Editing and finishing

Timelines, conform, interchange, codecs, exports, subtitles and delivery

• articleWhat numeric total ink coverage, line width and image resolution limits are publicly documented for GWG 2022 print handoff, and where is the normative text?
  The GWG 2022 specification itself is member-only. The public numbers come from callas profiles labelled 'Based on GWG 2022'. The SheetCMYK CMYK profile flags total ink of 320% or more (over 15 mm), thin multicolour or white lines under 0.25 pt, colour images at or below 149 ppi (149-224 potentially insufficient) and 1-bit images at or below 549 ppi (549-799 potentially insufficient), plus overprint and DeviceGray checks on thin black lines under 2 pt. The Digital Print profile uses 95 ppi (95-149) and 349 ppi 1-bit (349-599), the same 0.25 pt line rules, and no ink-coverage rule. These are one vendor's encodings, not the normative text.
• articleWhat does pdftocairo -svg or pdf2svg produce for text, gradients, blend modes and clipping, based on poppler 26.10.0 and cairo 1.18.6 source?
  pdftocairo -svg and pdf2svg both render PDF pages through poppler onto cairo's SVG surface. pdftocairo restricts output to SVG 1.2 in points, while pdf2svg takes cairo's defaults. Cairo's SVG surface rejects saturate and the overlay, dodge/burn, hard/soft light, difference, exclusion and HSL operators ('SVG 1.1 does not support these operators'), so content using those blend modes goes through cairo's fallback path. Solid-colour text becomes <use> references to glyph definitions rather than <text>, and non-solid text falls back. Poppler ignores the isolated flag of transparency groups.
• articleWhen Inkscape 1.4.4 exports SVG to PDF, what happens to text, filter effects and blend modes, and which options control it?
  Inkscape exports SVG to PDF through cairo. Text can be embedded (fonts subset), converted to paths (-T) or omitted for LaTeX; filtered objects are rasterised at the export DPI (default 96) unless filters are ignored; transparency is preserved. The command-line default PDF version is 1.4, while the export dialog lists 1.5 first; which version the GUI selects by default was not determined.
• articleHow does Inkscape 1.4.4 import PDF (internal importer vs --pdf-poppler), and what do its docs and source say about text, mesh/gradient, tiling, blend and clip handling?
  Inkscape 1.4.4 imports PDF by default through an internal poppler-derived importer that keeps text as text and converts meshes to tiles. --pdf-poppler instead uses poppler's cairo backend, where text becomes cloned glyph groups and a mesh makes the page a raster. In the internal importer's source, PDF blend modes become CSS mix-blend-mode, only axial and radial shadings are supported (others fall back), the radial inner circle and tiling-pattern XStep/YStep are ignored (FIXMEs), soft-mask groups become SVG masks, and group isolated/knockout flags are unused.
• articleDo Unity Timeline and Godot document any editorial exchange (EDL, XML, OTIO, USD) for cinematics?
  Within the documents inspected, neither engine documents editorial interchange for cinematics. Unity Timeline's 1.8 manual has no export, EDL, XML, OTIO or import topic, and says its frame rate is only visual. The godot-docs tree has no editorial or OTIO pages. OpenTimelineIO lists adapters for NLE and DCC formats (including Maya sequencer and Kdenlive) but none for Unity, Godot or USD. This is a bounded negative; third-party plugins may exist.
• articleIs there a standard place in OTIO to put the on-frame position of an annotation, so a note can say where in the picture it points?
  OTIO core has no standard field for where in the picture a note points. Marker.2 carries only time (marked_range), colour, comment, name and free metadata. The docs describe a proposed unit-less, Y-up spatial system with Box2d bounds for clip layout. OpenRV's own Paint.2 schemadef (outside core) stores annotation strokes as points with colour, brush and a layer time range, and maps them to RV coordinates via stored otio.global_translate/scale or a source-aspect fallback (16:9 if unknown). A note's position therefore lives in metadata or a non-core schema.
• articleHow does Netflix's VFX Plate Naming page name plates (plate number, version, frame padding) and when do I bump the plate version versus the plate number?
