Capitolato Tecnico 1.3.1 ENG GF Fin

Technical specifications for the
purchase of TV products in
SD/HD/3D/UHD formats
Type: Fiction/Cinema
Version 1.3 (July 2017)

Document Data
Title Technical specifications for the purchase of TV products

in SD/HD/3D/UHD formats
Subject
Classification Public Document
Issuing structure/body RAI Radiotelevisione Italiana s.p.a.
Contacts
Review Date Notes

1.1 April 2016
1.2 December 2016 Official Publication
1.3 July 2017 Update
Contents
1. Introduction....................................................................................... 6
2. Video Formats................................................................................... 6
2.1 Standard Definition (SDTV) ...................................................................... 6
2.2 High Definition (HDTV) ............................................................................. 7
2.3 High definition 3D (3DTV) ......................................................................... 8
2.4 Ultra High Definition Television (UHDTV) ................................................ 9
3. Technical Specifications - Video ................................................... 10
3.1 Image quality requirements.................................................................... 10
3.2 Video Levels, gamut errors and forbidden signals............................... 11
3.3 Moving titles and graphics ..................................................................... 11
3.4 Anti-PSE .................................................................................................. 11
3.5 Safe area .................................................................................................. 11
3.6 Presence of material with not consistent features ............................... 12
3.7 Archive material ...................................................................................... 12
3.7.1 General quality ......................................................................................................... 12
3.7.2 Aspect Ratio ............................................................................................................. 12
3.7.3 Captions and subtitles .............................................................................................. 12
3.8 Conversion from other formats.............................................................. 13
3.9 Vertical blanking of content in video media .......................................... 13
3.10 Field dominance .................................................................................... 13
4. Technical-Audio Specifications .................................................... 14
4.1 Quality requirements .............................................................................. 14
4.2 Multi-channel audio ................................................................................ 14
4.3 Assignment of audio tracks ................................................................... 15
4.4 Alignment tones and audio channel identification ............................... 15
4.5 Maximum audio level .............................................................................. 16
4.6 Program Loudness Level ....................................................................... 16
4.7 Audio/video synchronization ................................................................. 16
4.8 Dolby E Specifications ........................................................................... 17
5. Subtitles .......................................................................................... 17
6. Program layout ............................................................................... 17
6.1 Protection tail .......................................................................................... 18
6.2 Alignment tail .......................................................................................... 18
6.3 Identification tail ..................................................................................... 18
6.4 Starting tail .............................................................................................. 19
6.5 End tail ..................................................................................................... 19
6.6 Timecode ................................................................................................. 20
7. Delivery formats ............................................................................. 21
7.1 Delivery using professional video media .............................................. 21
7.2 Delivery using IT media - file naming convention................................. 21
7.3 Delivery using IT media - file organisation ............................................ 22
7.4 Delivery by IT transfer ............................................................................ 23
7.5 Programs delivered on multiple media.................................................. 23
7.6 Accompanying documentation and labelling ....................................... 24
7.7 Subtitles................................................................................................... 24
8. File format - Technical Specification ............................................ 25
8.1 File compliance tools and profiles ......................................................... 26
8.2 Aspect Ratio, Active Format Description and Bar Data ....................... 26
8.3 Timecode ................................................................................................. 26
8.4 Track duration ......................................................................................... 27
8.5 File segmentation.................................................................................... 27
8.6 Audio track layout ................................................................................... 27
8.7 SDTV MXF/D10 Profile ............................................................................ 28
8.8 HDTV MXF/XDCAM HD422 1080i25 Profile ............................................ 28
8.9 HDTV MXF/AVC 1080p25 Profile ............................................................ 29
8.10 HDTV MXF/AVC 1080p50 Profile .......................................................... 29
8.11 HDTV MOV/ProRes422HQ 1080p25 profile .......................................... 30
8.12 HDTV MOV/ProRes4444 1080p25 profile ............................................. 30
8.13 UHDTV MXF/XAVC 2160p25 Profile ..................................................... 31
8.14 UHDTV MXF/XAVC 2160p50 Profile ..................................................... 31
8.15 UHDTV MOV/ProRes4444 2160p25 profile ........................................... 32
8.16 UHDTV MOV/ProRes4444 2160p50 profile ........................................... 32
8.17 UHDTV MXF/DNxHR 2160p25 Profile ................................................... 33
8.18 UHDTV MXF/DNxHR 2160p50 Profile ................................................... 33
8.19 UHDTV MOV/ProRes422HQ 2160p25 profile ....................................... 33
8.20 UHDTV MOV/ProRes422HQ 2160p50 profile ....................................... 34
9. Metadata and Technical documentation ...................................... 35
9.1 Printed technical data sheet ................................................................... 36
9.2 Technical data sheet in electronic format ............................................. 37
9.3 Dolby E Metadata .................................................................................... 38
10. Audio tracks layout ........................................................................ 39
10.1 Audio configurations on 8 tracks layout ............................................. 39
10.2 Audio configurations on 16 tracks layout ........................................... 40
11. Code Format identifier ................................................................... 42
12. Attachment A – Format Identifier – allowed values ..................... 43
13. Technical Standards and Recommendations .............................. 45
Glossary ...................................................................................................... 47
1. Introduction
This document describes the technical specifications for the supply to RAI of
television products in Standard Definition, High Definition, 3D High Definition and
Ultra High Definition (hereafter respectively identified with acronyms SDTV, HDTV,
3DTV and UHDTV).
Although many parts of these specifications have general validity, the reference
context is limited to fiction and cinema genres.
Particular features of other program types will be considered in future versions.
In general, RAI assumes that all product production stages are carried out
professionally using equipment in perfect working and maintenance conditions.
It is taken for granted that the main international technical standards for audio-video
signals are well known and that if they are not mentioned in this document is
consequently not an omission, it being understood that processing will be carried out
in full compliance.
For convenience, Chapter 13 lists the references to standards and
recommendations mentioned in these Technical Specifications.
2. Video Formats
The following paragraphs describe the main technical specifications for the
television standards accepted by RAI.
2.1 Standard Definition (SDTV)

RAI accepts SDTV content generated in conformity with the ITU-R BT.601
Recommendation having the following characteristics:
 Resolution: 720x576 active pixels
 Aspect Ratio: 16:9 FHA (Full Height Anamorphic)
 Frame rate: 25 frames per second, interlaced scanning (50 semi-fields per
second)
 Chroma sub-sampling scheme: 4:2:2
In case of a program is supplied originating from a 525 line, 30 frame per second,
interlaced master, standard conversion must be performed out using converters with
motion compensation algorithms1
In case of content originates from SDTV masters with a 4:3 aspect ratio, the aspect
ratio must be changed in accordance with paragraph 3.8 and delivery, after format
conversion, should be in HDTV 1080i25 format.
1
In the literature, see "motion compensation" https://en.wikipedia.org/wiki/Motion_compensation
2.2 High Definition (HDTV)
RAI accepts HDTV contents generated with a production chain that, in terms of
camera choice complies with EBU R118 v1.2 Recommendation (paragraph 2.4 "HD
Tier 1") and that in terms of choice of compression algorithms and encoding bit-
rates for subsequent processing stages ensure visually indistinguishable quality
from the acquired signal.
RAI accepts HDTV content in the following formats:
HDTV 1080i252 format
 Resolution: 1920x1080 pixels
 Aspect Ratio: 16:9
 Frame rate: 25 frames per second, interlaced scanning
HDTV 1080p25 format

 Frame rate: 25 frames per second, progressive scanning
HDTV 1080p50 format

Formats based on 1920 x 1080 pixel resolution must conform to ITU-R BT.709
Recommendation and SMPTE 274M standard.
Reference colorimetry for HDTV formats is specified in the ITU-R BT.709
Recommendation.
If the original acquisition involves film, Super 35 mm or higher quality film must be
used preferably with an aspect ratio of 1.78 (16:9).
At every point of the production chain, material must be encoded with horizontal and
vertical resolution equal or higher than that required by RAI. Exceptions are allowed
only as indicated in paragraph 3.6.
2
The 1080i25 format is also identified with the label 1080i50 referring to the frequency of semi-fields (50 Hz) rather than
the frame rate (25 Hz). The 1080i25 notation is preferred in order to harmonise the description of progressive and
interlaced formats.
2.3 High definition 3D (3DTV)
The 3DTV format refers to a stereoscopic pair composed of 2 coherent signals in
HDTV format respectively corresponding to the signals presented to the left and
right eyes by a special reproduction chain. Therefore, each HDTV stream must
satisfy the requirements defined in paragraph 2.2
RAI accepts 3DTV content in the following formats:
1080i25 format
 Frame rate: 25 frames per second, interlaced scanning
1080p25 format
In accordance with specific editorial requirements, special productions may also be

made in the following formats:
 HDTV 1080p50 (see paragraph 2.2)
 UHDTV (see paragraph 2.4)
Production must be implemented in accordance with the guidelines provided in the

EBU R135 Recommendation.
2.4 Ultra High Definition Television (UHDTV)
RAI accepts HDTV contents generated with a production chain that, in terms of
camera choice complies with EBU R118 v1.2 Recommendation (paragraph 2.1
"UHD-1 Tier 1)“ that use RAW as the recording format3.
In stages after recording, the choice of compression algorithms and bit-rates must
ensure the highest possible quality.
RAI accepts UHDTV content in the following formats:
2160p25 format
 Resolution: 3840×2160 pixel
 Colour depth: 10 bit/sample or higher
 Chroma sub-sampling scheme: 4:2:2 or 4:4:4
2160p50 format
 Resolution: 3840×2160 pixel
 Colour depth: 10 bit/sample or higher
 Chroma Sub-sampling scheme: 4:2:2 or 4:4:4
The reference standard for 3840x2160p25 and 3840x2160p50 formats is ITU-R

