A simplified professional deliverables pipeline follows four stages: camera originals (RAW, BRAW, R3D, or native H.264/H.265) → low-res proxies (ProRes Proxy or H.264) → mezzanine edit masters (ProRes 422 HQ, DNxHR, or MXF) → compressed delivery masters (H.264/H.265 for web, IMF/MXF or ProRes for broadcast and major streamers). Establishing a proper stack up front will save headaches from platform rejects later on, increase editorial throughput, and allows you to provide your client with a clean and complete handoff.

For every professional project consider delivering at least:

• Camera originals (backed up to two different locations before any transcoding takes place)
• Proxy files for offline editing (H.264 MOV/MP4 or ProRes Proxy)
• Mezzanine/edit master for color, VFX, and archiving purposes
• Compressed delivery master properly matched to the platform's ingest specifications
• Audio stems (DX, MX, FX, M&E) at PCM 48kHz/24-bit
• Captions/subtitles delivered as sidecar files or embedded (per platform specifications)
• QC report certifying loudness, frame rate, timecode, and adherence to specifications

Netflix, Roku, and U.S. broadcasters can require delivery of IMF or MXF containers or even specific ProRes profiles. Submit something in the wrong format and your delivery will be flat out rejected, rather than asked to be corrected.

Key Takeaways

Knowing which video deliverable formats to use at every stage of the process, from camera originals all the way to compressed delivery masters, is by far the best way to eliminate platform rejections and speed up your post-production turnaround.

Point	Details
Four-stage format stack	Camera originals → proxies → mezzanine masters → delivery masters covers every professional workflow stage.
Intraframe for editing	ProRes 422 HQ and DNxHR provide frame-accurate scrubbing; never edit natively in H.264 on long-form projects.
Platform specs are mandatory	Netflix, Roku, and U.S. broadcasters require specific containers and codecs; noncompliance causes ingest rejection.
Loudness target for U.S. broadcast	ATSC A/85 sets -24 LKFS integrated loudness; confirm true peak does not exceed -2 dBTP before delivery.
Kinter for full-service delivery	Kinter Media manages the complete pipeline from on-set media management through IMF/MXF packaging and QC.

Table of Contents

• What are the four role-based video deliverable format categories?
• Which codecs and containers should you use, and when?
• How should your workflow map formats from capture through archive?
• What do U.S. platform and broadcast delivery specs actually require?
• What are the right export settings for YouTube, social, and broadcast?
• How should you handle archival and handoff to prevent re-delivery?
• How do you fix the most common delivery and workflow problems?
• Why these recommendations: Kinter Media’s post-production approach
• Kinter Media handles your full deliverables pipeline
• What the format decisions look like from inside a production
• Sources

What are the four role-based video deliverable format categories?

There are four workflow stages that video file types map to, and often studios will create multiple versions of each asset throughout production. Learn each role here to avoid the mistake of assuming every file serves the same purpose.

Raw media is the camera's original output: sensor-native codecs such as BRAW (Blackmagic RAW), R3D (RED Digital Cinema), ARRIRAW, or the H.264/H.265 files that consumer and mirrorless cameras record to internally. Raw media files have maximum color headroom and dynamic range. Never re-encode your originals prior to backing them up to at least two separate drives.

Proxy files exist for one reason: speed and mobility. A ProRes Proxy or low-bitrate H.264 file is small enough to edit on a laptop, quickly move across a network, or upload to a cloud service for review. Proxies should always be relinked to the full-resolution masters prior to finishing.

Mezzanine files are intermediate copies that sit between your camera originals and final delivery. ProRes 422, ProRes 422 HQ, Avid DNxHR, and MXF mezzanine files balance edit-quality resolution with file sizes small enough to work with. Your colorist and VFX team will do their work on and generate mezzanine files. Mezzanine files are your archive master.

Delivery masters are compressed, platform-specific outputs: H.264 or H.265 for web and social, IMF or MXF for broadcast and major streaming ingest, and ProRes for top-end platform masters. Often each platform needs a different variant of the codec.

Pro Tip: Create a textless master (no lower thirds, no titles) during the finishing session while your timeline is still open. If you wait, it will cost you a full re-render and open the potential for version mismatch.

Which codecs and containers should you use, and when?

Codecs designed for delivery like H.264 compress files as small as possible while maintaining universal playback compatibility. Codecs designed for editing like ProRes or DNxHR use intraframe compression which allows for smoother editing. The practical workflow will utilize different codecs at different stages of production, not rely on just one codec for everything.