  Netflix names plates by appending a plate number (typically PL##) and a plate version (v###/v####) to the shot name, with 4-digit frame numbers and only letters, digits, dot, underscore and hyphen allowed. Re-pulls of the same material (extra head or tail frames, a transcode glitch) bump the plate version; new elements or a different take bump the plate number, which the page calls somewhat subjective. Extension re-pulls should contain all needed frames, not only the new ones, unless that is significantly costlier.
• articleWhat fields, separators and padding does Netflix's VFX Shot and Version Naming page recommend, and which fields are required?
  Netflix recommends building shot and version names from underscore-joined fields (showID_episode_seq_scene_shotID#_task_vendorID_version). The shot ID is 3-4 digits assigned in steps of 10 so inserts fit, and the version is a required 'v' plus 3-4 digits. Episode is required for series, and the fields used must not vary by vendor or shot within a project. The page's own examples mix 3- and 4-digit shot IDs and name the approved shot inconsistently.
• articleWhat do the vendor guide and Netflix guidance say about reference monitoring, scopes and the checks that catch grade failures?
  Partially verified: the curator re-read none of the cited sources; S9, S10 rest on the producer's pinned reading. Both sources tie trustworthy grading to a calibrated external display. The Resolve 20 book says computer displays cannot guarantee delivery colour accuracy, lists reasons a deliverable looks different (OS colour management, display profile, wrong input space, wrong data level, mis-tagged metadata) and suggests grading HDR first when delivering several standards. Netflix's partner guidance (change log 2024-06-14) says a Dolby Vision title needs its final pass on a professional HDR reference monitor, consumer OLEDs only for review or pre-grade, SDR preview via an ACES output transform is acceptable for progress, and 8-bit review streams can band.
• articleWhich open tools compute MaxCLL/MaxFALL and which only pass the values through?
  Partially verified: the curator re-read none of the cited sources; S13, S12, S11, S14, S15 rest on the producer's pinned reading. In the source read, FFmpeg and libplacebo only carry MaxCLL/MaxFALL (struct fields, SEI parsing, forwarding to x265), libplacebo stores them, merges them when absent, and in the lines read uses MaxCLL only as a fallback for peak luminance, and dovi_tool copies the values from a madVR measurement file or its config into Dolby Vision L6 metadata. x265 takes the values from --max-cll but also accumulates statistics from luma plane sample values; hdr10plus_tool's plot command derives its MaxFALL and MaxCLL labels from per-frame HDR10+ metadata. Nothing read computes the H.265 D.3.35 per-pixel max(R,G,B) linear-light measurement.
• articleWhat do manufacturer documents say about the vectorscope 'skin tone' line, and where is it documented or not documented?
  Partially verified: the curator re-read none of the cited sources; S10, S11, S8, S2 rest on the producer's pinned reading. Of the first-party documents retrievable here, only the Blackmagic SmartScope manual describes the line: keep warm skin saturation along a line 'approximately' at 10 o'clock on the vectorscope, called the 'fleshtone line', which it says is based on blood colour and applies to all pigmentations. That is a vendor statement; this candidate records no independent test of it. Tektronix WFM5200, 1740A and the Tektronix application note have no skin/flesh text, the ITU Recommendations read have none, and the Resolve 19 guide only adds a Skin Tone vector to ColorSlice (not a scope marker). The Resolve reference manual and Leader manuals were unavailable.
• articleWhat do Real-ESRGAN (super-resolution), RIFE and FILM (frame interpolation) each take as input and produce, and which documented settings should a newcomer know first?
  Partially verified: the curator re-read none of the cited sources; S1, S6, S9 rest on the producer's pinned reading. Real-ESRGAN enlarges single images (and frame-by-frame video) by a model-specific factor; RIFE and FILM synthesise new frames between two input frames, which changes frame count or speed, not resolution. The READMEs at the pinned commits document the CLI settings: scale/tile/precision/face-enhance for Real-ESRGAN; exp/multi, scale and fps for RIFE; times_to_interpolate and block grid for FILM. All three are research code run from Python; none of the READMEs read states a finishing-pipeline recommendation for broadcast delivery.
