A Director’s Checklist for Shooting Music Videos That Appeal to Both YouTube and Streaming Broadcasters

Hook: Why directors must think like broadcasters in 2026

You're making a music video that needs views on YouTube, but you also want it to be eligible for broadcaster or streamer licensing — BBC strands, Disney+ commissions, playlist windows, festival shorts. The pressure is real: tight budgets, technical unknowns, and shifting platform specs. In 2026, with the BBC reportedly in talks to produce bespoke content for YouTube and streamers like Disney+ tightening technical standards and commissioning strategies, directors who plan for cross-platform deliverability win twice — in reach and revenue.

The short version: What this checklist gives you

This is a practical, production-to-delivery checklist for directors who want a single music-video package that satisfies YouTube, public-service broadcasters (like the BBC) and major streamers (think Disney+/regional teams). It covers runtimes, color spaces, file types, captions, audio loudness, editorial versions, metadata, and rights — with concrete values and examples you can hand to DPs, editors and post houses.

Context: Why specs matter in 2026

Two industry developments shape this checklist. First, trade reporting in January 2026 noted the BBC exploring producing content for YouTube channels, signalling more hybrid commissioning where broadcaster standards may land on platform-style deliverables (Variety, Jan 2026). Second, streamers like Disney+ are consolidating commissioning teams in EMEA and emphasising high technical and editorial standards for originals and acquisitions (Deadline, 2026). Practically, that means: even YouTube-first videos increasingly need broadcaster-grade masters and metadata.

How to use this checklist (inverted pyramid)

Start with the bottom-line deliverables your distributor or potential licensor will ask for. Build from pre-production choices (camera codec, color pipeline, audio capture) through editorial, finish with packaging, captions and manifest files. Wherever possible, create both a broadcast/mezzanine master and a YouTube-optimized derivative.

Top-level deliverables (final outputs you should prepare)

• Mezzanine master: ProRes 422 HQ MOV (master color grade) — Rec.709 SDR and a separate HDR master if shot/natively graded for HDR.
• HDR master (when required): PQ (ST 2084) HDR10 or Dolby Vision layered on top of Rec.2020 color primaries — deliver as ProRes 4444 XQ or as an IMF package if requested by streamer.
• Delivery package for broadcasters/streamers: IMF composition(s) (JPEG2000 MXF essence), or mezzanine ProRes + XML/EDL + checksums depending on the partner.
• YouTube-ready file: MP4 H.264 (or AV1/HEVC where supported), 4K if available, high bitrate, plus a ProRes upload backup if you want the highest encoded quality for YouTube’s re-encode.
• Audio: Stems (dialog/music/effects) only if requested, a 24-bit/48kHz WAV stereo master and a 5.1/ATMOS mix when commissioning requires it. Loudness target: -23 LUFS for European broadcast (EBU R128) and -14 LUFS for YouTube/typical streaming safety.
• Captions/subtitles: SRT (UTF-8) for YouTube; IMSC1/TTML (or EBU-TT-D) for BBC/European broadcasters; SCC/CAPT for some broadcast ingest workflows in North America.
• Metadata & rights package: ISRC, composer/performer credits, cue sheet, sync license confirmation, contact and delivery manifest (checksums, timecode info).

Pre-production checklist: set the project up for dual-platform success

Make these decisions early. They drive everything from camera settings to how you grade and export.

1. Runtime strategy

• Primary runtime: Most music videos sit between 3:00–4:30. For broadcast-friendly packages aim for 3:00–5:00 to accommodate programming blocks and promos.
• Alternate trims: Prepare a 30–60 second promo cut and a 90–120 second TV edit for playlist or scheduling needs. Keep a timecoded list of cuts and reasons.
• Leader and tails: Include 5s black leader with 2-pop at 00:00:02:00 if delivering for broadcast. Broadcasters often expect a slate and 2-pop to verify A/V sync.

2. Camera, codec and color pipeline choices

• Shoot RAW or high-bit-rate log: ARRIRAW, REDCODE RAW, or ProRes RAW preferred where budget allows. If not, use highest quality intra-frame codec (ProRes 422 HQ/4444) and expose to protect highlights.
• Color pipeline: Adopt an ACES or ACES-like pipeline to future-proof. Grade from a wide gamut source then generate SDR (Rec.709) and HDR (PQ/Rec.2020 or P3) deliverables.
• Color space on set: Record in a wide gamut (ARRI LogC, RED Wide Gamut). Capture a color chart, gray card and light meter readings for accurate grade.
• Monitoring: Use calibrated monitors and LUT boxes that can preview Rec.709 and PQ or HLG. Mark shots where clipping occurs.

3. Audio capture

• Multitrack recording: Record production audio and isolate a dry music playback track if the performance is mimed — this makes stems and ADR easier.
• Files and formats: Capture 24-bit/48kHz WAV. For high-end deliverables capture 96kHz if requested by a mixer.

