This document contains the required technical specifications for National Geographic productions. These specifications are designed to ensure that all content meets the highest quality standards for broadcast and streaming. All program material must meet US and International broadcast performance specifications.
Generative AI for Audio is allowed with pre-approval from NGC.
1080 HD productions must conform to ITU-R BT.709-6 parameters.
Ultra HD productions must conform to Rec. BT.2100-3 parameters for SDR & HDR (PQ)
Technical review of cameras required before production begins.
Due to the unique needs of each production and a frequently changing camera market, NGC requires a technical review of cameras before production begins. The information provided below states NGC’s minimum camera standards. The camera systems that you request for your production must be reviewed and agreed upon prior to the start of production.
Camera with minor trade-offs capable of something the primary camera cannot do (Examples: IR, Macro, time-lapse, or photography in dangerous situation to a human operator). DSLR needs NGC approval based on model and use.
Scripted Programs: Contact NGC Production Management for specific delivery instructions
Higher resolutions may be requested for outdoor print advertising materials
Content must be captured, finalized, and delivered in a single frame size and rate: 23.98p, 25p, or 29.97p
See Section 4.2 for full technical specifications
Note: Only include episode title/topic if known
This naming convention applies to the TEXTED FINAL PROGRAM
NGC has protected areas of the screen to support our on air branding. These protected areas should be kept free of text, graphics, and primary speaking subjects. Text and graphics may fly through these zones but cannot land or stop moving in these protected areas.
Image is available from your NGCProduction Management team
NGC requires high quality audio production produced with professional tools and of professional quality.
Nat Geo requires the M&E mix to be either partially filled or fully filled to match the visual action.See Appendix C for additional information.
Supersessions must be prepared during post and deliver with the final program files.See Section 4.5 for specifications.
All promotional materials must be cleared for all media, worldwide, in perpetuity. Materials with people/faces requiring blurring must be blurred at delivery.
Include episode title only if known
NGC requires producers to perform Quality Control (QC) of each final program asset prior to delivery. Any issues present in the QC review must be addressed prior to final program delivery to NGC.
If the final program fails, NGC will require the Producer to correct failure within a reasonable amount of time. If NGC is required to correct failure, due to time constraints, those direct costs may be withheld from Producer's final payment.
Programs must be edited and delivered in their native shooting frame rate without conversion.
Programs should not include material captured in differing frame rates from the approved shooting frame rate. In certain circumstances, and only with NGC approval, mixed frame rates may be addressed prior to OV delivery with a specialized workflow.
All frames must be discreet with no frame being a blend or mix of neighboring frames. Material which, by necessity, is known to be at a non-native frame rate must be converted, using high quality conversion methods, without interframe "smoothing" applied.
NGC does not accept newly produced material using interlace. Any necessary inclusion of interlace material from other sources must have the effects of interlace removed.
Programs must not display artifacts including visible macroblocks, quantizing errors, or visible noise. Possible sources for these artifacts must be managed, including data rate of original image capture, codec types in use, data rate of editing renders/outputs, and bit depth, throughout production and post production.
If both Narration & Dialogue track is available:
*24 track ProRes files should always contain 24 tracks, even if 23/24 are MOS
This version is only required for UHD-HDR programs that include subtitles. It should be identical to the Texted version but with all subtitles removed. It is not required for HD or UHD-SDR programs.
The Pro Tools Supersession deliverables are packaged via a single standardized Pro Tools session. These include flattened audio WAV files for each Pro Tools track, are arranged in a way to allow for easy interoperability between facilities and downstream workflows.
Please utilize the naming tool supplied by your NG Unit Manager to create file names for each delivery as needed. The following will help in using the tool.
File names must not include spaces, punctuation or other special characters (e.g., periods, commas, apostrophes, pound sign, etc…). Use hyphens or underscores only as directed below.
Contact your NG Unit Manager for any of the above required information.
All Theatrical files specified in this Appendix must adhere to the below layout.
One second of black pad at the head and tail of the file with file starting at 00:00:00:00
All Theatrical ProRes QuickTime files should default to the below 4K-XYZ standard unless 4K is not available to which 2K is acceptable. This should be discussed and approved with PMD/ Global Tech Ops before delivery.
All DCPs must adhere to SMPTE RDD52:2020 unless where specifically noted in this Appendix.