• articleWhen an agent passes HDR10+ or Dolby Vision metadata through hdr10plus_tool, dovi_tool and x265/FFmpeg, which steps are lossless, which alter or drop metadata by design, and which fail quietly?
  Partially verified: the curator re-read none of the cited sources; S12, S13, S10 rest on the producer's pinned reading. From the READMEs, docs and code at the pins (nothing executed): hdr10plus_tool inject needs a raw HEVC bitstream (extraction also accepts MKV), dovi_tool's HDR10+ SEI matching recognises only ST 2094-40 application version 1 HDR10+ SEI, and print but do not stop on a JSON/video frame-count mismatch (metadata is duplicated or skipped at the end). dovi_tool offers documented lossy operations (mode 2 removes profile-7 FEL mapping; editor remove_cmv4 deletes L3/L8/L9/L10/L11 and L254) and generating a Dolby RPU from HDR10+ yields only L1, so no L2/L8 colourist trims. FFmpeg's libx265 wrapper has no HDR10+ path while it enforces Dolby Vision metadata when configured; x265's own options carry both.
• articleWhat documented failure modes affect Dolby Vision HDR-to-SDR metadata, and which can be checked before delivery?
  Partially verified: the curator re-read none of the cited sources; S2, S1, S3 rest on the producer's pinned reading. Netflix's QC section and Dolby's guide document a short list of Dolby Vision failure modes: L1 values of 0,0,0 on non-black shots (analysis done on the wrong active area or unusable), shot boundaries in the metadata that do not match cuts (mid-shot SDR shifts), wrong canvas/image aspect ratio (translucent bars, lifted matte blacks), positive lift above 0.025 on letterboxed content, cross-vendor tool incompatibility, and stale first-generation CMv2.9-compat blocks (CMVersion 4 0 instead of 4 1). Both sources name the Dolby Metafier validator, plus Dolby CM Offline for rendering the SDR, as the pre-delivery check.
• articleWhat do Dolby Vision metadata levels L0, L1, L2, L3 and L8 mean, and which of them does a colourist author versus the system generate?
  Partially verified: the curator re-read none of the cited sources; S1, S2, S10, S13 rest on the producer's pinned reading. Dolby's own best-practice guide (v4.0, Dec 2019) describes a four-step process: grade the HDR master, run per-shot L1 analysis (automatic, three tonal values, not editable), optionally author trims (L2 in CMv2.9, L8 in CMv4) against named target displays, then deliver. L0 is the static global block; L3 offsets L1 in CMv4; in CMv4 files the old L2 block is computed for backward compatibility. Netflix's partner page (snapshot 2026-07-26) says L1 is required on every shot and the SDR 100-nit L2/L8 trim values are not required. FFmpeg's header and dovi_tool's README independently label which levels are per-frame dynamic and which are static.
• articleI am joining AI-generated video with a separately generated audio track: what are the first checks for lip-sync drift and frame-rate offsets, and what do the sources actually support?
  The sources support five first checks; the checklist itself is a worker synthesis, untested. (1) Fix one sign convention: three inspected sources use different ones. (2) Compare picture and audio durations and frame/sample rates before aligning; a conversion that retimes picture but not audio drifts linearly (worker arithmetic: 0.1% = about 60 ms per minute; 4% = about 2.4 s per minute), so measure offset at the start and the end. (3) Measure at utterance onsets and mid-utterance for speech. (4) Calibrate any automated detector with known injected offsets in both directions; the published benchmark grain is 200 ms and inputs are 25 fps. (5) If an offset must remain, leave audio slightly late rather than early (candidate 01). No inspected source measures AI-generator offsets.
• articleWhat exactly did the auditory Kuleshov experiment (Baranowski & Hecht) do and find about music and judged emotion of a face, what are its limits, and what do its stimuli rights look like?