Intraframe vs. interframe. That's the fundamental difference. Intraframe codecs compress each frame of video independently of the frames before and after (ProRes, DNxHR). With intraframe codecs, your timeline can scrub to any frame immediately because it doesn't need to decode a GOP sequence. Interframe codecs reference surrounding frames to reduce file size (H.264, H.265). This is ideal for delivery but creates CPU overhead during editing.

• H.264 (AVC): The universal delivery codec. Small files that play back on every platform and device known to humanity. You should never edit natively in H.264 if you value your human sanity on long-form projects.
• H.265 (HEVC): About half the file size of H.264 at similar quality levels. Supported by increasingly more platforms but substantially heavier CPU decode load. Best used for social delivery or sending clients links for review where bandwidth is a concern.
• Apple ProRes family: Use ProRes Proxy for offline editing; ProRes 422 (and 422 HQ) for editing and finishing; ProRes 4444 when you need an alpha channel to pass to compositors. ProRes decodes faster for editing since it's intraframe while H.264 encodes smaller files for compressed delivery. That's why many workflows will transcode to ProRes for editing, then export out H.264 for distribution.
• Avid DNxHR / DNxHD: The cross-platform version of ProRes. DNxHR is the UHD preferred format; DNxHD supports HD. Both are intraframe codecs that natively work in Avid Media Composer and DaVinci Resolve.
• RAW codecs (BRAW, R3D, ARRIRAW): Best color grading latitude. Camera-specific codecs that require either the manufacturer's SDK or a supported NLE to play back. Always archive your originals, but transcode to ProRes or DNxHR for editing.
• MP4 container: H.264 or H.265 wrapped for web delivery. Widely compatible with smallest overhead for streaming.
• MOV container: Apple's QuickTime wrapper. Standard for ProRes masters and professional editing/post workflows on macOS.
• MXF container: The industry standard for broadcast and post-production. Required container for ingest on most broadcasters/streaming platforms.
• IMF (Interoperable Master Format): The studios' package format used by Netflix and major distributors. Stores composition playlist, timed text, audio tracks and video essence in a single versioned package.

Role in Workflow	Codec/Container	Editing Performance	File Size	Platform Compatibility	Color Depth
Capture/Archive	RAW (BRAW, R3D)	Requires debayer	Very large	Camera-specific	bit raw
Proxy/Offline	ProRes Proxy, H.264	Good (Proxy), limited (H.264)	Small	NLE, review tools	10 bit
Edit/Mezzanine	ProRes 422 HQ, DNxHR	Excellent (intraframe)	Large	NLE, broadcast	10 bit, 4:2:2
Delivery/Web	H.264 (MP4/MOV)	Not for editing	Small–medium	Universal	10 bit
Broadcast/Streaming	ProRes 4444, MXF, IMF	N/A (delivery)	Large	Platform-specific	10 bit, 4:4:4

Pro Tip: Standardize your team on editing with just one codec, ProRes 422 HQ for macOS or DNxHR for cross-platform teams working in Avid, and don't edit in whatever codec the camera decided to record in. Keeping it consistent will save you hours in troubleshooting time.

How should your workflow map formats from capture through archive?

Now that you understand the digital video workflow process, you can intelligently assign the right format to every stage of production before the cameras even roll, not after problems have developed in post.

• Capture: Record footage using the camera’s native raw or log format (BRAW, R3D, ProRes RAW, or H.264/H.265). Backup your footage to two independent drives on-set using a DIT as soon as possible after capture.
• Proxy generation: Transcode your camera originals to ProRes Proxy or low bitrate H.264 MOV/MP4 files immediately after backup. Be sure to keep visible timecode burned into your proxies for QC purposes.
• Offline edit: Edit your project using proxies in Premiere Pro, Final Cut Pro or Avid. Keep the project file linked to proxies throughout assembly and rough cut phases.
• Relink to masters: Prior to coloring and finishing, relink your timeline to either the full-resolution camera originals or equivalent mezzanine transcodes. Verify that each clip relinks cleanly before handing off to your colorist.
• Grade and finish: Color correct and finish your project using ProRes 422 HQ or DNxHR media at a resolution of 10-bit 4:2:2 minimum. Your graded mezzanine master is considered your archival deliverable.
• Deliver compressed masters: H.264/H.265 files can be used when delivering completed films for web, social and client review purposes. For broadcast or streaming platform ingest, export ProRes or IMF/MXF wrappers.
• Archive: Keep camera originals, mezzanine masters, project files and stems archived together. Run checksums (MD5 or SHA-256) on all archived files.