BT.2020 Recommendation
If the original acquisition is on film, the Super 35mm or higher quality film must be
used, while digital conversion must be performed with a state-of-the-art 4K film
scanner.
3
The RAW format is the recording mode that directly stores the signal captured by the sensor, thereby minimising
processing and compression (lossless compression or visually lossless)
3. Technical Specifications - Video
3.1 Image quality requirements
RAI requires “level 5” (optimal) image quality in accordance to the assessment scale
described in the ITU-BT 500 Recommendation.
Bearing specific artistic and editorial needs in mind, RAI requires that:
 The image should be reasonably but not artificially sharp
 The image should be free of excessive noise, grain or artefacts caused by
digital compression techniques
 The image should be as free as possible from defects caused by the optics
used (e.g. reflections, monochromatic aberrations, chromatic aberrations,
etc.)
 Camera movements should be reasonably soft and continuous
 The image should be free from excessive compression of low- and high-
lights
 Highlight clipping must not cause visible artefacts
 Aliasing or jagged edges/lines should not be perceptible
 Colour shade yield, especially of skin tones, should be consistent throughout
the program and realistic as regards the scene recorded unless deliberately
altered to achieve a specific visual effect
 No digital processing artefacts should be perceptible (eg. contouring,
banding, quantization noise) or spurious signals (eg. ringing, smear, echoes,
overshoots, moiré, hum, crosstalk)
For 3DTV content, also refer to the following parameters:
 Residual vertical disparity. Vertical disparity denotes the vertical
misalignment of two cameras while shooting. The absolute vertical disparity
value at the centre of the program must be less than one pixel. A value of
less than 1/100 of image height measured at the corners of the frame is
acceptable
 Sensor rotation. Rotation indicates that the horizontal sensor axes of both
cameras are not co-planar. Rotation must be nominally by null: a line placed
along the horizontal axis of the sensors must visually align, i.e. give rise to
vertical disparity having an absolute value of less than one pixels along the
horizontal axis of the image
 Focal length. The focal length set on the lenses of the two cameras must be
nominally identical, i.e. the lenses must have the same nominal optical
configuration. A value of less than 3/1000 of image height measured
horizontally and/or vertically at the corners of the frame is acceptable
 Focusing distance. The focusing distance set on the lenses of the two
cameras must be nominally identical, i.e. the lenses must have the same
nominal characteristics
 The recording system must be arranged in such a way as to minimise as far
as possible the effects of non-linear distortions that may cause altered
perception of the actual space
 To facilitate playback and testing of stereoscopic material, it should be
optimised for 16:9 format display screens with a diagonal length in the 40"-
60” range
3.2 Video Levels, gamut errors and forbidden signals

SDTV, HDTV and UHDTV signals will be respectively evaluated in accordance with
ITU-R BT.601, ITU-R BT 709 and ITU-RBT.2020 Recommendations.
Video levels must fall within specific limits so that the program can be used without
further processing.
Each signal outside the specified bounds is considered to be a gamut error4.
Using traditional representations where the nominal black level is shown as 0 mV (or
0%) and the nominal white level as 700 mV (or 100%), RGB components must
comply with the EBU R 103 recommendation, namely:
 R, G and B components set between -35 mV and 735 mV (respectively -5%
and 105%)
 The Luma component (Y) set between -7 mV 721 mV (respectively -1% and
103%)
Given the difficulties of controlling transients, a margin of error is allowed quantified
as 1% of the number of pixels. Only frames having more than 1% of pixels outside
the specified limits will be considered as gamut errors.
3.3 Moving titles and graphics

Moving titles and graphics should be inserted by working with the native format,
ensuring that any subsequent conversion into interlaced formats or lower resolution
retains legibility.
3.4 Anti-PSE
Flashes of light, intermittent lights and certain kinds of repetitive visual pattern can
cause problems for viewers with PSE - PhotoSensitive Epilepsy. Televisions, by
their very nature, are a source of intermittent light so one cannot completely
eliminate the risk of causing such attacks in people suffering from this form of
epilepsy. Nevertheless, some precautions are possible in order to reduce this risk.
Consult the website of UK Independent Television Commission (www.ofcom.org.uk)
for some basic guidelines in this regard.
3.5 Safe area

For products with SDTV, HDTV, 3DTV and UHDTV formats, a safe area 5 must be
maintained as prescribed in the EBU R95 rev. 1 Recommendation.
The EBU recommendation mandates that:
 the main action is contained in the central area up to 93% of height and 93%
of width of the image
 titles and graphics are included in the central area up to 90% of height and
80% of and width of the image.
4
https://en.wikipedia.org/wiki/Gamut
5
Consult https://en.wikipedia.org/wiki/Safe_area
While waiting specific recommendation or standard, it is also requested that UHDTV
products comply with a safe area by applying the same percentages as indicated for
HDTV products
3.6 Presence of material with not consistent features

The product may contain a portion of original material having a lower definition
provided that it is required for editorial purposes.
In this case, the amount of original material having a lower definition should not
exceed 25% of the duration of the program and should not be used for long and
uninterrupted periods unless specifically agreed with RAI.
Original material having a lower definition must be converted using state of the art
technology.
Similarly, in the event of precise editorial requirements, material may be present that
has not previously been encoded using professional encoding algorithms.
For material having a native 16:9 format, conversion operation must not alter the
geometric proportions.
Sequences in 4:3 format must be converted to 16:9 in a way conforming with
editorial requirements without altering the geometric proportions of the content,
making sure that the main native 4:3 content is retained (graphics, action).
3.7 Archive material

Any archive material included in the product supplied must meet all technical
requirements specified in this document with the exception of the aspects described
in the following paragraphs.
3.7.1 General quality

Archive material must be obtained from the best possible source; RAI expects that
every reasonably feasible restoration or improvement activities will be implemented.
3.7.2 Aspect Ratio

Archive material should be processed so that, where possible, it fills the 16:9 frame
without compromising image quality, its geometrical proportion and composition.
Alternatively, such material can be presented in pillar-box6 form (see paragraph 3.8)
having the following characteristics:
 constant and intermediate aspect ratio between 4:3 and 16:9
 image centred in the 16:9 frame
 no geometric distortions should be visible
 sharp image edges and bars at black level
3.7.3 Captions and subtitles

Any subtitles or captions must remain inside the safe area (see paragraph 3.5).
6
Consult https://en.wikipedia.org/wiki/Pillarbox
3.8 Conversion from other formats
For programs not produced in 16:9 aspect ratio, aspect conversion must in any case
be carried out whilst retaining the main native content and without altering geometric
proportions.
By way of example, the following figure shows conversions of certain formats
(1.33:1, 1.66:1, 1.85:1 and 2.35:1) into 16:9 that simply involved adding black bars
without deleting any part of the original video image.
Fig. 1 - Format conversion examples
3.9 Vertical blanking of content in video media

The vertical blanking interval can be used to insert data, such as Teletext.
RAI reserves the use of the vertical blanking interval for these purposes, and does
not accept, except in the case of special agreements, that the vertical blanking
interval of video media supplied contain insertion signals (e.g. Video Index, Active
Format Descriptor or Wide Screen Signalling).
If a timecode is inserted in the vertical blanking interval (VITC), it must match the
longitudinal timecode (LTC).
3.10 Field dominance

In order to maintain correct display, cuts in material with interlaced scanning should
always be made between field 2 and field 1.
Cuts in material with progressive scanning and interlaced transport (i.e. Progressive
Segmented Frame) must always be made between field 2 and field 1.
4. Technical-Audio Specifications
4.1 Quality requirements
RAI requires that the audio part of the content supplied ensures a state-of-the-art
quality meeting audio-visual industry standards.
Bearing specific artistic and editorial needs in mind, RAI requires that:
 Audio recording must be done with necessary precautions to prevent noise,
radio-interference, interruptions or distortions
 Audio recording must be done with a minimum sampling rate of 48 kHz and
a minimum audio bit depth of 24 bit.
 Audio tracks must not have dynamic alterations and/or frequency extension
caused by noise reduction systems (or rustle) or encoding/decoding
systems with an insufficient number of bits.
 Audio tracks must be free from spurious signals (e.g. click, noise, hum),
analogue distortions and artefacts caused by digital compression systems
 Stereo or multi-channel audio tracks must reflect the spatial characteristics
of images (left/right, front/back)
 Intelligibility of dialogue must be always assured, regardless of home sound
system used
 Loudness effect must be consistent throughout the program and appropriate
to the scene portrayed; sound dynamics must not be excessive to ensure
use in the entire range of domestic listening conditions
 The sound front must be suitably balanced and free of phase differences
that may cause evident deletions if stereo sound is listened to on mono
systems or if multi-channel audio is listened to thanks to a downmix
process
 Mono audio tracks must be suitably converted to dual-mono so that they
can be handled in exactly the same way as stereo tracks. The resulting
dual-mono track must also meet all the requirements of the stereo track
Except for other editorial requirements, RAI recommends that:

 SDTV programs are produced with stereo audio (2.0)
 HDTV, 3DTV and UHDTV programs are produced with multi-channel audio
(3/2 for ITU-R BS.775)
4.2 Multi-channel audio