  Read from the author's dissertation (Chapter 7, the 'in press' version; the journal body is paywalled and was not read, though the journal abstract matches). Thirty psychology students (21 female, 9 male, 20-31 y) watched 27 clips (3 per cell of a 3x3: music happy/sad/none x final-face expression neutral/happy/sad). Each 21 s clip: actor looking at a screen for 3 s, a 15 s muted neutral YouTube scene, 3 s final reaction. Music was unknown, instrumental, composer-categorised film music from online databases. Ratings: six basic emotions 0-5, with happiness and sadness analysed. Music affected happiness (F(2,58)=9.52, p<.001, partial eta squared .25) and sadness (F(2,58)=3.29, p=.044, .10) ratings; sad music lowered happiness ratings; happy music lowered sadness ratings versus sad music; sad music did not raise sadness significantly above no music; ratings had a floor effect. Stimuli rights (music databases, YouTube scenes) are not stated.
• articleFor each Kuleshov experiment (Mobbs 2006, Barratt 2016, Calbi 2017, Mullennix 2019, Cao 2024, Szaszko & Loebus 2026), what were the subjects, stimuli, timings and rating labels, so a protocol can be compared or rebuilt?
  A side-by-side methods map from the papers' own text. Samples are small and mostly student or volunteer (14, 28, 32, 36, 44, 59 plus 31 fMRI). Sequence order differs (Mobbs, Mullennix and Szaszko & Loebus put context before the face; Calbi, Cao and Barratt use face-scene-face). Timing ranges from 0.75 s faces with 4-8 s gaps (Mobbs) to self-paced viewing (Mullennix, Szaszko & Loebus). Rating labels differ by study (Russell-circumplex 2-D scale, SAM-derived visual analogue scales, 9-point valence/arousal, 5-, 7-label category lists), which is the main reason results cannot be tallied across studies. Barratt 2016 could only be described from abstract plus three later papers' descriptions, which disagree on the label count.
• articleHow can one scene's last line or image hand off to the next scene's first element (linking scenes by sound, image or dialogue), and how would an agent check a script for it?
  Bordwell's essay names the 'hook': the end of scene A supplies a cause, question, word or image that the start of scene B completes. He sorts hooks into four types by what hooks to what, offers a radio test for sound hooks, and lists functions (tempo, emphasis, overt narration, disorientation, masking weak plotting). His evidence is mostly one 2004 Hollywood film plus classical examples, and Lang's reasons come second-hand through Bordwell.
• articleI have a breakdown or shooting schedule in a production tool; which export format should I pick to hand it to another tool or a person, and what do the vendors say that format carries?
  Filmustage documents export to Movie Magic Scheduling as MMSX (MMS 10+) and SEX (MMS 5/6) plus XLSX and PDF, but its two help articles give different file extensions for the same formats: the schedule article says MMSX saves as .MMS10 and SEX as .MMS, the summary article lists .mmsx and .sex. Movie Magic Scheduling 10's own manual exports .msd (MMS6) and .mbl (for Budgeting).
• articleHow do CDL and LUT colour, tape/reel names and timecode move from dailies into editorial via ALE and EDL, and what does an OTIO conversion keep?
  At the adapter pins, the OTIO ALE reader parses CDL (CDL, ASC_SOP, ASC_SAT columns) into clip CDL values while keeping other columns as metadata, and the CMX3600 EDL writer re-emits CDL as *ASC_SOP/*ASC_SAT comment lines from clip metadata (static reading).
• articleHow do I keep screen direction, eyelines and action continuous across separately generated shots, using the 180-degree rule, eyeline match and match-on-action?
  Problem. Each generated clip is independent, so left/right placement, gaze and mid-action poses drift between shots. Conditions. Multi-shot dialogue or action built from separate generations. Craft statements (sources). 180-degree rule: keep the camera on one side of an imaginary axis so the first character stays frame right of the second; crossing it reverses left/right and may disorient viewers; a moving character's path also sets a line (exit frame left, enter frame right). Eyeline match: set off-camera eyelines so cut-together singles look at the right person; matching close-ups use the same lens, matching camera height and distance, with the partner equidistant on the opposite side so A looks off right and B looks off left. Match on action: pick up a motion where the cut left it. Editing manual: reject a cut where the actor faces a different direction. Method (inference, my own mapping): (1) draw a floor plan and fix the axis before generating; (2) write the screen position and...
