Video Requirements

Video Types

In modern post-production, a single project often requires multiple video master versions to accommodate different needs globally and per platform. Whether you are preparing a file for local broadcast or global release on a streaming platform, understanding the distinction between Texted, Semi-textless and Textless assets is essential. This guide outlines the requirements for each format to ensure all content is globally scalable and fully optimized for international distribution.

Paramount requires delivery of the following video master types. Each serves a distinct purpose in the localization and distribution pipeline.

The Texted Master is the primary video deliverable. It represents the complete, finished version of the program as it was originally broadcast or theatrically released, with all creative text elements intact and burned into the picture.

This includes:

Opening titles and main title sequence
End credits
Lower thirds and on-screen graphics
Location callouts and establishing text
Forced Narrative subtitles — burned-in translations of foreign-language dialogue or on-screen text that is integral to understanding the content (e.g. a sign in another language, a text message, foreign-language speech)

The Texted Master serves as the reference version of the program and is required for all deliveries, whether the content is a new production or a legacy acquisition.

The Semi-Textless Master is a supplementary video deliverable intended to facilitate global localization. It is structurally identical to the Texted Master, with one key difference: all burned-in Forced Narrative subtitles have been removed.

The required Forced Narrative File must be supplied as a sidecar subtitle file!

All other creative text elements remain intact, including:

Opening titles and main title sequence
End credits
Lower thirds and on-screen graphics
Location callouts

By removing only the Forced Narratives, the Semi-Textless Master allows Paramount to combine it with discrete, territory-specific subtitle tracks — producing a single, globally distributable version of the program without requiring separate re-edits per market.

The Semi-Textless Master is required only when the Texted Master contains burned-in Forced Narrative subtitles. If the Texted Master contains no burned-in Forced Narratives, this deliverable is not necessary.

Example: A program set partially in Japan includes scenes where characters speak Japanese. The Texted Master has English translations of that dialogue burned into the picture. The Semi-Textless Master would have those English subtitles removed, while retaining all credits, lower thirds, and other graphics.

The Textless Master is an additional reference deliverable from which all text elements have been removed from the picture.

This includes, but is not limited to:

Opening titles and main title sequence
End credits
Lower thirds and on-screen graphics
Location callouts
All burned-in subtitles and Forced Narratives

The Textless Master provides clean, unobstructed picture for every portion of the program that contains text in the Texted version. It is used by localization vendors to composite new, territory-specific text elements — such as translated titles or dubbed credit sequences — directly onto the clean video.

The Textless Master is required for new productions. For legacy content acquisitions, it should be provided if available. If textless elements cannot be provided as a standalone master, they may alternatively be delivered at tail of a Texted and Semi-textless masters.

Technical Video Requirements

All video content must be delivered in its original Native Frame Rate and Aspect Ratio.
The program must contain an embedded Timecode track
Native 29.97 and 59.94 content must be provided as drop-frame timecode; all other framerates would be non-drop frame
Video framerate must be continuous and constant throughout the duration of the program
Video must be delivered in the highest available resolution of either UHD (3840×2160) or HD (1920×1080).
SD is only accepted for library content and must be delivered in the original framerate and scan type.
The video track must only contain a single edit list entry
Metadata in the file header must accurately indicate:
- Scan Type
- Scan Order
- Display Aspect Ratio

Preferred Head Build

Slate	00:59:50:00
Black	00:59:55:00
Program	01:00:00:00

*All program content should adhere to Hour 01 timecode. Hour 10 is acceptable for content originating from Europe.

Head Slates

A slate is required for new productions. It should include the following information:

Title
Episode Number
Censorship (Censored / Uncensored)
Language
Aspect ratio
Resolution
Duration
Frame Rate
Video version (e.g., Texted, Semi-textless, Textless)

For content that was previously produced (an acquisition), Paramount Global will accept any previously produced slate as-is. Additionally, an asset without a slate will also be accepted if none was created.

SDR Technical Specification

Codec	ProRes 422 HQ
Container	QuickTime MOV
Resolution	HD: 1920 x 1080 UHD: 3840 x 2160
Scan Type (Native)	HD: Progressive or Interlaced UHD: Progressive only
Frame Rate (Native)	Progressive: 23.976, 25, 29.97, 59.94 Interlaced: 25, or 29.97
Chroma Bit Depth	10 bit
Color Coding / Space	Y’CbCr 4:2:2 / Legal Range
Color Primaries*	ITU-R BT.709
Transfer Characteristics*	ITU-R BT.709
Matrix Coefficients*	ITU-R BT.709
Audio Codec	Linear PCM
Audio Bit Depth	24 Bit
Audio Sample Rate	48 kHz

* Color primaries, transfer characteristics, and matrix coefficient metadata must be present in both the container and the video essence.

Audio Assignments and Layouts

Choose the layout that best fits your content. If uncertain, consult your Paramount contact.

4 Channels: Stereo Full Mix and Stereo M&E (use only if 5.1 is unavailable)
8 Channels: 5.1 Surround (Left, Right, Center, LFE, Left Surround, Right Surround), and Stereo Full Mix (Left/Right)
10 Channels: 5.1 Surround, Stereo Full Mix, and Stereo M&E
16 Channels: 5.1 Surround, Stereo Full Mix, Stereo M&E, and 5.1 M&E
Mix stereo from 5.1 surround when possible.
LFE must contain only low-frequency (under 120hz).
The presence of full audio on LFE is subject to QC Failure.

