3Deliver

Export the subtitles and deliver

Deliver what the client expects, in the format they expect.

For post-production, delivery managers

The problem

A rejected deliverable comes back a week later, when the team has already moved on.

DetX, SRT, VTT, text and spreadsheet. Separate stems, levelling, mastering to several broadcast targets, and batch subtitle burn-in.

The answer

Seven import formats, five export formats

Axeho slots into an existing chain: it reads what other tools produce and returns what they expect.

My export is rejected by the client’s tool. #

Check the project frame rate: a DetX exported at 25 frames per second and read back at 24 shifts everything. It is set on the project, and timecodes are recomputed.

Broadcaster formats

EBU STL for European broadcasters, with the French teletext conventions, an export cleared by a CANAL+ QC. TTML for platforms, switching to IMSC where the language requires it. Duration and reading-rate constraints are **checked and flagged**, never silently corrected.

Why flag instead of correcting? #

Because a subtitle automatically shortened to fit a constraint is no longer your text, and nobody notices before broadcast. Axeho tells you which lines exceed the limit; the decision stays with the adapter.

Does EBU STL support every language? #

No, and it is stated before export: its encoding carries neither Japanese, Chinese, Korean nor Thai. For those languages, delivery goes through TTML.

The file you can actually show

The video render puts picture and dub back together: a dubbed MP4, with the M&E, subtitles either burned in or embedded. **The picture is not re-encoded**, a few seconds per episode, and the video stream comes out identical to the source.

What is it for, since mixing happens elsewhere? #

To get the work judged. A stem cannot be shown to a client, a production manager or a prospect: you need a file that plays. It is also the file you run through quality control before sending it.

Mastering to the broadcaster’s target

Four loudness targets (broadcast −23, streaming −27, web −16, micro-drama −15 LUFS), applied to the full mix as well as to stems. The mastered file is written **beside** the raw one: you compare, you do not overwrite.

How do I know the target was hit? #

Through quality control, which measures the final file and returns the deviation in figures. Mastering aims; control verifies. The two must not be the same action.

Specifications

Learning to use it

Step-by-step walkthroughs with screenshots: Export what the client expects, Render the dubbed video.