• articleHow do I use RIFE and FILM to raise frame rate of an AI clip (exp, scale, times_to_interpolate), and what do they not fix?
  Problem. Generated clips are often short and low-fps; interpolation adds frames but does not repair identity changes. Conditions. Local RIFE (MIT) or FILM (Apache-2.0). Method. RIFE: python3 inference_video.py --exp=1 --video=video.mp4 (exp=1 gives 2X; exp=2 gives 4X, so exp = log2 of the factor), optional --fps; for very high resolution such as 4K set --scale=0.5; if disordered patterns appear try --scale=2.0 (this controls the processing resolution for the optical flow model). FILM: --times_to_interpolate N yields (2^N + 1)*(num_frames - 1) output frames and the tool targets near-duplicate frames with large motion; frames must sort naturally by name. Inference: for 24 to 48 fps use RIFE exp=1 or FILM times_to_interpolate=1 per frame pair; interpolation synthesises in-betweens from two neighbours, so it cannot remove a face change that already exists between them. Failure modes. RIFE flow errors on fast motion show as 'disordered pattern' (scale parameter); see the cycle's existing...
• articleWhen captions, subtitles and audio description are added to an IMF or DCP, which profile or format carries each, what do the open validators check, and what is lost when the same text is moved between formats or into an archive container?
  Timed text crosses a profile boundary at each handoff: IMSC 1.3 is a text-only TTML profile; the Photon IMF validator requires UTF-8 timed text and accepts PNG image and OpenType font resources, checking encoding and resource types rather than rendering; DCP subtitles follow ST 428-7; and platform profiles can be narrower (Netflix accepted IMSC 1.1 only for Japanese at observation). libdcp's verifier contains no hearing-impaired or audio-description checks. Correction: ST 428-7:2014 is publicly readable from pub.smpte.org (read in CA-B249); only ST 2067-2 remains unread here.
• articleAt loudness QC, which measurements must be repeated after every re-render, and which values (numbers and metadata) do EBU R 128, Netflix v1.4 and BWF carry to the delivery package?
  R 128 V5 and Netflix v1.4 differ in target (-23.0 LUFS vs -27 LKFS), gating basis (programme vs dialog-gated) and peak limit (-1 dBTP vs -2 dBTP); one measured value cannot demonstrate both.
• articleWhere do public delivery specs disagree on forced narratives, textless elements and supplemental IMF packages (Netflix, Sky, Apple, SMPTE), and what does that imply for a multi-destination delivery?
  Delivery platforms handle forced narrative (FN) subtitles and textless material in incompatible ways. Sky UK (spec dated Feb 2026) wants FN burnt into the picture and textless elements appended mute after the programme in the same file. In IMF, Sky refuses subtitle tracks (because 'Forced' tagging is used inconsistently), supplementary packages and OPLs. Netflix v5.2 forbids burned-in subtitled dialogue in the texted master, may request a separate textless IMF after approval, and takes supplemental IMPs for redeliveries. Apple's 2019 Compressor guide delivers forced subtitles as a separate .itt file. SMPTE ST 2067-2:2020 defines a ForcedNarrativeSequence and illustrates incomplete 'Version File' IMPs (in an informative annex), so a standard-conformant IMF package can still be refused by Sky.
• articleWhat is a forced narrative, how does it differ from a full subtitle track and from 'textless' picture, and how do public specs from Netflix, SMPTE, Apple and Sky each treat it?
  Partially verified: the curator re-read S12, S7; S10, S14, S15, S6, S8 were not re-read by the curator and rest on the producer's pinned reading. Netflix and SMPTE ST 2067-2 define forced narrative the same way: timed text shown when no other subtitles or captions are enabled. Netflix does not burn it into picture and hides it when full subtitles or CC are on, so FN events must also be inside every full subtitle file (consistent with CA-B196 and CA-B260).
• articleIn a dailies workflow, which identifiers must match so synced sound, burn-ins, colour (CDL/LUT) and metadata land on the right clips in editorial?