The multi-channel audio track is broadcast in 5.1 format (code 3/2 for ITU-R
BS.775).
The LFE (Low Frequency Effect) channel is optional. The use of the LFE channel
must comply with the ITU-R BS.775 Recommendation
Special attention should be paid to the mix between the low-frequency components
and LFE channel content, taking into account that the latter may be excluded during
downmix processes7
Programs with a multi-channel audio track must always envisage the presence of a
downmix stereo track.
If the stereo downmix track is generated automatically, the downmix coefficients
used must match the associated down-mix metadata associated with the multi-
channel track.
Regardless of the type of downmix used to generate the stereo track, it must still be
normalized in terms of loudness in accordance with the requirements detailed in
paragraph 4.6
In case of mono contents on the multi-channel track, it is important to maintain
consistency of the sound front by avoiding switching between "Center Only" (content
only available on the central channel) and "Phantom Center" (content only available
on Left/Right channels)
If multi-channel audio is obtained through upmixing8 algorithms, such contents must
be free from artifacts and cancellation phenomena when used by subsequent stereo
or mono down-mix.
In case of multichannel track provided as discrete channels (i.e. using a 16 audio
track configuration as described in paragraph 10.2), the metadata associated with
such multichannel track should be provided in conformity with the SMPTE 2020-3
standard (Method B); while for track identification refer to paragraph 8.6.
4.3 Assignment of audio tracks

Chapter Errore. L'origine riferimento non è stata trovata. collects the different
audio track allocation defined by RAI depending on the number of audio tracks
supported.
In case of multichannel audio (MCA), audio tracks “number 1” and “number 2” of the
media content must contain the stereo downmix or the balanced stereo mix
(possibly encoded in Dolby Surround) for multichannel audio.
For 3DTV products, audio tracks must be present on media for left and right eyes
alike. Audio content and track assignment must be the identical.
4.4 Alignment tones and audio channel identification

Alignment tones audio level (AL) must be of –18 dBFS (PPM4 on a PPM BBC – IEC
type IIa instrument), with an amplitude tolerance not greater than +/-0.1 dB.
The alignment tone frequency must be 1 kHz +/- 100 Hz for front channels L, C and
R, and LS and RS for surround channels, and 80 Hz +/-5 Hz for the LFE channel.
If a program is created on a system with an alignment level of –20 dBFS, the
program vendor must adapt the tone alignment level to -18 dBFS, as well as making
sure that the program continues to comply with the requirements indicated in
paragraphs 4.5 (Maximum audio level) and 4.6 (Program Loudness Level).
7
Downmix: A type of processing that allows the reproduction of a sound mix on a lesser number of loudspeakers
8
Upmix: Type of processing that simulates a wider sound front (i.e. from mono front to stereo front, from stereo front to
surround)
Alignment tones must be sinusoidal, distortion-free and ensure phase consistency
between channels.
Please note that alignment tone levels must be obtained with equipment working in
PRESET9 configuration.
Channel identification must comply with EBU Tech 3304; on all channels, 3 seconds
of 1 kHz tone are followed by 0.5 seconds of silence, after which the channels are
identified in a clockwise direction starting from channel L. The identification signal is
a 1 kHz tone lasting 0.5 seconds followed by 0.5 seconds of silence before the tone
for the next channel; after a final pause of 0.5 seconds, the sequence is repeated
from 3 seconds of continuous tone consistently on all channels.
The time needed for each identification sequence depends on the number of
channels in the chosen format (for example, 6 seconds for 5.1 or 5.0 audio) and
thereby indirectly detects the multi-channel format chosen.
The entire identification sequence must be repeated at least 4 times; in the interval
between the end of the last sequence and the end of the colour bars, the 1 kHz tone
must remain active on all the main channels.
The 80 Hz tone on the LFE channel is continuous for the duration of the sequence.
Although the tone is adjusted to the alignment level, by convention the LFE channel
is reproduced at a level 10 dB higher compared to the main channels and
consequently a certain degree of balance is maintained for perceived loudness.
4.5 Maximum audio level

Maximum audio level refers to the "True-Peak Audio Level" concept defined in
recommendation ITU-R BS.1770.
The measurement of the Maximum True Peak Audio Level must be taken using an
instrument that complies with the method defined in ITU-R BS.1770
Recommendation
The Maximum Audio Level True Peak allowed is -2.0 dBTP.
4.6 Program Loudness Level

The Program Loudness Level (average program loudness) is defined in
recommendation EBU R128 and must be measured using instruments that conform
to the measurement method described in ITU-R BS.1770 Recommendation.
Measurement of the Program Loudness Level must refer to the entire duration of the
program starting from the first frame, excluding header and footer technical signals.
The Program Loudness Level measured must meet the Target Level of -23 LUFS
+/-0.5 LU as required in EBU R128 Recommendation.
The same Program Loudness Level must be assured across the various
soundtracks present (e.g. stereo soundtrack and multi-channel soundtrack)
4.7 Audio/video synchronization

The timing relationship between sound and image (sync) must not have any
perceptible errors.
9
The PRESET configuration implies a unity gain - 0 dB
Sound and image must be synchronized in accordance with recommendation EBU
R37: sound must not be more than 5 milliseconds in advance or more than 15
milliseconds in delay compared to the image.
4.8 Dolby E Specifications

Dolby E is a proprietary audio compression format intended for professional use.
For multichannel audio content encoded in Dolby E, RAI requires that:
 The Dolby E track uses a 16 bit word-size (5.1 configuration transport). The
20 bit word-size is accepted only on specific agreement with RAI.
 If the stereo track is obtained through an automatic downmix process from
the Dolby E track, this down-mix is automatically generated in the Lo/Ro
mode10 using the downmix metadata on the Dolby E track
 The Dolby E track must be suitably anticipated to exactly compensate the
Dolby E encoding delay of 40 milliseconds, consistently with the frame rate
of the video formats specified in this document
 The Dolby E track must meet Dolby specifications as regards time
alignment with the video signal, with special attention to guard band11
 The metadata on the Dolby E track must be consistent with track content,
especially as regards Dialogue Level
 Dolby metadata must remain constant for the entire duration of the program
Paragraph 9.3 lists the Dolby metadata required by RAI.
5. Subtitles
If subtitles in Italian and/or English are requested, they must be encoded in
accordance with recommendation EBU Tech 3264. Generally speaking, the use of
burn-in subtitles on the video is not encouraged. If they are present, their position
must comply with the indications in paragraph 3.5 for the "safe area".
For 3DTV content, the subtitle should normally be perceived on the screen plane.
The position in relation to the sense of depth must be closer to the viewer than the
part of the image obscured by the subtitle. A reference standard in this regard is
being investigated by various international bodies.
6. Program layout
RAI requires that the product supplied follows the layout summarised in Table 1
The content of each section is described in detail in the following paragraphs.
10
The Lo/Ro downmix mode (Left Only/Right Only) is the sum of the Ls and Rs rear channels respectively with L and R
front channels. The central channel C is divided equally between the two resulting channels. Any LFE channel is excluded.
11
For more information http://www.dolby.com/us/en/technologies/dolby-e-preferred-alignment.html
RAI also requires that this structure is seamlessy maintained, i.e. that there are no
interruptions between the various sections of the structure.
Section Duration Video Audio

(seconds)
protection tail 12 10” (minimum) not recorded not recorded

alignment tail 60” (minimum) SMPTE colour bars 1 kHz at
at 75% reference level
identification tail 5” (minimum) visual program sound or silence
15” identification identification
(maximum)
start tail 10" countdown silence
Program program program video program audio
duration
end tail 30” (minimum) black silence
Table 1 - Program layout
6.1 Protection tail

Only for video tape media (e.g. Sony HDCAM-GR), the header of the program
must have a minimum protection tail of 10 seconds with an unrecorded portion of
tape.
6.2 Alignment tail

Reference signals must be recorded after the protection tail (only requested for tape
media). The timecode track also starts at the start of the alignment tail.
The reference signals are:
 video: SMPTE colour bars at 75% saturation with apparatus in PRESET
configuration
 Audio: see paragraph 4.4
6.3 Identification tail

The program must be identified by a static recorded image lasting max 15 seconds;
the image must display essential programme information (in keeping with the
information provided on the accompanying sheet and label). This essential
information is listed in Table2:
12
Present only for video tape media
Field Notes
Name of producer
Title For serials, also indicate the season
number
Subtitle and/or number Indicated in the 1/N, 2/N etc. format,
of the season where N is the total number of parts in the
program
If the program is recorded on just
onevideo media, the wording "1/1” should
be included
Number of video media
Audio track structure Identifies the structure using the RAI-ID
index coded in the tables in Section
Video image format
Original image format
Duration Expressed in hh:mm:ss:ff
Table2 - Content of Identification tail
6.4 Starting tail

The starting tail must last exactly 10 seconds and must contain the circular clock
countdown. The countdown must be interrupted 2 seconds before the start of the
program. The aspect format must be 1.78 (16:9). Audio should be silent for the
entire duration of the tail. The timecode in harmony with the values of the previous
parts must in any case be present.
6.5 End tail

After the program ending, there should be at least 30 seconds of black and silence
with the timecode in any case present and in keeping with the program.
6.6 Timecode
All video media and files should be supplied with timecodes.
The timecode must be a continuous, increasing monotone without jumps or
interruptions for the entire duration of the program.
The timecode signal must comply with the SMPTE 12M-1 standard.
The timecode for the first frame of the program must be 10:00:00:00
Table 3 Provides an example of timecode values for the first frame of the program
with timecode 10:00:00:00. Refer to the recording structure described in Section 6.
Timecode start Section Duration

