Broadcast Delivery

Broadcast delivery is unforgiving, and each network holds its own tech spec. The gap between an accepted file and a rejection cycle comes down to one thing — does your finishing partner know the spec inside out.

Our delivery flow serves NHK 4K/8K spec, TV Asahi, Fuji TV, TBS, and Nippon TV out of mastering rooms in Tokyo and Osaka. When network-set sign-off is needed, liaison runs through Imagica, Sony PCL, NEP, and Q-Tec. We handle global carriage too. That covers ATSC A/85 for North American networks and EBU R128 for European networks. It also covers the platform specs that govern Netflix Japan IMF and Amazon Prime Video transit.

Each delivery pack is built against the target network's current spec sheet. Auto QC checks video levels, loudness, sync, safe areas, caption rules, and metadata. A manual review then confirms clean delivery. We ship full QC reports with the masters, so your delivery lead keeps a full paper trail if questions come up later.

Tight air dates are routine. Our houses scale to extra hours when schedules call for it, but the tech pass is never cut. You get masters that air on schedule without rejection cycles. That holds true whether the target is a Tokyo prime-time slot or an overseas streaming window.

We map the full delivery list against each network spec sheet before mastering starts. That covers video codec, loudness target, caption layout, and metadata fields. Building to spec the first time avoids the costly rejection-and-redo loop that eats air dates. Masters move through a DaVinci Resolve and mastering chain, then auto QC, then a manual check. We schedule the work against your delivery date, so the file lands inside the network's intake window.

We run broadcast delivery bilingually, with English-language coordination beside our Japanese mastering teams. Overseas producers get spec confirmations and QC reports in plain English, so a note from a Tokyo network reads clearly back home. Quotes come in Japanese yen and state the 10 percent consumption tax up front. Mastering, the QC pass, and each network deliverable are costed as separate lines. That keeps the broadcast budget clear across single slots and multi-network carriage alike.