  Partially verified: the curator re-read S28, S33, S35, S39; S29, S30 were not re-read by the curator and rest on the producer's pinned reading. Dailies tools join data on different keys: Silverstack Lab syncs audio to picture by timecode with audio and video in separate bins; Avid matches ALE metadata to MXF dailies by tape name (or source file name) plus timecode, so the transcode preset tape name must equal the ALE's or relink fails; Resolve applies Silverstack CDLs via EDL plus CCC matched by reel name, which ARRI composes from camera index, reel counter and camera ID.
• articleHow do WebVTT and TTML2/IMSC 1.3 decide text direction for mixed right-to-left and left-to-right caption lines, and what must an author add to fix the cases the default gets wrong?
  Partially verified: the curator re-read S1, S3; S11, S15, S16, S2 were not re-read by the curator and rest on the producer's pinned reading. WebVTT sets each line's base direction from its first strong character (CSS unicode-bidi: plaintext), leaving fixes to Unicode marks/isolates in the cue text, while IMSC 1.3 permits explicit bidi/direction features (bidi-version-2 only partially) and horizontal-lr/rl and vertical writing modes. Both rely on the Unicode Bidirectional Algorithm.
• articleHow do I get an Unreal Sequencer cut to and from an editor, and what does the exchange preserve or lose?
  Unreal ships a native Final Cut Pro 7 XML exporter for Sequencer (UE 5.8 API: frame rate, resolution and handle frames as parameters); for OTIO, the community plugin round-trips video tracks, gaps, markers, nesting and linear speed but not audio, transitions, effects, non-linear speed, CDL or image-sequence references, so audio and grading must travel separately.
• articleHow did Netflix engineers make branching video play seamlessly: what is the segment/choice model, what gets preloaded, and how is branch state signalled?
  Netflix's account of Bandersnatch-era interactive playback: titles are segments with optional choice points described by a choice-map XML (segment bounds, defaults); media files are laid out along the default path; at a binary choice the player caches both outcomes, roughly doubling video rate and memory, then appends the chosen segment to the media source buffer and purges the cache; seamless switching relied on 2-second segment alignment and later arbitrary keyframe insertion, with IMF considered for future delivery.
• articleWhat do the public SMPTE ST 428-10, ST 429-12 and ST 430-10 documents actually define for closed captions in a DCP, and how do they relate?
  SMPTE ST 428-10 (free PDF) is a constraint profile of the ST 428-7 D-Cinema subtitle XML for closed captions and subtitles: no images, at most three Text elements per Subtitle, and non-overlapping time windows; ST 429-12 adds optional ClosedCaption, ClosedSubtitle and MainCaption elements to the CPL. Both were downloadable without login on 2026-10-22.
• articleWhat does the wildwinter Ink-Localiser (LocaliserLib) do to ink dialogue to make it localisable, what are its ID and export formats, how does a re-run behave, and under what licence text?
  Ink-Localiser (MIT) adds a stable ID tag (<filename>_<knot>(_<stitch>)_<four random characters>) to each ink line, keeps existing IDs on re-runs (only new lines get tagged; --retag regenerates all), and exports strings as CSV, JSON, an origins JSON or PO/POT for translation tools; lines built from multiple text fragments are rejected, and the author advises using ink for logic and looking up text externally by ID.
• articleHow does YarnSpinner-Unreal consume localised strings and does it update them when the dialogue changes?
  The YarnSpinner Unreal plugin imports per-language localisation CSVs (listed in the .yarnproject) as UDataTable assets and reimports a CSV only when both its timestamp and MD5 hash have changed; it does not generate the CSVs or flag stale translations, and handling of renamed/deleted/updated projects' localisation assets is left as TODOs.
• articleHow does YarnSpinner-Godot store translated strings and what happens to them when I edit the source dialogue?
  YarnSpinner-Godot updates each language CSV on 'Update Localizations': removed line IDs are deleted, new IDs are added with empty text, and lines whose base text changed (lock hash differs) get their translation prefixed as needing update, after which the lock is refreshed. The code's marker is '(NEEDS UPDATE) ' whereas the usage doc says '(NEEDS UPDATED)', so a search for the documented marker would miss stale rows.