Support 1
No timecode Possible protection tail 10"
09:58:35:00 alignment tail 60"
09:59:35:00 identification tail 15"
09:59:50:00 start tail 10"
10:00:00:00 Program 90’
11:30:00:00 end tail 30"
Table 3 - Example of timecode for a program lasting 90 minutes
Different timecode values will be allowed only after prior arrangement with RAI.
In any case, the timecode throughout the program in individual media must be
continuous, consistent and error-free and must never pass through zero at any point
in the entire recording (including tails).
For 3DTV content distributed on different media or files for left and right channels,
the timecode must be the same on both to ensure correct alignment during
playback.
7. Delivery formats
Material can be delivered on physical media as well as by sending the product via
file transfer.
For physical media, use the professional video media envisaged by RAI or computer
media containing files compliant with the specifications defined in paragraph 8.
The delivery mode will be indicated by RAI in the purchase agreement.
7.1 Delivery using professional video media

SDTV products must be delivered to RAI exclusively on re-writable Sony
Professional Disc XDCAM optical media.
HDTV content delivered to RAI on re-writable Sony Professional Disc XDCAM

optical media must be in 1080i25 format.
Following specific agreement with RAI, HDTV 1080i25 and 1080p25 content can be
delivered not only on re-writable Sony Professional Disc XDCAM optical media but
also on Sony HDCAM-SR magnetic tape media.
3DTV content must be delivered to RAI using re-writable Sony Professional Disc
XDCAM optical media respectively containing left and right eye signals (left channel
and right channel), correctly identified by labels as described below and containing
coherent timecode information.
UHDTV content may only be delivered by using files.
In any case, the delivered product must originate from the master in the highest
possible quality, minimizing the number of encodings.
Video media must be in perfect condition (no abrasions, breakages or mechanical
defects) and must be free from any imperfection that may cause a perceptual defect
of audio/video content.
7.2 Delivery using IT media - file naming convention

RAI only accepts Hard Disk Drives with USB 3 interface formatted with the NTFS file
system13.
Files delivered using Hard Disk Drives must be readable without errors, i.e. the
MD514 hash15 calculated by reading each file received must match the MD5 hash
listed by vendors in files with a “.MD5” extension
RAI requires that files delivered using Hard Disk Drives comply with the following
nomenclature:
<Title>_s<SeasonNum>_ep<EpisodeNumber>_<EpisodeTitle1>_<FORMAT>
13
https://en.wikipedia.org/wiki/NTFS
14
https://en.wikipedia.org/wiki/Md5sum
15
https://en.wikipedia.org/wiki/Hash_function
Where <FORMAT>, in harmony with the file profile, may have one of the following
values: 1080i25, 1080p25, 1080p50, 2160p25, 2160p50
Examples:
 LoremIpsum_s09_ep001_DolorSitAmet_1080i25.MXF
 LoremIpsum_s09_ep001_DolorSitAmet_2160p25.MXF
For delivery of 3DTV products, the delivered files must use the following
nomenclature:
<Title>_s<SeasonNum>_ep<EpisodeNum>_<EpisodeTitle>_<FORMAT>_<LH|RH>
Example:
 LoremIpsum_s09_ep001_DolorSitAmet_1080i25_LH.MXF
 LoremIpsum_s09_ep001_DolorSitAmet_1080i25_RH.MXF
At the specific request of RAI, files may be delivered that contain multiple episodes
(“assembled files").
In this case, the nomenclature of delivered files must be:
<Title>_s<SeasonNum>_ep<EpisodeNum>_<EpTitle1>_<EpTitle2>_<FORMAT>
Example:
 LoremIpsum_s09_ep001_DolorSitAmet_ConsecteturAdipisciElit_1080i25.MXF
For delivery of 3DTV products, files containing several episodes must use the
following nomenclature:
<Title>_s<SeasonNum>_ep<EpisodeNum>_<EpTitle1>_<EpTitle2>_<FORMAT>_<LH|RH>
Example:
 LoremIpsum_s09_ep001_DolorSitAmet_ConsecteturAdipisciElit_1080i25_LH.MXF
 LoremIpsum_s09_ep001_DolorSitAmet_ConsecteturAdipisciElit_1080i25_RH.MXF
7.3 Delivery using IT media - file organisation

The organisation of files on IT media must use of folders.
It is required that each audio/video file, even if delivered in different technical
versions, should be contained in a specific folder having the same file name (without
extension), with the exception of 3DTV products which must have 2 audio/video files
and respective MD5 hash files.
The same folder must also include:
 The data sheet in XML format
 the MD5 hash file
Example:
 <LoremIpsum_s09_ep001_DolorSitAmet_1080i25> (folder)
 LoremIpsum_s09_ep001_DolorSitAmet_1080i25.MXF (audio/video file)
 LoremIpsum_s09_ep001_DolorSitAmet_1080i25.XML(technical electronic card)
 LoremIpsum_s09_ep001_DolorSitAmet_1080i25.MD5 (hash file)
For delivery of 3DTV products, RAI requires:

 delivery of pairs of files respectively containing left and right eye signals (left
channel and right channel). For file nomenclature, the reference paragraph is
7.2
 both files should comply with standards for material having identical formats
(e.g. HDTV, UHDTV) contained in these specifications
 both files should contain the same audio track in sync with the video track.
7.4 Delivery by IT transfer

Delivery of the product by IT transfer can take place as follows:
 Web services and FTP
 RAI Web App and file handling system
For both modes of delivery, the process involves the following steps:
 Indication of contract number with RAI by the vendor to the delivery system
 Selection of the program file to be delivered among those associated with
the purchase contract displayed by the delivery system
 Issuing of a ticket (code) identifying the delivery
 Sending of a single file with reference to the ticket issued as per the previous
point.
After notifying the vendor, RAI reserves to indicate and modify references to the web
applications to be used for product delivery.
Operating information is available online at the following address:

www.qualitaepianificazione.rai.it
7.5 Programs delivered on multiple media

If the duration of a program exceeds the maximum capacity of the physical medium
delivered or RAI itself expresses additional constraints that make splitting the
program necessary, it will have to be delivered on multiple media and/or several
files.
In this case, program images at the end of one media must link without overlapping
and without gaps with those at the beginning of the next media.
Media must be numbered sequentially starting from 1.
The program timecode must be progressive between the various media, so that
there are no discontinuities between the last effective frame of the previous part and
the first frame of the following part of the program (paragraph 6.6).
The recording structure of each media or file must in any case comply with the
indications listed in paragraph 6.
Each physical medium must not contain more than one programme, except the case
of compilations of uniform and very short programs.
7.6 Accompanying documentation and labelling
Each product delivered on professional video or IT media must:
 have a label containing a minimal set of listed information required for
identification, listed in Table 4
 be accompanied by a technical file as indicated in section 9
Field Notes
RAI contract number
Code Format identifier See section 11
Full title of program For serials, also indicate the season
number
Episode number
Episode title
Image format/Aspect Ratio
Audio track structure Identify the structure by the RAI-ID index
as specified in the tables in Chapter 10
Table 4 - Media labelling
The information provided on the media label must also be included on the label
affixed to the relative packaging (container).
7.7 Subtitles
Delivery modes for files containing subtitles vary depending on the format or delivery
method of the product and are indicated in Table 5.
delivery mode Delivery mode

of audio/video product of subtitles
Sony Professional Disc media Storage in user space on disk
delivery with IT media (hard disk Storage on the same IT media
drive)
delivery by IT transfer Send using the procedures envisaged by the
application used for transfer
Table 5 - Subtitle delivery mode
With the exception of the IT transfer delivery mode, files containing subtitles must
comply with the same nomenclature indicated in paragraph 7.2 to which a suffix must
be added to identify the language of the subtitles.
Nomenclature:
<Title>_s<SeasonNum>_ep<EpisodeNum>_<EpisodeTitle1>_<FORMAT>_sub<LANG>
Example:
audio/video files
LoremIpsum_s09_ep001_DolorSitAmet_1080i25.MXF
file subtitles in Italian
LoremIpsum_s09_ep001_DolorSitAmet_1080i25_subIT.STL
file subtitles in English
LoremIpsum_s09_ep001_DolorSitAmet_1080i25_subEN.STL
For delivery of 3DTVproducts, files containing subtitles must use the following
nomenclature:
<Title>_s<SeasonNum>_ep<EpisodeNum>_<EpisodeTitle>_<FORMAT>_<LH|RH>_sub<LANG>
Example:
audio/video files
LoremIpsum_s09_ep001_DolorSitAmet_1080i25_LH.MXF
LoremIpsum_s09_ep001_DolorSitAmet_1080i25_RH.MXF
file subtitles in Italian
LoremIpsum_s09_ep001_DolorSitAmet_1080i25_LH_subIT.STL
LoremIpsum_s09_ep001_DolorSitAmet_1080i25_RH_subIT.STL
8. File format - Technical Specification

