Delivery is the last phase of post-production and the one most likely to catch a first-time filmmaker off guard, because "finished" and "deliverable" aren't the same thing — a festival, a distributor, or a streaming platform each has its own required formats, and finding that out at the last minute is a bad way to end a production. This guide covers film delivery formats and masters: what's typically required, and how to plan for it.
"Finished" vs. "Delivered" — Why the Distinction Matters
A locked, graded, mixed film is finished creatively, but it isn't yet a deliverable — that requires exporting the picture and sound into the specific technical formats a given venue requires, along with any supporting assets (subtitles, closed captions, alternate audio tracks, textless versions for international sales) they ask for. Different venues have different requirements, and finding out what a festival or distributor needs after your grading and mix are already locked can mean an unplanned second finishing pass — which is why delivery specs are worth learning early, not treating as a final-week checklist.
Picture Masters: What's Typically Required
Most delivery specs ask for a high-resolution master file — the exact resolution, frame rate, color space, and codec vary by venue and are usually specified in a delivery document or submission portal. Common asks include a full-resolution digital master (often in a format like ProRes or DCP for theatrical exhibition), a textless version of the final reel (without burned-in subtitles or titles, useful for international versions), and sometimes a lower-resolution screener file for review purposes distinct from the final delivery master. Requirements differ enough between a small festival, a streaming platform, and a traditional distributor that it's worth confirming specs for your specific target rather than assuming a generic export will satisfy all of them.
Sound Masters: What's Typically Required
Sound deliverables typically include a final stereo or surround mix, and increasingly an Atmos or object-based mix for premium theatrical or streaming delivery. Some venues also want separated stems (dialogue, music, and effects as individual tracks rather than only the final mix) to support dubbing, versioning, or accessibility needs down the line. As with picture, sound delivery specs vary by venue — confirming what's actually required before your final mix locks avoids having to revisit a mix that was signed off assuming a different spec.
Subtitles, Captions, and Multi-Language Assets
If your film is going to festivals or markets beyond its original language, subtitle files (and often closed captions for accessibility) are typically part of the delivery package, not an optional extra. If you're delivering a dubbed version for a specific market, that's an additional audio deliverable on top of your subtitle files — see our guide on regional dubbing and ADR for how that work gets planned and scheduled earlier in post-production so it's ready in time for delivery.
Where Delivery Sits in the Post-Production Timeline
Delivery is the last stop on the post-production timeline, but its requirements need to be known well before the finishing phases lock — color grading, the final mix, and export settings can all be affected by what a specific delivery spec requires. This is why delivery planning belongs at the start of your post-production schedule, not the end of it: know your target specs early, and finish toward them, rather than finishing generically and hoping the export satisfies whatever comes up. A Post Schedule (Timeline) coordinates editing, color grading, CGI integration, and master delivery against your shoot calendar and budget — which means delivery has a real, planned place in your overall timeline instead of being an unplanned scramble in the final week. Our post-production workflow guide covers how delivery connects to every phase before it.
Building a Delivery Checklist Before You Finish
- Identify your actual target(s) — the specific festival, distributor, or platform — as early as possible, since specs vary between them.
- Get the delivery spec document, if one exists, rather than assuming standard formats will work.
- Confirm picture and sound master requirements before your grade and final mix lock, so you're finishing toward the right target.
- Plan subtitle, caption, and dubbed-audio deliverables alongside your standard masters, not as an afterthought.
- Schedule delivery as a phase with real time, inside your overall post-production schedule, rather than the thing that happens whenever everything else is done.
What Happens After Delivery
Once your masters are finished and delivered, post-production is complete and the film moves into distribution — festival submissions, sales, or a release plan. Festival and distribution planning is the natural next step once your deliverables are locked, and it's worth starting that planning in parallel with your final post-production push rather than waiting until delivery is fully done.
Common Delivery Mistakes
Not knowing delivery specs until the final week. Format requirements can affect how color and sound finishing are done — confirm them early, not after your grade and mix are already locked.
Assuming one master satisfies every venue. Festivals, distributors, and streaming platforms commonly have different technical requirements — check the specific spec for each target rather than reusing one export everywhere.
Forgetting textless and subtitle versions. International festivals and sales agents frequently need a textless master and separate subtitle files — these take planning, not just a quick export.
Treating delivery as an afterthought in the schedule. Delivery deserves real time in your post-production timeline, not whatever's left after every other phase runs long.
Frequently Asked Questions
What's the difference between a picture master and a screener?
A picture master is the final, full-specification deliverable — the exact resolution, codec, and format a venue requires for actual use. A screener is typically a lower-resolution file meant for review purposes, distinct from the final delivery master.
Do I need different masters for festivals versus streaming platforms?
Often, yes — technical requirements (resolution, codec, color space, sound format) can differ meaningfully between a festival exhibition spec, a streaming platform's ingest spec, and a traditional distributor's delivery spec. Confirm the actual requirement for each target rather than assuming they match.
When should I find out what delivery format I need?
As early as possible — ideally before your final color grade and mix lock, since delivery specs can influence finishing decisions. Waiting until the final week risks discovering a mismatch after the work that would need to change is already done.
How does delivery fit into the overall post-production schedule?
It's the final phase a Post Schedule (Timeline) coordinates against your shoot calendar and budget — planned for from early in post rather than treated as an unscheduled task at the very end.
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