1. Create proxies on set or day of shoot.
2. Verify proxy-to-original timecode match prior to editorial start.
3. Lock picture prior to relinking to masters.
4. Deliver graded mezzanine to colorist and VFX at the same time.
5. Run QC on finished master prior to exporting delivery variants.
6. Package stems, captions, along with QC report with your master prior to handoff.

Quick Tip: When collaborating remotely, upload H.264 proxies to a cloud review platform like Frame.io or Vimeo Review. Don't ship hard drives with mezzanine masters until the edit is locked and the client signs off on the cut.

What do U.S. platform and broadcast delivery specs actually require?

Streaming platforms require high-end masters packaged in IMF or MXF containers. These have very strict rules for metadata, stems, and loudness. If your master does not conform to their ingest specifications, it will get rejected outright, not asked to be revised.

Roku's ingest specification details ProRes 4444XQ as their preferred master format with ProRes 422 HQ as an acceptable alternative. Audio specifications require PCM 48kHz/24-bit. Proxy deliverables will require H.264 MOV or MP4 files with timecode burned-in and match Roku's naming convention exactly.

Here is a breakdown of professional HD specifications for North American broadcast. Note the codec, raster, chroma sample, and data rate requirements are all specified. Audio typically requires PCM 48kHz/24-bit for professional deliverables whether it's broadcast or agency.

Mastering audio for broadcast and streaming will vary by destination. -24 LKFS for ATSC A/85 in the U.S. and -23 LUFS for EBU R 128 in Europe. Each streaming platform has its own target published. Broadcast true peak ceiling is normally around -2 dBTP. Label your stems correctly and deliver each as its own file: DX, MX, FX, and M&E (music and effects).

Minimum platform handoff checklist:

• Rendered picture master (proper container, codec, bit depth, frame rate)
• Textless master
• Proxies with visible timecode
• Entire stem package (DX, MX, FX, M&E) at PCM 48kHz/24-bit
• Closed caption .SRT or .TTML sidecar file
• QC report with loudness measurements
• Delivery manifest with names of each file and its checksum

What are the right export settings for YouTube, social, and broadcast?

Exporting with the recommended settings will provide the best quality final product. Delivering one large high-bitrate file for the platform to recompress heavily will result in a lower quality product.

• YouTube / Vimeo: H.264 or H.265 codec, 1920x1080 or 3840x2160, Rec.709 or HDR10 color space, audio should be PCM or AAC 48kHz/24-bit. YouTube recommends exporting a high quality H.264 master for 4K so their encoder has a clean source.
• Social (Instagram, LinkedIn, TikTok): H.264 MP4 1080x1080 (square) or 1080x1920 (vertical), up to 3.5 Gbps max (Instagram). Files must be smaller than platform maximum allowed size.
• Client review proxies: H.264 MOV or MP4 file at 5–10 Mbps with timecode burned in and a watermark. Clearly mark these files as "REVIEW ONLY."
• Broadcast/major streaming masters: ProRes 422 HQ or 4444 in MOV format or IMF/MXF package, depending on platform specification.

Final QC numbered checklist prior to any export:

1. Check frame-accurate IN and OUT points with no black frames at head or tail.
2. Ensure slate information matches the delivery manifest.
3. Verify timecode continuity from start to finish.
4. Verify captions are frame accurate and embedded or included as a sidecar.
5. Measure loudness and verify integrated LUFS and true peak values are compliant.
6. Spot check audio stems for phase and sync with the picture master.

How should you handle archival and handoff to prevent re-delivery?

Preparing the deliverables package while you're producing instead of waiting until the end allows you to minimize the risk of missing a single asset that can cause the entire package to be rejected or returned for re-delivery.

Naming convention example (Roku & Broadcast Standards):

• SHOWCODE_EP101_EN_MASTER_v01_20260115.mov
• SHOWCODE_EP101_EN_PROXY_TC_v01_20260115.mp4
• SHOWCODE_EP101_DX_STEM_v01_20260115.wav

Handoff asset checklist:

• Camera originals (identified by card/drive and date of shoot)
• Mezzanine masters (graded, with titles and without titles)
• Proxies (with visible timecode)
• Audio stems (DX, MX, FX, M&E)
• Captions/Subtitles (sidecar .SRT, .TTML, or .VTT per platform files)
• Graphics package (layered files plus rendered outputs)
• QC report
• Delivery manifest with filenames, checksums and version notes

Streaming platforms such as Netflix demand sidecar caption files instead of captions embedded into the video. Double check with your recipient what format they want prior to delivery as many will not accept embedded captions because they burn into the video stream.