This section describes both general and detailed technical specifications required for
delivery of products to RAI using file formats. Specific requirement are grouped into
Profiles, i.e. sets of technical specifications that characterise the audio/video files used
in professional spheres and admitted for delivery.
The file container formats accepted by RAI are:
 Material Exchange Format (file extension “.MXF”) for the profiles described in
paragraphs 8.7, 8.8, 8.9, 8.10, 8.12, 8.13, 8.14, 8.17, 8.18, 8.19 and 8.20.
 Apple Quicktime16 (typical file extension “.MOV”) for the profiles described in
paragraphs 8.11, 8.15 and 8.16
Errore. L'origine riferimento non è stata trovata.Table 6 contains the pertinent SMPTE
standard for the MXF content.
16
https://developer.apple.com/library/mac/documentation/QuickTime/QTFF/QTFFPreface/qtffPreface.html
SMPTE Reference Title
SMPTE 326 SMPTE Standard - for Television — SDTI Content Package Format
(SDTI-CP)
SMPTE 356 SMPTE Standard - Type D-10 Stream Specifications — MPEG-2 4:2:2P
@ ML for 525/60 and 625/50
SMPTE 377 SMPTE Standard - Material Exchange Format (MXF) - File Format
Specification
SMPTE 378 SMPTE Standard - Material Exchange Format (MXF) — Operational
pattern 1A (Single Item, Single Package)
SMPTE 379-1 SMPTE Standard - Material Exchange Format (MXF) — MXF
Constrained Generic Container
SMPTE 379-2 SMPTE Standard - Material Exchange Format (MXF) — MXF Generic
Container
SMPTE 381-1 SMPTE Standard - Material Exchange Format (MXF) — Mapping MPEG
Streams into the MXF Generic Container
SMPTE 381-2 SMPTE Standard - Material Exchange Format (MXF) - Mapping MPEG
Streams into the MXF Constrained Generic Container
SMPTE 381-3 SMPTE Standard - Material Exchange Format—Mapping AVC Streams
into the MXF Generic Container
SMPTE 382 SMPTE Standard - Material Exchange Format — Mapping AES3 and
Broadcast Wave Audio into the MXF Generic Container
SMPTE 385 SMPTE Standard - for Television - Material Exchange Format (MXF)
Mapping SDTI-CP Essence and Metadata into the MXF Generic
Container
SMPTE 386 SMPTE Standard - for Television — Material Exchange Format (MXF)
Mapping Type D-10 Essence Data to the MXF Generic Container
Table 6 - SMPTE Standard for MXF
8.1 File compliance tools and profiles

The vendor is required to verify in advance the compliance of the audio/video files
supplied in relation to these Technical Specifications and is also required to use the
methods and control instruments that RAI has the faculty to indicate when stipulating
the contract.
8.2 Aspect Ratio, Active Format Description and Bar Data

For delivery of MXF files, the following is required:
 the presence and the correct signalling of the Aspect Ratio in the MXF header
 the presence and the correct signalling of the Active Format Description (AFD)
based on the active region of the image (excluding black bars at the edges.)
The reference standard for AFD is SMPTE 2016-1
If the AFD is unable to describe the aspect ratio of the image, use Bar Data in
accordance with the SMPTE 2016-1 standard.
8.3 Timecode
The timecode must be included in the MXF metadata in accordance with the SMPTE 12
M-1 standard and the EBU R122 Recommendation. In particular, the following is
required:
 The timecode must be present as a separate and incremental monotone track in
the Material Package
 If the timecode is present in other locations (e.g. Source Package and/or System
Item), it must coincide with the Material Package timecode
8.4 Track duration

The duration of video and audio tracks and timecodes must be fully aligned.
8.5 File segmentation

Unless explicitly agreed otherwise with RAI, delivery of products segmented on multiple
files is not allowed.
8.6 Audio track layout

Each Profile must have audio organisation (as regards the number of tracks and the
number of channels per track) that meets the dispositions indicated in Table 7:
number of Channels per Profile paragraph
tracks track
1 8 SDTV MXF/D10 8.7
8 1 HDTV MXF/XDCAM HD422 1080i25 8.8
HDTV MXF/AVC 1080p25 8.9
HDTV MXF/AVC 1080p50 8.10
HDTV MOV/ProRes422HQ 1080p25 8.11
HDTV MOV/ProRes4444 1080p25 8.12
UHDTV MXF/AVC 2160p25 8.13
UHDTV MXF/AVC 2160p50 8.14
16 1 UHDTV MOV/ProRes4444 2160p25 8.15
UHDTV MOV/ProRes4444 2160p50 8.16
UHDTV MXF/DNxHR 2160p25 8.17
UHDTV MXF/DNxHR 2160p50 8.18
UHDTV MOV/ProRes422HQ 2160p25 8.19
UHDTV MOV/ProRes422HQ 2160p50 8.20
Table 7 – Audio channel/track organisation
8.7 SDTV MXF/D10 Profile
The main features of the SDTV MXF/D10 are summarised in Table 8.
SDTV MXF/D10 Profile Characteristics
MXF Operational Pattern OP-1a
Essence Container SMPTE D10 Mapping
Video 720x576 (image in 720x576) 25 frames per second, interlaced scan,
YCbCr, 4:2:2, 8 bit
MPEG-2, INTRA Only, 50Mbit/s
Audio 8 mono channels PCM, 48KHz, 16 bit
References to specific standards
SMPTE ST386:2004 Material Exchange Format (MXF) — Mapping Type D-10 Essence
Data to the MXF Generic Container
SMPTE ST356:2001 Material Exchange Format (MXF) — MPEG-2 4:2:2P @ ML for
525/60 and 625/50
ISO/IEC 13818-2 Generic coding of moving pictures and associated audio– Part 2:
Video
Table 8 - SDTV MXF/D10 Profile
Note: the use of MPEG2 in SMPTE356 requires Profile 4:2:2 using only INTRA coding, value
restrictions and constant bit-rates and other limitations.
8.8 HDTV MXF/XDCAM HD422 1080i25 Profile

Table 9 summarises the main characteristics of the HDTV MXF/XDCAM HD422
1080i25 profile based on the specifications indicated in document SMPTE RDD9:2013.
Profile Characteristics HDTV MXF/XDCAM HD422 1080i25
Essence Container MPEG ES Mapping, AES-BWF Mapping
Generic Essence Multiple Mapping
Video 1920x1080 pixels, 25 frames per second, interlaced scan, YCbCr,
4:2:2, 8 bit
MPEG-2 Long GOP, 50Mbit/s
SMPTE RDD 9:2013 MXF Interoperability Specification of Sony MPEG Long GOP
Products
ISO/IEC 13818-2 Generic coding of moving pictures and associated audio– Part 2:
Video
Table 9 - HDTV MXF/XDCAM HD422 1080i25 Profile
8.9 HDTV MXF/AVC 1080p25 Profile
Table 10 Summarises the main characteristics of the HDTV MXF/AVC 1080p25 profile
based on the specifications indicated in document SMPTE RDD 32:2014.
Profile Characteristics HDTV MXF/AVC 1080p25
Essence Container AVC ES Mapping, AES-BWF Mapping
Video 1920x1080 pixels, 25 frames per second, progressive scan,
YCbCr, 4:2:2, 10 bit
MPEG AVC Long GOP, 50Mbit/s
SMPTE RDD32:2014 XAVC MXF Mapping and Operating Points
ISO/IEC 14496-10:2012 Coding of audio-visual objects – Part 10: Advanced Video Coding
Table 10 – HDTV MXF/AVC 1080p25 Profile
8.10 HDTV MXF/AVC 1080p50 Profile

Table 11 Summarises the main characteristics of the HDTV MXF/AVC 1080p50 profile
based on the specifications indicated in document SMPTE RDD 32:2014.
Profile Characteristics HDTV MXF/AVC 1080p50
Essence Container AVC ES Mapping, AES-BWF Mapping,
Video 1920x1080 pixels, 50 frames per second, progressive scan,
YCbCr, 4:2:2, 10 bit
MPEG AVC Intra Profile, Class 20017
Table 11 – HDTV MXF/AVC 1080p50 Profile
17
See SMPTE RP2027:2012
8.11 HDTV MOV/ProRes422HQ 1080p25 profile
Table 12 summarises the main characteristics of the UHDTV MOV/ProRes 1080p25
profile based on the Apple ProRes compression format.
Profile Features - HDTV MOV/ProRes422HQ 1080p25
Essence Container Apple Quicktime
Video 1920x1080 pixels, 25 frames per second, progressive scan RGB,
4:2:2, 10 bit
Apple ProRes 422HQ18

Table 12 - HDTV MOV/ProRes422HQ 1080p25 profile
8.12 HDTV MOV/ProRes4444 1080p25 profile

Table 13 summarises the main characteristics of the UHDTV MOV/ProRes 1080p25
profile based on the Apple ProRes compression format.
Profile Features - HDTV MOV/ProRes4444 1080p25
4:4:4, 10 bit
Apple ProRes 444419

Table 13 - HDTV MOV/ProRes4444 1080p25 profile
18
https://www.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf
19
8.13 UHDTV MXF/XAVC 2160p25 Profile
Table 14 Summarises the main characteristics of the HDTV MXF/XAVC 2160p25 profile
based on the specifications indicated in document SMPTE RDD 32:2014
Profile Characteristics UHDTV MXF/AVC 2160p25
Essence Container AVC ES Mapping, AES-BWF Mapping,
Video 3840x2160 pixels, 25 frames per second, progressive scan, YCbCr,
4:2:2, 10 bit
XAVC 4K Intra CBG Profile Class 48020
Table 14 - UHDTV MXF/AVC 2160p25 Profile
8.14 UHDTV MXF/XAVC 2160p50 Profile