HDR General Requirements

For any HDR delivery, a separate and corresponding SDR video must also be supplied.
HDR content must be frame, and shot-aligned with the SDR to allow audio and timed text tracks to be shared across both sources.
HDR and SDR video frame counts must match.
Display dimensions and PASP must match the corresponding primary video essence.
Preferred Mastering Parameters are BT.2020; Display P3 is accepted.
MaxCLL / MaxFALL metadata must be present in the video metadata. For Dolby Vision content, it must also appear and match in the XML Level 6 data.

Dolby Vision Requirements

Dolby Vision content must be supplied with a single Dolby Vision metadata XML file.
Dolby Vision metadata must represent the whole video essence with no gaps from SOM to EOM, including any textless segments at the tail.
Dolby Vision metadata CM 4.0 project is preferred; CM2.9 is accepted for library content; reference Dolby Vision Color Grading Best Practices Guide for details.
The CM 4.0 XML must be exported with the latest backwards-compatible algorithm using the latest version of Metafier.
Dolby Vision metadata should be mastered using display type 7 (4000-nit, P3/D65, ST.2084). Master Display of 20 (1000-nit, P3/D65, ST.2084) & 21 (1000-nit, Rec. 2020, ST.2084) are also accepted.

Dolby Vision metadata (.xml) must contain the following:

Level 0 – Mastering Monitor Information
Level 1 – Master Image Analysis (using the “Analyze” tool on the color correction system).
Level 2 – Rec709 Target ID 1 Trim (“Target Trim Metadata”).
Level 6 – MAXCLL/MAXFALL HDR values
(Note: where values are not automatically calculated during Dolby Vision analysis, they must be calculated separately and inserted into the L6 placeholder manually or using Metafier).
A Rec709 trim pass must be completed using the Dolby Vision controls set up for home entertainment mastering (Rec709, Gamma 2.4, peak brightness of 100 nits).
Frame rate must match the video essence.
E.g. 23.976fps video essence the XML edit rate should be set to <EditRate>24000 1001</EditRate>

HDR Technical Specification

Codec	ProRes 4444 XQ
Container	QuickTime MOV
Frame Rate	23.976 or 25
Scan Type	Progressive
Aspect Ratio	Original Aspect (unless otherwise specified)
Resolution	UHD: 3840 x 2160
Pixel Bit Depth	12 bit
Color Coding / Space	Full Range RGB
Color Primaries	BT.2020	Display P3
Transfer function (EOTF)	SMPTE ST-2084 (PQ)	SMPTE ST-2084 (PQ)
Matrix Coefficients	BT.2020 non-constant	BT.709
DV XML Color Encoding	BT.2020	p3d65
Mastering Volume Metadata*	SMPTE ST-2086
Dynamic Metadata	SMPTE ST-2094
Audio Codec	Linear PCM
Audio Bit Depth	24 Bit
Audio Sample Rate	48 kHz

SD Technical Specification

Codec	ProRes
Container	QuickTime MOV
Resolution	NTSC: 720 x 486 PAL: 720 x 576
Scan Type (Native)	SD: Progressive or Interleaved
Frame Rate (Native)	Progressive: 23.976, 25, 29.97 Interleaved: 25, or 29.97
Chroma Bit Depth	8 bit
Color Coding / Space	Y’CbCr 4:2:2 / Legal Range
Color Primaries	BT.601
Transfer Characteristics	BT.601
Matrix Coefficients	BT.601
Audio Codec	Linear PCM
Audio Bit Depth	24 Bit
Audio Sample Rate	48 kHZ

Photosensitive Epilepsy Testing

Photosensitive Epilepsy (PSE) is a type of epilepsy characterized by seizures triggered by visual stimuli like flashing lights, bold, repetitive patterns, or moving patterns on screens. Paramount mandates adherence to guidelines for reducing photosensitive epilepsy risk, typically limiting flashes to no more than 2 per second, as outlined in ITU-R BT.1702. Paramount strongly advises content providers to utilize a “Flash & Pattern Analyzer” on all material before delivery to verify compliance with these standards.

Segmentation

Segment rundowns provide critical information regarding program structure and ad-insertion placement for seamless content (programs produced without natural act breaks, such as feature films or continuous narratives).

Document Format & Metadata

Deliverables must utilize the Paramount Segment Air Rundown Template and adhere to the following delivery specifications:

File Format: .xlsx
Structure: Acts and granular segments must be included within a single file, organized under two separate tabs.
Required Header Information:
- Show Name
- Episode Name
- Episode Number

Template layout

The rundown file must strictly follow this layout:

Segment DSID: Primary DSID + segment number (e.g., HDBLUE101A1).
Marker Category: Defines the segment name (e.g., Title Sequence, Cold Open, Credits).
Timecode In: Frame-accurate start timecode.
Timecode Out: Frame-accurate end timecode.
Duration: Segment duration.

Seamless Content Ad Insertion Guidelines

For seamless content, a list of timecodes where ads can be dynamically inserted for streaming purposes must be provided. Break points should be determined creatively using natural pauses, visual cues, or transitions to maintain narrative rhythm and viewer immersion.

Ad Break Thresholds

Suggested ad-insertion markers must meet the following minimum density requirements:

For every 30 minutes of content, at least 3 break points (each over 4 minutes in duration)
For every 60 minutes of content, at least 5 break points (each over 4 minutes in duration)

Critical Audio & Sidecar Alignment

All timed sidecar assets—including Dubbing, Audio Description (AD) tracks, and Subtitles—must align precisely with these specified insertion points. Production must ensure that no trailing dialogue or audio elements overlap or cross these timecodes to prevent content from being cut off during ad playout.