All Theatrical and Festival files must be named as shown below.
ProductID_FilmName_Theatrical/Fest_Resolution_Flat/Scope_ColorSpace-Gamma_OV#_Date (YYYDDMM)
569832_FireOfLove_Theatrical_4K_Flat_XYZD65-g26_OV1_20251303
060417_FreeSolo_Fest_4k_Scope_XYZ-g26_OV3_20190110
326749_BobiWine_Theatrical_2K_Scope_XYZ-g26_20202608
All Theatrical and Festival files must be named as outlined on the InterSociety Digital Cinema Forum (ISDCF) website
National Geographic's studio code is "DI" for "Disney General".
The texted Theatrical ProRes file must be submitted and QC approved before proceeding to the DCP delivery.
If fixes are needed, a full redelivery will be requested of all updated assets. Patches are not accepted unless specifically approved by Global Tech Ops. Multiple rounds of fixes may be required to fully pass QC.
If a change must be made after a composition has passed QC, please discuss with NG PMD & Post Production teams to determine best method of redelivery.
In addition to the Pro Tools sessions, an Atmos DAMF is required.
This asset is appropriate to use in downstream digital media workflows, such as creating an E-AC3 asset.
Additionally, an ADM BWAV is created at the end of the audio mastering process.
National Geographic now requires fully-filled M&E mixes (partially-filled in some cases. Please check with your Unit Manager) for all programming. If Atmos is part of the delivery, please consult with your Unit Manager
This may add some additional time to the audio mix schedule, so please review this one pager and discuss with your audio house to budget and schedule appropriately.
M&E tracks should cover all of the music and effects as heard in the original composite mix, with the exception of laugh tracks and human vocalizations. They should match in quality of sound and perspective. Music and effects tracks are to be created in all configurations that have been ordered for the full mix.
All crowd walla and background conversation containing discernible English must be replaced with "neutral walla" (walla in which English words cannot be heard) in the M&E. Police radios, TV and radio broadcasts, etc. that have discernible English must be removed from the M&E. These effects can be augmented with a generic, non-discernible version. Music or effects that occur on a TV or radio program within the show should remain in the M&E.
All vocalizations (sighs, coughs, grunts, burps, etc.) performed by actors with speaking roles or featured non-speaking roles should be kept OFF the M&E track. Human vocalizations that are taken from licensed effects libraries should be included on the M&E track. Likewise, simulated vocalizations that are electronically produced should also be included on the M&E track.
Please consult your Production contact when using songs with vocals. (This includes any Karaoke performances, songs either on-camera or off, songs on a radio/jukebox). There are many legal points that need to be considered before a decision can be made on whether or not vocals should exist on the M&E tracks, and the determining factors can change from song to song. Please provide legal documentation whenever possible. In addition, be aware that any song performed on-camera will almost always require an accompanying instrumental-only version as a separate stem. Note: This may require a second, non-vocal performance of the song to be recorded on-set or by the show's composer.
Tone Background ambience must be identical to that available on the original production dialogue track. Air fill, presence, outdoor tone or appropriate room tone should run throughout the dubbed program to compensate for this "dead air." This should be a natural sound, and not resemble tape hiss. The appropriate backgrounds present in the original composite mix are also required. Backgrounds such as TV or radio shows, music or traffic should change perspective if a door opens or closes or if the action moves to another location. For example, interior and exterior car presence should be reproduced accurately.
All on-screen moving effects (footsteps, traffic, etc.) that are present within the original version must be covered or duplicated as realistically as possible in the foreign M&E. Noises such as eating, biting, slurping, kissing, bubble-gum pops, whistling, snoring should be in the M&E, if and only if they are in accordance to the instruction found above under "Human Vocalizations." Any character that never speaks a known language but does make vocal effects such as animal noises, mimicking sound effects, or gibberish should be provided by the production company and included in the M&E, if and only if they are in accordance to the instruction found above under "Human Vocalizations."
Body movements and cloth should be covered. This includes, but is not limited to sit-downs, gesturing, arms down to sides, pats and slaps on the back (or other body parts), handshakes, etc. The texture of the cloth and the type of furniture must be taken into consideration when augmenting any movement.