Table 15 summarises the main characteristics of the UHDTV MXF/XAVC Table 15
2160p50 profile based on the specifications indicated in document SMPTE RDD
32:2014.
Profile Characteristics UHDTV MXF/AVC 2160p50
Essence Container AVC ES Mapping, AES-BWF Mapping
4:2:2, 10 bit
XAVC 4K Intra CBG Profile Class 48020
Table 15 - UHDTV MXF/AVC 2160p50 Profile
20
See SMPTE RDD32:2014
8.15 UHDTV MOV/ProRes4444 2160p25 profile
Table 16 summarises the main characteristics of the UHDTV MOV/ProRes ProRes4444
2160p25 profile based on the Apple ProRes compression format
Profile Features - UHDTV MOV/ProRes4444 2160p25
4:4:4, 12 bit
Apple ProRes 444421
Table 16 - UHDTV MOV/ProRes4444 2160p25 profile
8.16 UHDTV MOV/ProRes4444 2160p50 profile

Table 17 summarises the main characteristics of the UHDTV MOV/ProRes ProRes4444
2160p50 profile based on the Apple ProRes compression format
Profile Features - UHDTV MOV/ProRes4444 2160p50
Video 3840x2160 pixels, 50 frames per second, progressive scan, RGB,
4:4:4, 12 bit
Apple ProRes 444421
Table 17 - UHDTV MOV/ProRes4444 2160p50 profile
21
8.17 UHDTV MXF/DNxHR 2160p25 Profile
Table 18 summarises the main characteristics of the UHDTV MXF/DNxHR 2160p25
profile based on the AVID DNxHR compression format.
Profile Characteristics UHDTV MXF/DNxHR 2160p25
Essence Container MXF
4:2:2, 12 bit
AVID DNxHR HQX22
Table 18 - UHDTV MXF/DNxHR 2160p25 Profile
8.18 UHDTV MXF/DNxHR 2160p50 Profile

Table 19 Summarises the main characteristics of the UHDTV MXF/DNxHR 2160p50
profile based on the AVID DNxHR compression format
Profile Characteristics UHDTV MXF/DNxHR 2160p50
Essence Container MXF
4:2:2, 12 bit
AVID DNxHR HQX22
Table 19 - UHDTV MXF/DNxHR 2160p50 Profile
8.19 UHDTV MOV/ProRes422HQ 2160p25 profile

Table 20 summarises the main characteristics of the UHDTV MOV/ProRes
ProRes422HQ 2160p25 profile based on the Apple ProRes compression format
Profile Features - UHDTV MOV/ProRes422HQ 2160p25
4:2:2, 10 bit
Table 20 - UHDTV MOV/ProRes422HQ 2160p25 profile
22
http://resources.avid.com/SupportFiles/attach/HighRes_WorkflowsGuide.pdf
23
8.20 UHDTV MOV/ProRes422HQ 2160p50 profile
Table 21 summarises the main characteristics of the UHDTV MOV/ProRes
ProRes422HQ 2160p50 profile based on the Apple ProRes compression format
Profile Features - UHDTV MOV/ProRes422HQ 2160p50
4:2:2, 10 bit
Table 21 - UHDTV MOV/ProRes422HQ 2160p50 profile
24
9. Metadata and Technical documentation
On delivery of the product, RAI also requires the delivery of specific technical
documentation as listed in Table 22 .
Delivery mode Delivery mode

of audio/video product of technical documentation
Printed technical data sheet

Sony Media and
Professional Disc Technical data sheet in electronic format included
in the data space on the media
IT media Technical data sheet in electronic format included

in the IT media containing the product
(hard disk drive)
IT transfer IT transfer of the technical data sheet in electronic

format using the allowed procedures
Table 22 - Technical documentation delivery method

9.1 Printed technical data sheet
The printed technical data sheet to be attached to the product must contain the
metadata indicated in Table 23.
Metadata Notes
Producer
Reference Contact
RAI contract number
Code Format identifier See section 11
ISAN code Acronym for International Standard
Audiovisual Number
http://www.isan.org/
Full title
Season number for “serials”, also indicate the season
number
Episode number
Episode title
Media numbering For SD, HD and UHD products, the media
number should be written in the format 1/N,
2/N, etc., where N is the total number of
items making up the program; when there is
only one media item, the wording "1/1”
should preferably be included.
For 3DTV materials, the media number

should be written in the format 1/N-LH, 2/N-
LH, etc., for the LH channel and 1/N-RH,
2/N-RH, etc., for the RH channel where N is
the total number of items making up the
program and LH/RH identify the channel;
when there is only one media item, the
wording “1/1-LH” and “1/1-RH” should
preferably be included
Overall program duration In hh:mm:ss:ff format
Program duration on the media if delivery is made on multiple media
Image format / Aspect Ratio
Original image format
Audio track structure Identify the structure by using the RAI-ID
index as specified in the tables in Chapter
10
Program start timecode
Program end timecode
Presence of upconverted or inferior
quality material
Table 23 - Printed technical data sheet
9.2 Technical data sheet in electronic format
For the supply of the technical data sheet in electronic format, RAI effectively requires
the same information provided by the printed version but in the following formats:
1. XML25 file complying with the “EBU Core Metadata Set” format standard
(EBUCore) version 1.6 (June 2015). For IT media, this file must be included in
the same folder as the audio/video file and have the same name but the file
extension “.XML". For XDCAM media, the file must be saved in the data area of
the media and have the same name as the audio/video file but the extension
“.XML”.
See NOTES box for more information.
2. XLS(X) file in Microsoft Excel format (Office 2007 or more recent version). This
file must faithfully reproduce the tabular format indicated in the specific
reference document available through the following web address:
www.qualitaepianificazione.rai.it.
Example naming conventions:

audio/video files
LoremIpsum_s09_ep001_DolorSitAmet_1080i25.MXF
Technical data sheet in XML format
LoremIpsum_s09_ep001_DolorSitAmet_1080i25.XML
Technical data sheet in XLS format
LoremIpsum_s09_ep001_DolorSitAmet_1080i25.XLS
NOTES
The EBUCore standard is defined by EBU TECH 329326 technical specifications and
the related XML layout with which XML tags must comply.
Compulsory metadata must be the same as that contained in the printed technical data
sheet; additional and supplementary metadata may be provided freely but always in
conformity with EBUCore.
These technical specifications are supported by specific documents provided by RAI
that describe and illustrate the metadata mapping RAI requires as regards xml naming
and allocation in the EBUCore standard.
These documents are available online at www.qualitaepianificazione.rai.it
25
https://it.wikipedia.org/wiki/XML
26
https://tech.ebu.ch/docs/tech/tech3293.pdf
9.3 Dolby E Metadata
If a soundtrack encoded in Dolby E is supplied, RAI requires that certain Dolby27
metadata be restricted to specific values.
Restricted Dolby metadata are listed in Table 24
Dolby Metadata values required by RAI

PROGRAMME CONFIG 5.1
BIT DEPTH 16
DIALOGUE LEVEL (DIALNORM) -23 dBFS
CHANNEL MODE 3/2
LFE CHANNEL ENABLED
RF OVER MODULATION PROTECTION DISABLED
DOLBY SURROUND MODE DISABLED
PREFERRED STEREO DOWN MIX Lo/Ro
DOLBY SURROUND EX MODE NOT SURROUND EX
A/D CONVERTER TYPE STANDARD
DC FILTER ENABLED
LOW PASS FILTER ENABLED
LFE LOW PASS FILTER ENABLED
SURROUND 3 dB ATTENUATION DISABLED
Table 24 - Dolby Metadata required
Table 25 provides the list of Dolby metadata whose values must be defined by the
supplier in relation to the product delivered.
Dolby Metadata RAI Notes

LINE MODE COMPRESSION Accepted values:
 FILM STANDARD
 FILM LIGHT
RF MODE COMPRESSION Accepted values:
 FILM STANDARD
 FILM LIGHT
CENTRE DOWN MIX LEVEL Typical value: -3dB
SURROUND DOWN MIX LEVEL Typical value: -3dB
LT/RT CENTRE DOWN MIX LEVEL Typical value: -3dB
LT/RT SURROUND DOWN MIX LEVEL Typical value: -3dB
LO/RO CENTRE DOWN MIX LEVEL Typical value: -3dB
LO/RO SURROUND DOWN MIX LEVEL Typical value: -3dB
Table 25 - Dolby Metadata managed by supplier
27
http://www.dolby.com/us/en/technologies/a-guide-to-dolby-metadata.pdf
10. Audio tracks layout
10.1 Audio configurations on 8 tracks layout
RAI-ID Configuration Tracks Audio Track Number
1 2 3 4 5 6 7 8
8T01 Dual Mono/ITA 8 Complete mix Complete mix mute mute mute mute mute mute
Dual Mono Dual Mono
(ITA) (ITA)
Complete mix Complete mix
8T02 Stereo/ITA 8 Left Right mute mute mute mute mute mute
(ITA) (ITA)
Complete mix Complete mix Complete mix Complete mix
8T03 Stereo/ITA+ 8 Left Right Left Right mute mute mute mute
Stereo/OTH (ITA) (ITA) (OTH) (OTH)
Complete mix Complete mix Music&Effects Music&Effects
8T04 Dual Mono/OTH+ 8 Dual Mono Dual mono Dual mono Dual mono mute mute mute mute
M&E (OTH) (OTH)
8T05 Stereo/ITA+ 8 Left Right Left Right mute mute mute mute
M&E (ITA) (ITA)
8T06 Stereo/OTH+ 8 Left Right Left Right mute mute mute mute
M&E (OTH) (OTH)
Complete mix Complete mix Music&Effects Music&Effects MCA MCA AD AD
Stereo/ITA + Left Right Left Right Dolby E Dolby E Left Right
8T07 M&E + 8 (ITA) (ITA) (ITA) (ITA) (ITA) (ITA)
MCA/ITA +
AD/ITA
Complete mix Complete mix Complete mix Complete mix MCA MCA AD AD
Stereo/ITA + Left Right Left Right Dolby E Dolby E Left Right
8T08 Stereo/OTH + 8 (ITA) (ITA) (OTH) (OTH) (ITA) (ITA) (ITA) (ITA)
MCA/ITA +
AD/ITA
Complete mix Complete mix Complete mix Complete mix MCA MCA
8T09 Stereo/ITA + Left Right Left Right Dolby E Dolby E mute mute
Stereo/OTH+ 8 (ITA) (ITA) (OTH) (OTH) (ITA) (ITA)
MCA/ITA
Complete mix Complete mix MCA MCA
8T10 Stereo/ITA + 8 Left Right mute mute Dolby E Dolby E mute mute
MCA/ITA (ITA) (ITA) (ITA) (ITA)
Complete mix Complete mix AD AD
8T11 Stereo/ITA + 8 Left Right mute mute mute mute Left Right
AD/ITA (ITA) (ITA) (ITA) (ITA)
Complete mix Complete mix MCA MCA MCA MCA MCA MCA
8T12 Stereo/ITA+ MCA/ITA 8 Left (ITA) Right (ITA) L R C LFE Ls Rs
(ITA) (ITA) (ITA) (ITA) (ITA) (ITA)
8T13 Stereo/OTH+MCA/OTH 8 Left (OTH) Right (OTH) L R C LFE Ls Rs
(OTH) (OTH) (OTH) (OTH) (OTH) (OTH)
8T14 Stereo/ITA+ MCA/M&E 8 Left Right L R C LFE Ls Rs
(ITA) (ITA) (M&E) (M&E) (M&E) (M&E) (M&E) (M&E)
8T15 Stereo/OTH+MCA/M&E 8 Left Right MCA MCA MCA MCA MCA MCA
(OTH) (OTH) L R C LFE Ls Rs
(M&E) (M&E) (M&E) (M&E) (M&E) (M&E)
Table 26 - Audio configurations allowed on 8 tracks

