For master archival and production handoffs, Apple ProRes 422 HQ or Avid DNxHR in an MOV wrapper are the required industry standards. For final web delivery, client review, and social distribution, H.264 or H.265 (HEVC) encoded within an MP4 container provides the required balance of compression and broad device support.
Selecting the correct codec and container prevents compression artefacts, colour shift, and playback failure across editing timelines and distribution networks.
Source Footage: What to Send the Creative Department
When supplying raw footage or capture files to Xylora Studios for an edit, supply the camera-native files without re-encoding. Stripping metadata or converting files prior to upload introduces generational loss and complicates audio synchronisation.
* Cinema and Mirrorless Cameras: Provide original directory cards or camera-native files (e.g., Apple ProRes, Sony XAVC, Canon Cinema RAW Light, or Blackmagic RAW). Keep the full card structure intact if your system uses folder-based metadata. * Screen Recordings and Software Captures: Export using constant frame rate (CFR) ProRes 422 or high-bitrate MP4 (H.264) at 1080p or 4K. * Motion Graphics and Alpha Channels: Supply assets as Apple ProRes 4444 with 'Straight' or 'Premultiplied' alpha enabled inside an MOV container. Do not export animations containing transparency as basic MP4s, as MP4 containers do not support alpha channels.
Upload raw files directly to the secure workspace link issued during your project setup. The Creative department verifies incoming hashes during our standard working hours, Monday to Thursday, 09:00–17:00 GMT.
Delivery Formats: What We Provide
Final deliverables vary based on your scope outlined on the packages page or bespoke agreement. Unless alternate specifications are agreed upon in writing, final deliveries adhere to these tiers:
* Master Archive (ProRes 422 HQ / DNxHR HQ): A virtually lossless MOV master file graded in Rec.709. This file preserves visual fidelity for future recuts, broadcast use, or local projection. It is uncompressed relative to consumer distribution. * Web Master (MP4 / H.264): An optimised MP4 file targeted at 15–30 Mbps for 1080p or 45–60 Mbps for 4K. Encoded using 2-pass variable bitrate (VBR) with closed GOPs (Group of Pictures) for universal web performance. * Social Cuts (Vertical / Square): Exported as MP4 files matching platform-specific constraints (e.g., 1080x1920 for 9:16 vertical delivery), keeping bitrates tuned to prevent social media platforms from aggressive re-compression.
Audio Standards and Container Specifications
A video format consists of both video and audio streams packed into a container. Mismatches here frequently lead to out-of-sync playback or missing channels.
* Master Audio: Linear PCM, 24-bit depth, 48 kHz sampling rate, uncompressed stereo or multichannel stems. * Web Audio: Advanced Audio Coding (AAC-LC), 320 kbps bitrate, 48 kHz sampling rate, stereo. * Colour Space Standards: Deliveries default to Rec.709 with a 2.4 gamma target for master files and 2.2 gamma for web-intended deliverables. If your project mandates Rec.2020 or HDR10, this must be declared in the original project brief.
Common Ingestion Failures and Fixes
When our Technology and Creative teams inspect incoming media, three errors account for the majority of workflow delays:
1. Variable Frame Rates (VFR): Mobile phones and screen recording tools often capture in VFR to save space. Editing timelines require Constant Frame Rates (CFR). VFR files lead to audio drifting out of sync. Convert these files to constant 24, 25, 30, or 60 fps before transfer. 2. Broken Wrappers: Renaming a `.mkv` or `.avi` file to `.mp4` manually corrupts container headers. Software will fail to parse the stream. Transcode the file properly using dedicated software rather than renaming file extensions. 3. Mismatched Colour Tags: QuickTime players frequently display colour washed-out when NCLC metadata tags are absent. We export deliverables with explicit 1-1-1 or 1-2-1 colour tags to force consistent gamma rendering across web browsers.
If corrupt or non-standard files are identified, the Operations & Client Services team will flag the issue in the Ask Xylo chat, detailing the impacted filenames and requesting replacements.
Pre-Flight Video Checklist
Before transmitting video assets to the studio, verify the following properties:
* Container: `.mov` for high-end production masters; `.mp4` for web review and final distribution. * Codec: Apple ProRes 422 (or 4444 for transparency), DNxHR, or standard H.264/H.265. * Framing: Constant Frame Rate (24.0, 25.0, 29.97, 30.0, 50.0, or 60.0 fps). * Audio: 48 kHz sample rate; 24-bit PCM or 320 kbps AAC. * Structure: Retain folder trees for raw camera cards; do not rename subfolders. * Naming: Use clear, descriptive conventions without spaces or special characters (e.g., `ProjectName_RawFootage_CamA_Take01.mov`).