPKs):
we supply a set of key artwork and Include behind-the-scenes and props
unit stills for use in public-facing photography, interviews and exclusive
marketing in specific territories, e.g. content. They can be used across
press, outdoor and digital advertising. different media including on-air, digital
These images are also used for platforms, social media, press, etc. If
listings and features as well as this is the case, we’ll let you know
website and social media content. during pre-production so you can plan
for this marketing content from the
Digital and Social Media: outset.
Digital and social media play a vital
role in our campaigns, using tailored All VAM material should be delivered
video content, imagery and formats to broadcast specifications. Post-
for use on platforms such as Production paperwork will need to be
Facebook, Twitter, Instagram, supplied. If for technical reasons you
YouTube, Yooku and Weibo. are unable to deliver to broadcast
standard, and exemption must be
applied for in advance of production.
If an exemption is not granted, non-
broadcast standard material may be
rejected.

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Collaborations
To be able to meet these various demands, our creative teams need
top quality assets. How many will depend on the size of your
commission and the genre of your title.
We’ll work with you to get the best possible material and, if
appropriate, will arrange a specific briefing process with you,
planning assets from pre-production to wrap.

Campaign Examples:
Case Study 1:
Factual Entertainment: Ice Town
What’s the big idea?
Case Study 2:
We rely more and more on photography
Landmark Drama: Sherlock
to help us create memorable, arresting,
global campaigns., But not just any
Case Study 3:
photography. Assets need to work
Children’s: Hey Duggee
across all territories and touchpoints:
on-air, off-air, press, digital and social.

Straightforward stills and screengrabs

can only go so far. We need every
photograph to tell a story. To have an
incisive, strategic concept at its heart.
The following examples do just that. To
drive audience engagement pre, during
and post TX, we need final footage for
promos, trails and reels, as well as
press and communications.

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MIPCOM Wall — Large format

Trade Ad — DPS

Character Posters — Portrait format

Promo cards

33
Advertising

Marketing Campaigns

Character Posters — Portrait format Print media — Large format — Trade

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 A Studio AKA production with
CBeebies and BBC Studios

Promo cards

Media — Large Format — Trade

Media — Large Format — Trade