Table 26 - Audio configurations allowed on 8 tracks - LEGEND
ITA= Italian OTH= Original language

MCA= multi-channel soundtrack
mute = silence
AD = Audio Description - TeleAudio
M&E=Music&Effects - Musica & Effetti (no dialogue)
Dual mono = mono channel replicated on two tracks
10.2 Audio configurations on 16 tracks layout
RAI-ID Description Tracks Audio Track Number

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
16T01 Stereo/ITA 16 Left Right mute mute mute mute mute mute mute mute mute mute mute mute mute mute
(ITA) (ITA)
Complete mix Complete mix Complete mix Complete mix
16T02 Stereo/ITA + 16 Left Right Left Right mute mute mute mute mute mute mute mute mute mute mute mute
Stereo/OTH (ITA) (ITA) (OTH) (OTH)
16T03 Stereo/ITA + 16 Left Right M&E M&E mute mute mute mute mute mute mute mute mute mute mute mute
M&E (ITA) (ITA) Left Right
16T04 Stereo/OTH + 16 Left Right M&E M&E mute mute mute mute mute mute mute mute mute mute mute mute
M&E (OTH) (OTH) Left Right
Stereo/ITA + Complete mix Complete mix M&E M&E MCA MCA MCA MCA MCA MCA
16T05 M&E + 16 Left Right Left Right mute mute mute mute L R C LFE Ls Rs mute mute
MCA/ITA (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA)
Stereo/ITA + Complete mix Complete mix Complete mix Complete mix AD AD MCA MCA MCA MCA MCA MCA
Stereo/OTH + Left Right Left Right mute mute Left Right L R C LFE Ls Rs mute mute
16T06 AD/ITA+ 16 (ITA) (ITA) (OTH) (OTH) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA)
MCA/ITA
Stereo/ITA + Complete mix Complete mix Complete mix Complete mix MCA MCA MCA MCA MCA MCA
16T07 Stereo/OTH + Left Right Left Right L R C LFE Ls Rs mute mute
MCA/ITA 16 (ITA) (ITA) (OTH) (OTH) mute mute mute mute (ITA) (ITA) (ITA) (ITA) (ITA) (ITA)
AD AD
Stereo/ITA + 16 Complete mix Complete mix mute mute mute mute Left Right mute mute mute mute mute mute mute mute
16T08 AD/ITA Left Right (ITA) (ITA)
(ITA) (ITA)
Stereo/ITA + Complete mix Complete mix AD AD MCA MCA MCA MCA MCA MCA
AD/ITA + 16 Left Right mute mute mute mute Left Right L R C LFE Ls Rs mute mute
16T09 MCA/ITA (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA)
Stereo/ITA + Complete mix Complete mix MCA MCA MCA MCA MCA MCA Complete mix Complete mix MCA MCA MCA MCA MCA MCA
16T10 MCA/ITA + Left Right L R C LFE Ls Rs Left Right L R C LFE Ls Rs
Stereo/OTH + 16 (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH)
MCA/OTH
MCA/ITA + MCA MCA MCA MCA MCA MCA AD AD MCA MCA MCA MCA MCA MCA AD AD
AD/ITA + 16 L R C LFE Ls Rs Left Right L R C LFE Ls Rs Left Right
16T11 MCA/OTH + (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH)
AD/OTH
Stereo/ITA + Complete mix Complete mix MCA MCA MCA MCA MCA MCA M&E M&E MCA MCA MCA MCA MCA MCA
16T12 MCA/ITA + 16 Left Right L R C LFE Ls Rs Left Right L R C LFE Ls Rs
Stereo/M&E + (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (ITA) (M&E) (M&E) (M&E) (M&E) (M&E) (M&E)
MCA/M&E
Stereo/OTH + Complete mix Complete mix MCA MCA MCA MCA MCA MCA M&E M&E MCA MCA MCA MCA MCA MCA
16T13 MCA/OTH + 16 Left Right L R C LFE Ls Rs Left Right L R C LFE Ls Rs
Stereo/M&E + (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (OTH) (M&E) (M&E) (M&E) (M&E) (M&E) (M&E)
MCA/M&E
Table 27 Audio configurations allowed on 16 tracks

Table 27 Audio configurations allowed on 16 tracks - LEGEND
ITA = Italian; OTH = Original Language;

MCA = multichannel, mute = silence
M&E=Music&Effects - Musica & Effetti (no dialogue)
L=Left; R=Right; C=Centre; LFE=Low Frequency Effects; Ls= Left Surround; Rs=Right Surround
Dual mono = mono channel replicated on two tracks
11. Code Format identifier
In order to simplify the identification of the required format, a “Format Identifier”

code has been developed which RAI inserts in the text of the purchase contract.
The Format Identifier uniquely identifies the possible combinations of <ID Format>,
<ID Video Profile> and <ID Audio Profile> values from those defined in these
Technical Specifications.
The Format Identifier code comprises the series of three identifiers as listed in the
tables of Attachment A (see section 12):
<ID Format>-<ID Video Profile>-<ID Audio Profile>
where:
 <ID Format> identifies the format/delivery media as listed in Table A1 of
Attachment A
 <ID Video Profile> identifies the video profile as listed in Table A2 of
Attachment A
 <ID Audio Profile> identifies the audio profile as listed in Tables A3 and A4
of Attachment A
NOTE: The use of tables A3 and A4 for audio profile identification is strictly
linked with the video profile used
EXAMPLE:
For IT delivery of a file in MXF/XDCAM HD422 1080i25 format with audio
Stereo/ITA+M&E (M&E configuration means Music&Effects) on the contract the
format identifier FILE-HD1-8T05 will be used.
In order to identify the delivery format, the video profile and audio profile required,
proceed as follows:
1. consult Table A1 to identify the reference ID for IT delivery (in this example the
ID is FILE)
2. consult Table A2 to identify the reference ID for the video format (in this
example the ID is HD1) and the reference Table identifying the <ID Audio
Profile> code (in this example the ID is Table A3)
3. consult the Table identified at the previous point to identify the reference ID for
the audio track structure (in this example the ID is 8T05)
12. Attachment A – Format Identifier – allowed values
The following tables list the codes allowed in the creation of the format identifier
described in section 11.
Table A1 – Delivery formats/media

<ID Format> Delivery format/media
XDCAM SONY XDCAM
HDCAMSR SONY HDCAM-SR
HDD HARD DISK DRIVE
FILE FILE
Table A2 – Video Profile Identification

identification
<ID Video Profile> Video Profile Table
audio profiles
SD1 SDTV MXF/D10 A3
HD1 HDTV MXF/XDCAM HD422 1080i25 A3
HD2 HDTV MXF/AVC 1080p25 A4
HD3 HDTV MOV/ProRes422HQ 1080p25 A4
HD4 HDTV MOV/ProRes4444 1080p25 A4
HD5 HDTV MXF/AVC 1080p50 A4
UHD1 UHDTV MXF/XAVC 2160p25 A4
UHD2 UHDTV MXF/XAVC 2160p50 A4
UHD3 UHDTV MOV/ProRes4444 2160p25 A4
UHD4 UHDTV MOV/ProRes4444 2160p50 A4
UHD5 UHDTV MXF/DNxHR 2160p25 A4
UHD6 UHDTV MXF/DNxHR 2160p50 A4
UHD7 UHDTV MOV/ProRes422HQ 2160p25 A4
UHD8 UHDTV MOV/ProRes422HQ 2160p50 A4
Table A3 – identification of Audio Profiles based on 8 tracks layout
<ID Audio Profile> Configuration / Audio Profile