Unless there is a compelling story point or creative reason not to include them, footsteps will be covered, both in the composite mix and the M&E. Footsteps should be foleyed, and not taken from an effects library. Perspective, weight of character walking, texture of surface, etc. must be matched as closely as possible. Dog paw clicks, horses, or other animal sounds should also be foleyed appropriately.
If present in the composite mix, a stereo laugh track must be built to match the composite mix, in terms of sync, quality and dimension. The laugh tracks must be free of English dialogue and augmented to match the composite mix. However, the built laugh tracks are NOT to be mixed into the M&E tracks, but are to be kept separate and supplied as additional mix stems.
Instrumental split tracks, foreign dialogue, narration, announcers, whether spoken by a main or ancillary character must be included as a separate audio stem in the optional track (and kept off the M&E stems). Police radios, TV and radio broadcasts, hospital PA, etc. that have discernible English in the composite track must be removed from the M&E. These effects can be augmented with a generic, non-discernible version. Music or effects (only) that occur on a TV or radio program within the show should remain in the M&E and provided as an optional track.
A center track ambience fill which is derived from or closely mirrors the production ambience in both level and frequency response shall be created on a scene by scene basis.
Any production effect from the Dialogue Stem that is clean of dialogue shall be used in the M&E when the effect is either on-screen or plot-relevant. All efforts should be made to blend these with the Center ambience fill and/or supporting foley so that they do not sound upcut.
Any on-screen hard effects, or off-screen plot-relevant effects, shall be covered with library sound effects. (i.e. a door is heard opening off-screen, then moments later the character who entered walks into the frame. The off-screen door must be covered).
Main and secondary character footsteps should be covered when part of plot-relevant on-screen action AND they are clearly audible on the production dialogue track. Background generally should not be covered.
On or off-screen hand movement that is plot-relevant and clearly audible on the production dialogue track should be covered (i.e. knocking on door, hand pats, slaps, finger snaps). Subtle hand movements should not be covered (i.e. hands to face, hand slides, low-level rubs).
On or off-screen plot-relevant prop movement should be covered. Partial coverage is acceptable if it effectively conveys the movement of the objects.
On-screen plot-relevant movement which is clearly audible on the production dialogue track should be covered (i.e. main character putting on a heavy jacket, blanket movement as character makes the bed).
Minor or low level effects that are part of a sequence which will be predominantly driven by Music, Dialogue or Narration do not need to be covered.
Always include in M&E when clean. If tied to either vocals or production dialogue, clients should be notified so they may provide guidance on inclusion or exclusion from M&E.
Fill and/or replace if dialogue bleed.
This appendix provides guidance for programs approved for IMF Package (IMP) delivery.
Except where noted, this Addendum replaces Sections 4.1 – 4.4
NGC APPROVAL REQUIRED NG PMD must approve a program for IMP delivery prior to the Post Tech Call.
Programs will deliver only in the highest agreed-upon spec in the table that follows. HDR deliveries do not require separate SDR deliveries.
*Frame Rate must be equal to both source material and NLE/Mastering settings
**Rec.2020 must be constrained to P3 gamut during final color grading/finishing
***May report as YUV in MediaInfo depending on finishing platform
Using MXF essence containers per ST.2067-2:2020, audio content must be delivered as 24 discrete track files adhering to tech specs and channel layout in Section 4.1 Delivery Audio.
If required, Dolby Atmos should be delivered independently from the IMP per Appendix B.
Any additional materials (e.g., snap-ins or clean covers) should be placed per the applicable Clock document
The following specifically applies to IMP folders and contents only. Section 4.6 applies for naming all other assets as part of final delivery.
ProductID_EpisodeName_TextedLanguage_PackageVersion_YYYYMMDD
**Finishing systems typically append a 2–3-digit clip ID suffix to the filename during version file creation. These are approved as-is.
**Package and its contents should not include any system generated UUID values in the file names.
If this naming convention is not possible directly from the finishing system, then prior to upload, a parent folder containing the IMP should be created with this naming format.
Filenames for PKL, CPL and track files should include the corresponding Content Title for each IMP.
At the time of initial delivery, up to three separate IMPs must be delivered as follows:
If a full replacement is warranted (e.g., a new Original Version or a Supplemental IMP with Video and/or Audio completely replaced), consult with the Nat Geo QC point of contact prior to preparation and re-delivery.
If a change must be made after a composition has passed QC, please discuss with NG PMD and the Post Production team the best method of re-delivery.