• articleWhat is lost, or has to be decided, when converting between IMSC/TTML, WebVTT and SCC (CEA-608)?
  Converting captions to SCC with pycaption forces them onto the CEA-608 grid: vertical positions become rows 1-15 (bottom-up from 15 without layout), horizontal positions become columns 0-31 snapped to 4-column bases plus tab offsets, long pop-on cues are split by codeword count, and timing is quantised to 30x1000/1001 frames in both drop-frame and non-drop modes. Styling and positions beyond the grid are therefore lost or approximated; a full loss matrix needs CTA-608-E and an executed round trip.
• articleWhat does the AAF Edit Protocol document for audio interchange (gain, pan, fades, sample rates), what must an importer do with unsupported effects, and what do converters state they do not carry?
  The AAF Edit Protocol carries audio gain (Mono Audio Gain, clip and track), pan (Mono Audio Pan on mono essence only), fades and crossfades and MIDI, requires one edit rate and sample rate for all audio tracks in a file, and lets importers ignore unsupported effects provided they log it; it has no plug-in concept, so plug-in processing does not travel in an Edit Protocol AAF.
• articleWhy can a browser not be trusted for colour-accurate HDR review, and what controls exist?
  Partially verified: the curator re-read S21; S20, S22, S24, S27 were not re-read by the curator and rest on the producer's pinned reading. The CSS Color HDR draft deliberately hides display headroom (tracking concern) and anchors SDR reference white at 203 cd/m2 for compositing; with UA tone/gamut mapping unspecified, two reviewers can see different results for identical bytes and no web API verifies what was displayed.
• articleCan a web page tell whether the viewer's browser and screen can show HDR or wide-gamut video, and which queries do I use?
  Partially verified: the curator re-read S19, S22; S20, S23 were not re-read by the curator and rest on the producer's pinned reading. CSS dynamic-range 'high' reports capability (peak brightness, contrast, >8-bit) and explicitly not whether an HDR mode is active; color-gamut values are approximate; Media Capabilities answers whether a given HDR stream can be decoded/rendered ('or something close enough'). A page needs both checks and still cannot certify what is displayed.
• articleFor EU audiovisual accessibility, which text governs the broadcaster's captions/AD, which governs the player or platform, and where does a technical standard like EN 301 549 fit?
  Partially verified: the curator re-read S1; S2, S3, S4, S7 were not re-read by the curator and rest on the producer's pinned reading. Two instruments split the work: the AVMSD (2010/13/EU as amended 2018) targets media service providers' own services via Member States, while the EAA targets services and terminals that give access to them (including EPGs).
• articleWhat do EAA Annex I requirements say concretely for AV access services, EPGs, AV consumer terminals and e-books, and what do the non-binding Annex II examples add?
  Partially verified: the curator re-read S1; S2 was not re-read by the curator and rests on the producer's pinned reading. Annex I requires services providing access to AV media to transmit access services (SDH subtitles, audio description, spoken subtitles, sign language) fully, with adequate quality, synchronised and under user control, and to make EPGs accessible; it sets no numeric quotas or quality metrics.
• articleWhat options will I meet when a service or device offers 'dialogue boost' or 'enhance dialogue', and do they all work the same way?
  Partially verified: the curator re-read S21, S22; S23, S24, S26 were not re-read by the curator and rest on the producer's pinned reading. 'Dialogue boost/enhance' labels cover different mechanisms: device-side processing (Apple tvOS Enhance and Enhance More, the latter stated to possibly alter the original mix), pre-made selectable audio tracks (Amazon Dialogue Boost levels; SVT Enhanced Speech) and encoder-side parametric dialogue metadata (Dolby AC-4, producer reading). Record the mechanism and source before comparing them.
• articleWhat do the raw wpt.fyi report.json records say for the WebVTT vertical-text and ruby reftests at WPT 5d23b743bb487d18c51ea0f016b4b22c0895a813, and can a failure message tell you what is wrong with the rendering?