8T01 Dual Mono/ITA
8T02 Stereo/ITA
8T03 Stereo/ITA + Stereo/OTH
8T04 Dual Mono/OTH + Music&Effects
8T05 Stereo/ITA + Music&Effects
8T06 Stereo/OTH + Music&Effects
8T07 Stereo/ITA + Music&Effects + MCA/ITA + AD/ITA
8T08 Stereo/ITA + Stereo/OTH + MCA/ITA + AD/ITA
8T09 Stereo/ITA + Stereo/OTH + MCA/ITA
8T10 Stereo/ITA + MCA/ITA
8T11 Stereo/ITA + AD/ITA
8T12 Stereo/ITA+ MCA/ITA
8T13 Stereo/OTH+MCA/OTH
8T14 Stereo/ITA+ MCA/M&E
8T15 Stereo/OTH+MCA/M&E
Table A4 – identification of Audio Profiles based on 16 tracks layout
<ID Audio Profile> Configuration / Audio Profile

16T01 Stereo/ITA
16T02 Stereo/ITA + Stereo/OTH
16T03 Stereo/ITA + M&E
16T04 Stereo/OTH +M&E
16T05 Stereo/ITA +M&E +MCA/ITA
16T06 Stereo/ITA + Stereo/OTH + AD/ITA + MCA/ITA
16T07 Stereo/ITA + Stereo/OTH + MCA/ITA
16T08 Stereo/ITA + AD/ITA
16T09 Stereo/ITA + AD/ITA + MCA/ITA
16T10 Stereo/ITA + MCA/ITA + Stereo/OTH + MCA/OTH
16T11 MCA/ITA + AD/ITA + MCA/OTH + AD/OTH
16T12 Stereo/ITA + MCA/ITA + Stereo/M&E + MCA/M&E
16T13 Stereo/OTH + MCA/OTH + Stereo/M&E + MCA/M&E
LEGEND
ITA = Italian
OTH = Original Language;
Stereo = Stereo soundtrack
MCA= Multi-channel soundtrack
M&E= Music&Effects - Musica & Effetti (no dialogue)
Dual mono = mono signal replicated on two tracks
13. Technical Standards and Recommendations
Reference Title
ITU-R BT.500 Methodology for the subjective assessment of the quality of television
pictures
ITU-R BT.601 Studio encoding parameters of digital television for standard 4:3
and wide-screen 16:9 aspect ratios
ITU-R BT.709 Parameter values for the HDTV standards for production and international
programme exchange
ITU-R BT.1702 Guidance for the reduction of photosensitive epileptic seizures caused by
television
ITU-R BT.2020 Parameter values for ultra-high definition television systems for production
and international programme exchange
ITU-R BS.775 Multichannel stereophonic sound system with and without accompanying
picture
ITU-R BS.1770 Algorithms to measure audio programme loudness and true-peak audio
level
SMPTE 12-1 SMPTE Standard - For Television — Time and Control Code
SMPTE 12-2 SMPTE Standard - Transmission of Time Code in the Ancillary Data
Space
SMPTE 274 SMPTE Standard - For Television — 1920 × 1080 Image Sample
Structure, Digital Representation and Digital Timing Reference Sequences
for Multiple Picture Rates
SMPTE 292 SMPTE Standard - 1.5 Gb/s Signal/Data Serial Interface
SMPTE 326 SMPTE Standard - for Television — SDTI Content Package Format
(SDTI-CP)
SMPTE 356 SMPTE Standard - Type D-10 Stream Specifications — MPEG-2 4:2:2P @
ML for 525/60 and 625/50
SMPTE 377 SMPTE Standard - Material Exchange Format (MXF) - File Format
Specification
SMPTE 378 SMPTE Standard - Material Exchange Format (MXF) — Operational
pattern 1A (Single Item, Single Package)
SMPTE 379-1 SMPTE Standard - Material Exchange Format (MXF) — MXF Constrained
Generic Container
SMPTE 379-2 SMPTE Standard - Material Exchange Format (MXF) — MXF Generic
Container
SMPTE 381-1 SMPTE Standard - Material Exchange Format (MXF) — Mapping MPEG
Streams into the MXF Generic Container
SMPTE 381-2 SMPTE Standard - Material Exchange Format (MXF) - Mapping MPEG
Streams into the MXF Constrained Generic Container
SMPTE 381-3 SMPTE Standard - Material Exchange Format—Mapping AVC Streams
into the MXF Generic Container
Reference Title
SMPTE 382 SMPTE Standard - Material Exchange Format — Mapping AES3 and
Broadcast Wave Audio into the MXF Generic Container
SMPTE 385 SMPTE STANDARD - for Television - Material Exchange Format (MXF)
Mapping SDTI-CP Essence and Metadata into the MXF Generic Container
SMPTE 386 SMPTE Standard - for Television — Material Exchange Format (MXF)
Mapping Type D-10 Essence Data to the MXF Generic Container
SMPTE 2016-1 SMPTE Standard - Format for Active Format Description and Bar Data
SMPTE 2019-4 Mapping VC-3 Coding Units into the MXF Generic Container
SMPTE 2020-3 SMPTE Standard - Vertical Ancillary Data Mapping of Audio Metadata —
Method B
SMPTE RDD9 SMPTE Registered Disclosure Document - MXF Interoperability
Specification of Sony MPEG Long GOP Products
SMPTE RDD32 SMPTE Registered Disclosure Document - XAVC™ MXF Mapping and
Operating Points
SMPTE RP2027 SMPTE Recommended Practice - AVC Intra-Frame Coding Specification
for SSM Card Applications
EBU R37 The relative timing of the sound and vision components of a
television signal
EBU R95 Safe areas for 16:9 television production
EBU R103 Tolerances on "Illegal" colours in television
EBU R118 Tiering of High Definition Cameras
EBU R122 Material Exchange Format. Timecode Implementation
EBU R124 Choice of HDTV Compression Algorithm and Bit-rate for Acquisition,
Production & Distribution
EBU R128 Loudness normalisation and permitted maximum level of audio signals
EBU R135 Production & Exchange Formats for 3DTV Programmes
EBU Tech 3304 Multichannel audio line-up tones
EBU Tech 3264 Specification of the EBU Subtitling data exchange format
EBU Tech 3293 EBU CORE METADATA SET (EBUCore)
MPEG ISO/IEC Generic coding of moving pictures and associated audio– Part 2:
13818-2 Video
MPEG ISO/IEC Coding of audio-visual objects – Part 10: Advanced Video Coding
14496-10:2012
Glossary
EBU – European Broadcasting Union

ITU - International Telecommunication Union
SMPTE - Society of Motion Picture and Television Engineers
HDTV– High Definition Television
SDTV – Standard Definition Television
UHDTV – Ultra High Definition Television
3DTV – 3D High Definition Television
2K – Digital Cinema Format with 2048x1080 pixel resolution
4K – Digital Cinema Format with 4096x2160 pixel resolution
XDCAM® HD422 - recording format introduced by Sony based on MPEG: -2
HDCAM-SR®: Sony MPEG-4 SP (Studio Profile) recording format
Dolby E®: Coding technology developed by Dolby®
XAVC® - recording format introduced by Sony based on MPEG-4 AVC
ProRes® - Coding technology developed by Apple®
DNxHR® - Coding technology developed by AVID®
ISAN - International Standard Audiovisual Number

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Technical specifications for the

Version 1.3 (July 2017)

Title Technical specifications for the purchase of TV products

Classification Public Document

Issuing structure/body RAI Radiotelevisione Italiana s.p.a.

Review Date Notes

2.1 Standard Definition (SDTV)

HDTV 1080p25 format

HDTV 1080p50 format

In accordance with specific editorial requirements, special productions may also be

Production must be implemented in accordance with the guidelines provided in the

The reference standard for 3840x2160p25 and 3840x2160p50 formats is ITU-R

3.2 Video Levels, gamut errors and forbidden signals

3.3 Moving titles and graphics

3.5 Safe area

3.6 Presence of material with not consistent features

3.7 Archive material

3.7.1 General quality

3.7.2 Aspect Ratio

3.7.3 Captions and subtitles

Fig. 1 - Format conversion examples

3.9 Vertical blanking of content in video media

3.10 Field dominance

Except for other editorial requirements, RAI recommends that:

4.2 Multi-channel audio

4.3 Assignment of audio tracks

4.4 Alignment tones and audio channel identification

4.5 Maximum audio level

4.6 Program Loudness Level

4.7 Audio/video synchronization

4.8 Dolby E Specifications

Paragraph 9.3 lists the Dolby metadata required by RAI.

Section Duration Video Audio

protection tail 12 10” (minimum) not recorded not recorded

Table 1 - Program layout

6.1 Protection tail

6.2 Alignment tail

6.3 Identification tail

6.4 Starting tail

6.5 End tail

Timecode start Section Duration

7.1 Delivery using professional video media

HDTV content delivered to RAI on re-writable Sony Professional Disc XDCAM

UHDTV content may only be delivered by using files.

7.2 Delivery using IT media - file naming convention

7.3 Delivery using IT media - file organisation

For delivery of 3DTV products, RAI requires:

7.4 Delivery by IT transfer

Operating information is available online at the following address:

7.5 Programs delivered on multiple media

delivery mode Delivery mode

8. File format - Technical Specification

8.1 File compliance tools and profiles

8.2 Aspect Ratio, Active Format Description and Bar Data

8.4 Track duration

8.5 File segmentation

8.6 Audio track layout

8.8 HDTV MXF/XDCAM HD422 1080i25 Profile

8.10 HDTV MXF/AVC 1080p50 Profile