Shoot day checklist: practical actions to protect the later deliverables

• Record a slate with ISRC (if pre-assigned), song title, director, DP and scene/take numbers.
• Take detailed shot notes and capture thumbnail stills for editorial to speed conforming.
• Log every clip with accurate timecode and camera card mapping.
• Record color chart passes every time lighting changes significantly.
• If shooting for HDR, capture highlight roll-offs and use ND instead of aperture changes when possible to maintain depth-of-field consistency across SDR/HDR grading.

Editorial & VFX checklist

Edit with the final deliverables in mind so conforming is painless.

• Edit in high-res proxies: Make time-saving H.264 proxies but conform to RAW/ProRes for grade and deliver.
• Maintain EDL/XMLs: Produce a locked AAF/EDL/XML with handle information (+/- 10 seconds minimum) for the colorist and finishing house.
• Versioning: Label editorial versions clearly (e.g., V01_director_cut_2026-01-17). Keep a change log for broadcaster notes.
• VFX plate delivery: Provide full-resolution plates and camera metadata (lens maps, sensor info, measured lens distortion). Include a frame-accurate shot list for VFX.

Color grading & color space deliverables

Color is where YouTube and streamers often diverge. Plan to grade for both.

Recommended workflow and deliverables

• Primary grade: Grade to ACEScg (or camera-native wide gamut), then output a master graded in Rec.709 SDR. Deliver as ProRes 422 HQ MOV.
• HDR master: If production warrants HDR, grade a second pass and deliver PQ ST 2084 HDR10 (Rec.2020 color primaries). Optionally provide Dolby Vision metadata if required by the streamer. Deliver as ProRes 4444 XQ or per IMF requirements.
• Color-legal limits: Ensure broadcast-safe RGB and legalized luma levels (no illegal blacks or oversaturated P3/Rec.2020 primaries that will clip in broadcast chains).
• LUTs and CDL: Export 3D LUTs and CDL values used in the grade so partners can reproduce looks if a regrade is requested.

Audio specs: loudness and mixes

• Broadcast target: EBU R128, integrated loudness -23 LUFS ±0.5, true-peak -1 dBTP. Deliver stereo and/or 5.1 mixes as required by the broadcaster/streamer.
• YouTube/streaming: Target -14 LUFS integrated. YouTube normalizes to around -14 LUFS; supplying a louder or quieter track will be normalized algorithmically and may alter perceived punch.
• Files: Provide final masters as 24-bit/48kHz WAV. Provide stems (vocals/music/effects) and a fully mixed 5.1/ATMOS bed if requested by the buyer (many streamers now request immersive audio for originals).

Captioning & subtitle formats — the compliance essentials

Captions are both a legal requirement for many broadcasters and a discoverability tool for YouTube. Build them early in the process.

What to deliver

• YouTube: SRT (UTF-8), WebVTT optional. Include speaker IDs and accurate timecodes, kept concise for screen reading. Upload both auto captions (for discovery) and a clean human-checked SRT.
• Broadcasters (UK/Europe): IMSC1/TTML (often EBU-TT-D) widely requested by public broadcasters like the BBC for streaming catch-up and broadcast ingest. Provide burned-in subtitle thumbnails for QC when requested.
• Broadcast closed captions (US): SCC/CAPT or CEA-708 as required by the broadcaster or aggregator.
• Language packs: Prepare translated subtitles as separate files (SRT for YouTube, TTML/IMSC1 for broadcasters). Include language code (e.g., en-GB, en-US, es-ES) in filenames.

File naming, manifests and checksums

Chaos in file naming kills delivery. Standardise and provide checksums.

• Filename example: Artist_Song_v1_ProRes422HQ_Rec709_24-48_MASTER.mov
• IMF/Mezzanine manifest: Include an ingest CSV that lists file name, codec, timecode start, duration, checksum (MD5/SHA256), and a short description.
• Checksums: Provide SHA256 checksums for all masters and upload verification reports from your FTP or S3 transfer.

Editorial elements and legal materials

• Credits and slates: Deliver a separate credits file and a burn-in or end-credit reel if the broadcaster requires them. Keep a short-form metadata sheet for platform use (150–300 characters synopsis).
• Rights & cue sheets: Provide ISRCs, publishing splits, performer lists, and an accurate cue sheet for public-performance reporting. Streamers and broadcasters will not clear content without these.
• Clearances: Visual clearances (logos, location releases, talent releases) and sync licenses must be included in the delivery package. Name a clearance contact in the manifest.

