[ITunes 7.5 And Quicktime 7.3
Luther Lazaro
I want to add a couple of movies in wmv / avi format to my itunes library. I plan to use QuickTime to create a reference movie which can be read by itunes. But for that i need to be able to open these files in quicktime.
This document provides detailed delivery information for all accepted media and files, including music, music video, television, and movies. If further details are required, contact your technical representative.
Quality is important to us. We expect to receive the highest-quality assets available. Our product must meet or exceed the quality of the physical product already out in the marketplace. For example, if 5.1 surround sound or closed captions exist on the physical version of the product, those must be provided. If the physical product gives the chapters actual names (as opposed to Chapter 1, Chapter 2, and so on), then our product should have those same chapter titles. If the album is in stereo, stereo audio must be provided.
Apple accepts audio with a sampling rate of 44.1, 48, 88.2, 96, 176.4, or 192 kHz with 16-bit or 24-bit resolution. Note that if stereo audio source exists, it must be used. See Apple Digital Masters Source Profile for audio requirements specific to Apple Digital Masters content.
Where stereo source is not available, as may be the case with certain vintage or field recordings, send audio source with two identical channels for left and right. Single-channel audio will not be accepted.
All files must have been auditioned as encoded by the current Apple AAC encoder either with the Apple Digital Masters Droplet", "RoundTripAAC" plug-in, or the Sonnox "Pro-Codec V2" plug-in that includes Apple's "iTunes +" AAC CODEC. Use these tools to set an appropriate level so that the encode doesn't show clipping.
Although Apple doesn't reject files for specific numbers of clips, audible clipping caused by excessive levels to the encoder may be reason for tracks to not be badged and marketed as an Apple Digital Master."
For 5.1 surround audio, the channel assignments must match one of the options in the table below. For Option 1 (one track with all six channels), the order of the channel assignments can vary as noted in Option 1a, 1b, 1c, and 1d.
If the SD source is matted, the SD source should be delivered in its full-frame state with metadata included to specify the crop rectangle. See Music Video Single Crop Dimensions Metadata Example in the Apple Music Specification for details.
HD encoded dimensions accepted to support non-square pixel aspect ratios (this allows you to send HD video in the native dimensions of your best original source, for example in HD broadcast dimensions*):
The HD source may be delivered in its full-frame state with metadata included to specify the crop rectangle. See Music Video Single Crop Dimensions Metadata Example in the Apple Music Specification for details.
The HDR source may be delivered in its full-frame state with metadata included to specify the crop rectangle. See Music Video Single Crop Dimensions Metadata Example in the Apple Music Specification for details.
All video must begin and end with at least one black frame. In addition, videos that begin with or contain empty edits will be blocked; the file can contain an empty edit in its edit list only if it is the last edit. For HDR source video in Dolby Vision format, the sidecar metadata file should cover these black frames.
The 4K source may be delivered in its full-frame state with metadata included to specify the crop rectangle. See Music Video Single Crop Dimensions Metadata Example in the Apple Music Specification for details.
All video must begin and end with at least one black frame. In addition, videos that begin with or contain empty edits will be blocked; the file can contain an empty edit in its edit list only if it is the last edit.
If 5.1 Surround is available for a music video audio source, the audio should be delivered in 5.1 Surround in addition to providing a stereo version; otherwise the audio may be delivered in Stereo only.
The timecode frame rate can only be 29.97 and is independent from your video source frame rate. The timecode format however must match the timecode format of the source video, either drop frame (DF) or non-drop frame (NDF).
This chapter describes the file format used to deliver song lyrics for an album song track. (The file format does not apply to music video tracks.) The file format is a restricted dialect of TTML Version 1.0 ( ) that also includes some extensions for the Apple implementation. The lyrics file must be delivered in the correct format with the .ttml extension. Once the TTML document has been created and saved with the .ttml extension, it is delivered as a file in the block for a track.
Provide lyrics for songs in an album by delivering documents called lyrics files. Lyrics files are formatted according to the TTML format, with extensions for features specific to the Apple implementation. Each document contains the lyrics for one song. For each tag in the metadata.xml file, specify the lyrics file using the tag. See Basic Music Album Metadata Example for information on how to deliver the lyrics file.
The xmlns (for XML namespace) attribute is required and is needed for schema validation. It is used to declare the namespace (and associated schema) to which the tags in the XML are expected to conform. The namespace must be
Supply the XML Namespace to allow the use of Apple extensions: -ttml-extensions. Note that this example uses the prefix itunes (in the prefix xmlns:itunes), however using itunes is not required; you can use any prefix.
The ttm:agent element is used to indicate all the artists who perform vocal parts of the lyrics. Later in the TTML document when you supply the lyrics, you can indicate which artist is performing a line or words by supplying the value provided with the xml:id attribute. See the annotations for the and elements for how to use the ttm:agent and xml:id attributes.
When the lyrics are sung by different artists, you can specify which artist sings the line using the ttm:agent attribute. Each artist can be referenced by the reference ID (xml:id) you assigned in the Agent element (ttm:agent) within the Head element (see annotation above). When using the agent attribute, the following timing rules apply:
Important: All ProRes files must contain valid integers to define field handling. Only the following field ("fiel" is displayed in the ProRes header) pair values are accepted by Apple:
Crop dimensions should be supplied in the metadata for content with inactive pixels due to letterbox, pillarbox, or windowbox. Refer to Basic TV Metadata Example in the Apple Transactional TV Specification for further information.
For 5.1 surround audio, each audio channel must have an assignment. The channel assignments must match one of the options in the table below. For Option 1 (one track with all six channels), the order of the channel assignments can vary as noted in Option 1a, 1b, 1c, and 1d. Note that "Lt" and "Rt" are only used for Dolby matrix audio mixdown.
These video files can be standard dynamic range (SDR) sources, or high dynamic range (HDR) sources, but not both for the same asset. If you use HDR sources, the HDR format type should be Dolby Vision. Refer to Stereoscopic Video Delivery in Apple Transactional Film Specification for details.
The average loudness of dialogue or speech in the Dolby Atmos file must be within the range of -31 LKFS to -10 LKFS, and should ideally be between -30 LKFS and -18 LKFS. The following measurement methodology should be used:
Use the measurement algorithm BS.1770 + Dialogue Intelligence (or other speech-gating algorithm) to measure the dialogue-gated loudness, integrated over the full duration of the asset, to verify it falls within the specified range indicated above.
Monitor the reported percentage of dialogue. If it is less than 10%, dialogue may not be the anchor element for loudness correction of this audio asset. You should instead follow the procedure in the paragraph below.
For Dolby Atmos files where dialogue is not the anchor element (for example, music assets), the average audio loudness of the Dolby Atmos file must be within the range of -31 LKFS to -5 LKFS. The following measurement methodology should be used:
Use the BS.1770-4 (or BS.1770-3) measurement algorithm to measure the full-program mix (all channels over the entire length of the asset) to verify that loudness falls within the specified range indicated above.
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