Deliverables are the elements producers are required to provide to distributors or financiers to fulfill the terms of the production contract.


  • DSM: Digital source master. The original motion picture supplied to the encoding facility.
  • DCDM: Digital cinema distribution master. The post-production step prior to a DCP. The frames are in XYZ TIFF format; sound and picture are not yet wrapped into MXF files.
  • DCP: Digital cinema package. A collection of digital files used to store and convey digital cinema audio, image, and data streams to theaters for projection.

Commonly required deliverable items

  1. 3D IMAX digital master. A color-timed and convergence-adjusted master digital video file to be used by IMAX/DKP to create IMAX-compliant DCPs. 5.0 audio mix. 24 fps unless otherwise required or High Frame Rate (HFR). (Processing by IMAX/DKP is not required if the source material is 2D.) For content taller than 1.9:1 up to 1.43:1 full screen material, pre-process the image in your DCP package by squeezing the vertical dimension by exactly 24.8%. The anamorphic lens of the projector will expand the image to the correct ratio.
  2. 2D IMAX digital master. Usually created by comparing the left- and right-eye versions of each shot in the 3D IMAX digital master and choosing the best images on a shot-by-shot basis, or by using 2D source footage if shot in 2D. Some transitions will need to be recreated if this deliverable is created from the 3D IMAX digital master. 5.0 audio mix. 24 fps unless HFR.
  3. 3D IMAX 65mm film negative. Cut and timed 15/65mm negative with interlock and separate 6.0 audio. 24 fps.
  4. 2D IMAX 65mm film negative. Created by either 1) comparing the left- and right-eye versions of each shot in the 3D IMAX 65mm film negative and choosing the best images on a shots-by-shot basis, or 2) by making the choice on a roll-by-roll basis. (A film is made up of three-minute rolls, so to avoid having to re-cut the negative some filmmakers choose the best rolls). Transitions will need to be recreated if this deliverable is created from the 3D IMAX 65mm negative. 6.0 audio. 24 fps.
  5. IMAX dome 65mm film negative. Often created from the 2D film negative. If this version originates from a DI, it may have specific shots that require repositioning of the image with sky extensions or shot extensions to work better in the dome format. (See Dome Re-Versioning.) 24 fps.
  6. IMAX and other format laser master. As of 2015, Imax Corporation requires the delivery of a 4K 3D digital laser master file with 12.0 audio. (Or a 2D master for 2D source material.) Several non-IMAX 4K laser systems have been installed and several companies are working on a single-channel laser system for domes. Technical details on these formats were not available at the time of publication (mid 2015).
  7. 4K/2K DCI. 4K and/or 2K DCDM is needed to create DCI-compliant DCPs. Generally with 5.1 or 7.1 audio, possibly Dolby Atmos or Barco Auro.
  8. HDCAM SR with split audio and textless tail. (Marketing and home video master.) Rec 709 Color space, 1080×1920, 23.98fps. Any shots with text or graphics overlaid in the body of the film should be included without text or graphics at the tail of the tape. HQ QuickTimes of the same, with separate .wav files for sound, are also commonly used for such masters. Audio splits should include:
    1. Tracks 1–2: Stereo left/right mix
    2. Tracks 3–4: Left/right narration and dialog
    3. Tracks 5–6: Left/right natural sound, background sounds and voices, atmosphere sounds
    4. Tracks 7–8: Left/right music.
  9. Audio mixes. Mono .wav files at a minimum quality of 24bit/48K, uncompressed PCM, should be delivered for each channel of each mix. Possible mixes required include:
    1. IMAX 12.0 (IMAX laser)
    2. IMAX 6.0 (IMAX film)
    3. IMAX 5.0 (IMAX digital)
    4. Left/Right Stereo (Marketing HDCAM, home video, web)
    5. Dolby 5.1 (DCI theaters and home video)
    6. Dolby 7.1 (Some DCI theaters and some home video)
    7. Dolby Atmos (Some DCI theaters)
    8. Barco Auro (Some DCI theaters)
  10. Audio splits and music and effects of each mix. Mono .wav files at a minimum quality of 24bit/48K, uncompressed PCM, should be delivered for each audio group from each audio mix format. The following audio groups are the minimum grouping splits that can be delivered, and may often be broken down further:
    1. Narration and dialog
    2. Natural sound
    3. Background sounds and voices, atmosphere sounds
    4. Sound effects
    5. Music
  11. Fully filled music and effects. For any scenes in which location dialog is used, a fully filled music and effects track will be required for dubbing into foreign languages. This requires Foley to replace any background sounds, atmospheres, or SFX that are lost when removing the location dialog.
  12. Release binder. A binder with organized copies of releases for all licensed footage and music, background appearance releases, location releases, releases for any other intellectual property, and deal memos with releases for key on-screen talent. When applicable, also include any corporate sponsorship agreements or profit participation agreements.
  13. Key art and fonts. All key art, fonts, and logos created for or used in the project, preferably in vector art form, or at the highest quality available, along with a style guide for how and where to use each item and the color palette to be applied to each.
  14. Contact list. Including all on-screen talent, crewmembers, and key vendors.
  15. As-broadcast script. A script including all dialog and on-screen text appearing in the final version of the film, with time-code notations for the start of each line of dialog or text graphic. Include translations of any foreign language dialog.
  16. Fact-check binder. A list of all facts presented in the film, with time code and at least one source for each fact. Two or more sources are preferred. (Only required for documentary films.)
  17. Music cue sheet. A chart noting the name, in and out time codes, total running time, composer, publisher, music rights society, and usage type for all music cues used in the project.
  18. Music score. All composed, licensed and/or performed music should be delivered at the highest quality available. Tracks should be numbered in the same order as they appear on screen. When a selection of a licensed song is used, include the full song with the score.
  19. List of credits. A chart of the credits appearing at the head and tail of the film with in and out time codes for each.
  20. MPAA rating certificate. The official certificate from the MPAA showing the rating assigned to the film.
  21. Final edit decision list (EDL). An EDL of the locked online cut of the film. Generally delivered in CMX-3600 format unless otherwise required. In the case of a 3D project, EDLs must be delivered for the left and right eyes. It is also customary to deliver a project file from the editing software (e.g., Avid, Final Cut, Premiere, Lightworks, etc.) containing only the timeline/sequence of the locked edit.
  22. Production stills. Most distributors require 50–100 production stills showing the main subjects and locations of the film. Approximately 20% of the shots should be behind-the-scenes activity. All delivered stills should be selects, shot in a raw format, at least 18MP in size, and properly focused and exposed. Delivered stills should be roughly color graded using a non-destructive process. Still image files should be delivered with sequential file names unique to the project. A chart listing each photo’s file name, a thumbnail, description, photographer, date and time taken, location, names of people in the photos, and possibly the names of any animals or plants if they are featured. It is not uncommon for distributors to also require captions for each photo and the exact GPS coordinates where each photo was taken.
  23. Behind-the-scenes footage. At least two hours of behind-the-scenes footage selects, taken mostly during production, at a minimum of 1080×1920 HD-quality footage, should be delivered for marketing and home video use. BTS footage should match the frame rate of the film and always include sync sound. Shots should include a mix of on-set activity, on-the-fly interviews with key talent and filmmakers, and a variety of insert and B-roll shots. All material should have sync sound. Footage files should be delivered in their camera original format and organized as best as possible.


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