Final handoff verification steps:

1. Perform MD5 or SHA-256 checksums on each file and document those values in the manifest.
2. Verify that file names are exactly as named in the delivery manifest, including version and date suffixes.
3. Play back master on a properly calibrated monitor and confirm audio is syncing on the first and last edit of your program.
4. Archive one copy offsite or using cold cloud storage (AWS Glacier, etc.).

How do you fix the most common delivery and workflow problems?

• Timeline stuttering when playing back during editing: Transcode camera originals to ProRes 422 or DNxHR, or create proxies and have your NLE reference those. Do not edit natively in H.264 or H.265 codecs for any long-form project.
• Upload errors / file size too big: Exporting your delivery proxy as H.264 or H.265 at the platform's recommended bitrate ensures your masters aren't too large for the ingest platform. Masters that are too big force the platform to recompress your video, which can degrade perceived quality.
• Audio is too loud / clipping at delivery: Performing an integrated LUFS read on your timeline within your DAW/NLE before exporting can keep you appraised of your overall loudness. Make sure to adjust any gain before export and ensure your true peak is below -2 dBTP for safe delivery to broadcast.
• You forgot to include a textless master: Wait… what's a textless master? Make sure to create one while you're in your finishing session before closing your timeline. Creating a textless master after exporting your timeline means re-rendering your entire project, which opens up room for version drift.
• You used the wrong container/format for platform ingest: Double check if your platform needs MOV, MP4, MXF or an IMF package before exporting your project. This is one of the most common reasons for ingest errors.

Pro Tip: Take 5-mins before delivering your project to any platform. Do a lite pre-QC on your sequence. Make sure your slate frame is present, your timecode begins at 01:00:00:00 (or whatever the spec requires), and your stereo mixdown sounds as expected when played back through consumer headphones. These are common reasons projects get rejected and can save you days of back and forth. Learn from our mistakes!

Why these recommendations: Kinter Media’s post-production approach

Kinter Media (Dir./Photog. Alex Kinter) follows these guidelines on commercial, corporate, and broadcast projects for clients such as AT&T, Marriott and the Dallas Cowboys. Learn from someone who's made these mistakes before. These aren't necessarily "best practices." These are guidelines that we know will prevent rejection and speed up your delivery process.

Clients have avoided ingest rejects on broadcast and streaming platform deliveries by following Kinter's platform delivery specifications. Editorial turnarounds are faster when following proxy-first workflows – editors cut offline and relink prior to color – which consistently saves time on projects with high media volumes. When a client requests a format outside the standard stack, like a unique MXF profile or proprietary codec, these tasks become part of Kinter's production schedule instead of a stressful afterthought during delivery.

Situated on set, the DIT and media management services Kinter provides is where this pipeline begins: cards get offloaded, checksummed, and proxies are generated before the crew wraps each day.

Kinter Media handles your full deliverables pipeline

Delivering YouTube-ready commercials, social media content, broadcast MXF, and other formats requires a robust and synchronized pipeline most marketing departments and agencies lack. Kinter Media provides full-service video production and post-production services starting with pre-production planning and ending with platform-specific delivery. Services include:

• Proxy generation and media management on set
• Create mezzanine masters with color grading and sound design
• IMF/MXF packaging and broadcast delivery
• Produce audio stems and ensure loudness compliance
• Caption and subtitle preparation

QC'ing, naming, and preparing the delivery manifest so your team receives a complete package that adheres to their specifications are all done by Kinter's post-production team. See examples of finished projects in Kinter's portfolio, or contact us directly to talk about your next production's deliverable needs.

What the format decisions look like from inside a production

Planning for your deliverables begins at Kinter during pre-production. The destination of your delivery drives decisions about camera codec, proxy resolution, and audio layout before a single frame is shot. For most corporate / commercial productions, the DIT owns proxies and camera originals while on set. The editor typically owns the offline cut. The colorist & sound designer receive the relinked mezzanine master. Kinter's post supervisor performs QC and packages for final delivery.

The lesson here is simple: Plan accordingly. Storage isn't cheap and budgeting for ProRes 422 HQ mezzanine masters eats up a lot of space at 1080p. It also takes time to do a proper QC pass. Trying to cut corners on either will, nine times out of ten, end up costing you more time in re-delivery than you saved.

Sources

Double check you have the most recent version of each platform's delivery spec prior to delivery. Values are regularly adjusted without notice.

• From Raw Video to Proxy to Mezzanine to Final Delivery | Signiant
• Understanding Video Codecs: H.264, ProRes, and Beyond - GrabFootage Blog
• ProRes vs H.264: Differences and What Should You Use
• Developer

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