Technical Standards 2022

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Technical Specifications

A properly named master file with 5.1 channel audio


  • Full Film and Trailer must be Quicktime(.mov) files.
    • Frame rate of 24.0 fps
    • Pixel Aspect Ratio of 1.0, Square
    • Progressive (NOT interlaced)


  • Files must be one of three DCI compliant resolutions/aspect ratios:
      • HDTV 16:9/1.78:1 1920 x 1080 (1.0)
      • Flat 1.85:1 1998 x 1080 (1.0)
      • Scope 2.39:1 2048 x 858 (1.0)


Apple ProRes exporting is now supported on Windows through Adobe CC applications. We are no longer accepting Animation Codec .mov's due to massive file size. Apple ProRes 422 is now the preferred final submission.

  • Apple ProRes 422


  • DPX Sequence

Additional Notes

  • File contains no alpha channel
  • Files contain no extra footage before or after (colour bars, black etc).
  • Final output must be assembled from lossless source material. This means the footage you are editing with is NOT compressed. H264 encoded mp4's are compressed! Great options are: DPX, PNG, TIFF, and EXR image sequences. Good options are: Apple Prores and DNxHR codecs (these are compressed, but are visually lossless). Both Apple Prores and DNxHR have many "flavours" that offer different data rates and file sizes. Bad options that are never to be used: JPEG sequences and H264 mp4's. These will introduce visual artefacts into your work, and are actually harder for your computer to work with because the files have to be uncompressed while you are editing them.
  • Your film file size will be in the range of 2-10 gigabytes, depending on how long your film is. All those gigabytes ensures your film will look its best!


Export Settings

Here are the export settings you would use in Premiere:

PremiereSettings1.PNG PremiereSettings2.PNG


  • All QuickTime files must contain 48 kHz, 24 bit uncompressed stereo audio sources and file formatting.
  • Audio levels must be mixed to the following guidelines:
    • -24 LUFS
    • average levels around -20 dbfs
    • peaks (loudest sound) no higher than -2 dBTP
    • dialogue normal (average talking) levels around -24 LUFS
    • dialogue peaks (shouting) no higher than -10 dbfs

Seniors that are undergoing a mix session will have the -24 LUSF established by the mix engineer.

  • QuickTime files must contain:
    • 48 kHz, 24 bit uncompressed audio
    • Stereo Audio
    • If you have a 5.1 mix, include the 6 discrete .wav files for each channel (L, R, C, LFE, Ls, Rs)
  • Students submitting DPX image sequences must also include either:
    • A single stereo 48 kHz, 24 bit uncompressed .wav


    • Multiple, discrete .wav files for LCR or 5.1 (Surround)
      • each discrete channel must be a mono, 48 kHz, 24 bit uncompressed .wav file
      • representing either 3 channels for LCR (L, C, R) or 6 channels for 5.1 (L, R, C, LFE, Ls, Rs)
      • each channel must be clearly labelled according to its channel (doe_j_L.wav, doe_j_C.wav, doe_j_R.wav)

Naming Conventions

  • Full films be must be labeled “” (ie
  • Trailers be must be labeled “” (ie Note that your trailer must be exported with the same settings as your film.
    • Trailer shots (not your film trailer, but shots for the Film and Animation Publicity Trailer) must be labeled “” (ie (ie and
  • Posters must be named 'lastname_firstinitial_Poster_FilmTitle.pdf (ie doe_j_Poster_FilmTitle.pdf)
    • Photoshop and raster-based image files are saved as .TIF, no layers.
    • Illustrator and vector art files are saved as .PDF
  • Film Stills must be named 'lastname_firstinitial_Still_FilmTitle_0#.jpg (ie doe_j_Still_FilmTitle_01.jpg , doe_j_Still_FilmTitle_02.jpg etc)
  • Director Photos must be labelled "Lastname_FirstInitial_DirPhoto_Full_.jpg" and another with Crop instead of Full (ie doe_j_DirPhoto_Full.jpg and doe_j_DirPhoto_Crop.jpg)

If you have already submitted a file, but need to update it with a corrected or newer version:

  • DO NOT delete or replace ANY already submitted file(s).
  • Instead, submit the updated version with a numerical suffix, (full film) or (trailer)
  • Technicians will use the newest file version available.


  • QuickTime file transfer must be verified before delivery.
    • Before submitting your film, watch and visually inspect for artifacts and file corruption.
    • Students should also double check that the beginning and end cuts are correct and that file represents the correct final version of their work.


Handling Details

  • Students are responsible for ensuring that original submissions are error free in all aspects of picture, sound and synchronization.
  • Final outputs for department screenings and archives will be created, tested and managed by the technicians using the final QuickTime submissions.
  • Technicians and faculty jury will flag submissions containing minor errors in picture or sound (artifacts, spelling mistakes, unlinked media) as well as audio mixes deemed to be too quiet or loud. Students will be promptly contacted and given 2 days to provide corrected files.
  • Students who do not provide an suitably adjusted audio mix within 2 days will have their master output levels adjusted to ensure consistency throughout the final screening. *This is not ideal as it will negatively impact the quality of the student’s audio mix.
  • Students are ultimately responsible for verifying that the final screening outputs are error free in all aspects of picture, sound and synchronization.
  • All work will be screened at the best available resolution supported by the venue.
  • Program order is determined by faculty/external jury.
  • No hard copies of data files will be returned to students.
  • Press kits & contact information will be maintained by the department.
  • Students are responsible for collecting their framed posters after the grad show; any posters unclaimed by end of May will be discarded.