  Partially verified: the curator re-read none of the cited sources; S11, S12, S13, S14, S15, S16 rest on the producer's pinned reading. Across the four engines at WPT 5d23b743, the six WebVTT vertical-text and ruby reftest files give 24 results with exactly one pass (Firefox, bidi_ruby.html); all five vertical-text reftests fail everywhere.
• articleWhich container, codec and audio-track settings does OBS Studio document for recording gameplay, and what encoder settings does YouTube ask for when streaming?
  Partially verified: the curator re-read S13, S15; S14, S17, S18, S7, S8 were not re-read by the curator and rest on the producer's pinned reading. OBS recommends recording to MKV, because an MKV recording stopped by a crash isn't lost. Hybrid MP4 (OBS 30.2) and Hybrid MOV (OBS 32.0) are also recoverable after crashes or power loss and are easier to edit, but chapter markers are written only when the file is finalised and are lost on a crash.
• articleWhat should an audio describer include first, what may be dropped or moved, and how do ACB, DCMP and Netflix treat identity traits, on-screen text and credits?
  Partially verified: the curator re-read S1, S4; S3, S5 were not re-read by the curator and rest on the producer's pinned reading. The guides share a priority rule (story-bearing dialogue, music and effects first; describe what is significant and least obvious from the soundtrack) and differ on identity traits: ACB describes race when known and vital and warns that citing it only for non-white people makes white the default; Netflix lists default visual attributes and forbids guessing; DCMP gates on time and relevance (producer reading for Netflix/DCMP specifics).
• articleHow do I mark an MP4 or WebM as 360, VR180 or stereoscopic so YouTube and players treat it correctly, and which stereo layouts are defined?
  Partially verified: the curator re-read S9; S11, S4, S5 were not re-read by the curator and rest on the producer's pinned reading. Spherical Video V2 puts projection metadata in sv3d (svhd, proj with cbmp/equi/mshp) and stereo layout in st3d on the video sample entry, with WebM equivalents; V1 and V2 may coexist and V2 wins when they differ. YouTube's help names only left-right stereo for 3D (producer reading), while the RFC defines more stereo modes.
• articleConverting a BWF/BW64 master to FLAC and then Ogg Opus: which metadata and channel information does each format's standard give a place for, and which has none?
  Partially verified: the curator re-read none of the cited sources; S10, S7, S8, S9 rest on the producer's pinned reading. BW64 carries bext and ADM (chna links tracks to ADM IDs), FLAC can carry Vorbis comments and foreign RIFF/W64/AIFF chunks in application blocks, and Ogg Opus carries Vorbis-style comments with R128 gains and a different channel order; no standard read defines a mapping of bext TimeReference or ADM chna into FLAC or Opus, so preservation of that metadata is tool-specific (producer synthesis, not executed).
• articleWhat does Avid's ALE documentation define for dailies handoff, and how does the ACES AMF guide extend it for AMF linkage (and where is that guide inconsistent)?
  Corrected 2026-10-23 - see C3-B688-09; the original statements below are kept for history and are superseded where the correction says so. An Avid Log Exchange file (per the 1999 MediaLog guide) is tab-delimited text with a Heading section of global settings (FIELD_DELIM TABS, VIDEO_FORMAT NTSC or PAL and AUDIO_FORMAT are required; FPS shown in the sample), a Column line naming fields such as Name, Duration, Tracks, Start, End and auxiliary timecode, and Data rows per clip.
• articleWhich Python code in Open RV v4.0.2 creates paint annotations, and what component names does it write into an RVPaint node?
  In Open RV 27db5464 the test annotation tool, the OTIO annotation import hook and the Mu Annotate mode all write paint components named type:id:frame:annotation and register them in frame:N.order, so any of them can produce drawings the viewer renders the same way.
• articleDoes Unity Recorder 5.1.7 tonemap or colour-tag the frames it saves, and which Color Space option should I pick?
  Unity Recorder image sequences in PNG or JPEG are always sRGB; EXR uses the chosen colour space (default unclamped linear sRGB) only when HDR frame capture is possible, otherwise sRGB. Tonemapping is whatever the render pipeline applied (docs advise disabling it for linear output, producer reading).

More