Packaging checklist: the final deliverable bundle

Example structure of a delivery ZIP or S3 bucket:

1. /masters/Artist_Song_ProRes422HQ_Rec709.mov
2. /hdr/Artist_Song_ProRes4444_PQ_Rec2020.mov (if HDR)
3. /youtube/Artist_Song_1080p_H264.mp4
4. /audio/Artist_Song_stereo_48k_24bit.wav
5. /audio/Artist_Song_5.1_48k_24bit.wav (if supplied)
6. /captions/Artist_Song_en-GB.srt
7. /captions/Artist_Song_en-GB.ttml (IMSC1 for broadcasters)
8. /metadata/ISRC.txt, credits.txt, cue_sheet.pdf
9. /manifests/delivery_manifest.csv, checksums.sha256
10. /assets/stills/, /LUTs/, /color_CDLs/

QC / Quality control tests to run before upload

• Watch the full master on calibrated monitors (SDR and HDR if applicable) and on consumer displays (phone/tablet/TV) to catch clipping or odd tone-mapping issues.
• Verify loudness and true-peak compliance with both targets (-23 LUFS and -14 LUFS versions if you’re providing both).
• Run captions through a reader to ensure no timing overlaps and accurate speaker labeling.
• Confirm timecode continuity and that EDL/XML conforms exactly to final picture cut.
• Checksum validate every file after transfer.

Real example (a workflow you can copy)

Scenario: 4:12 music video, intended for YouTube release and potential broadcaster short-listing.

1. Shoot: ARRIRAW 4.6K, LogC, color chart every 10 minutes.
2. Edit: create proxies (DNxHR LB) for offline; conform to ARRIRAW for grade.
3. Grade: ACES workflow. Output Rec.709 ProRes 422 HQ master and PQ Rec.2020 ProRes 4444 HX HDR master. Export CDL and LUTs.
4. Audio: deliver stereo WAV 24/48k at -14 LUFS for YouTube and a matched -23 LUFS stem for broadcast ingests. Provide stems and a 5.1 bed for streamer specs.
5. Captions: produce SRT for YouTube, and IMSC1 for broadcaster delivery. Provide translations for key regions.
6. Packaging: deliver a ZIP with manifest, checksums, ISRC, cue sheet, and contact details for clearance queries.

Notes on BBC–YouTube and streamer expectations

“The BBC in talks to produce content for YouTube could mean broadcaster-style QA, metadata and legal workflows arriving on platform-first projects.” — reporting summarised from Variety, Jan 2026

In practice, this shift means more commissioners will ask for mezzanine masters, captioning in broadcaster formats, and full rights documentation even for YouTube commissions. Streamers like Disney+ are pushing for higher-quality audio and metadata standards in EMEA; expect requests for 5.1/ATMOS and IMF deliverables more frequently.

Common pitfalls and how to avoid them

• Pitfall: Delivering only an H.264 MP4. Fix: Always keep a mezzanine ProRes master and provide it on request.
• Pitfall: One audio loudness for all platforms. Fix: Provide two mixes or advise your distributor which loudness target you used.
• Pitfall: Captions only uploaded to YouTube auto-generated. Fix: Deliver human-verified SRT and broadcaster TTML to ensure accessibility and compliance.
• Pitfall: Single color grade for SDR only. Fix: Design your grade for SDR and create an HDR-pass or at least preserve highlight detail in the master to allow future HDR outputs.

Advanced strategies and future-proofing (2026+)

• ACES as default: As broadcasters and streamers accept a wider gamut, ACES simplifies multi-target output and preserves archival quality.
• IMF readiness: Learn the basics of IMF packaging now. Many streamers accept IMF compositions for fast localization and trackable QC.
• Prepare ADR & stems: Creating isolated stems at the final mix stage will let you meet future requests for alternate edits or localized mixes without expensive re-recording.
• Metadata-first approach: Bake ISRC, credits and cue sheets into your production workflow; commissioning partners increasingly expect machine-readable metadata on delivery.

Quick printable checklist (condensed)

• Primary master: ProRes 422 HQ (Rec.709) + optional HDR ProRes 4444 (PQ/Rec.2020)
• YouTube file: MP4 H.264 high-bitrate (4K/1080p depending)
• Audio: 24-bit/48k WAV; -23 LUFS (broadcast) & -14 LUFS (streaming) versions or stems
• Captions: SRT (YouTube) + IMSC1/TTML (broadcaster)
• Metadata: ISRC, cue sheet, credits, release forms
• Packaging: manifest.csv + checksums.sha256 + LUTs/CDL + shot list

Final words — make deliverables part of your creative plan

Deliverables are not an afterthought. In 2026, as broadcaster/platform lines blur (see the BBC–YouTube discussions) and streamers raise technical expectations, directors who integrate deliverable planning into pre-production move faster, spend less in post, and unlock new revenue pathways. Use this checklist as a working template, adapt to partner-specific briefs, and keep a canonical ProRes master for future formats.

Call to action

Need a printable delivery template or a one-page PDF version of this director’s checklist to hand to your producer? Download our free cross-platform deliverables pack or book a 30-minute consultation with our post-production advisor to review a delivery brief. Make your next music video both YouTube-ready and broadcaster-grade.

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