Client Delivery Checklist

Compare the cut list against the SOW deliverables matrix: 15s, 30s, 60s broadcast versions, 6s and 15s pre-roll, 9:16 social cutdowns, and any localized VO variants. Missing cutdowns at this stage are the most common reason a delivery slips.

Pull the signed picture-lock email and the colorist's session notes. Reference the brand color spec from the brand book during the DI review — drift from brand spec is a common QC catch right before traffic.

Check each broadcast file against the network's clearance spec — typically ProRes 422 HQ, 23.98fps, -24 LKFS audio loudness per CALM Act. Wrong frame rate or loudness is a same-day rejection at Extreme Reach or Adstream.

Send the failure notes back to the online editor or mix engineer. Re-conform, re-QC against the same network spec, and document the corrected file's hash or version before re-trafficking.

Pull the sync, master use, and performance license agreements. Verify each license covers every channel in the media plan (TV, OLV, paid social, OOH) and the full term. A TV-only sync used in a YouTube cutdown is a fast way to get a takedown letter.

Check that the SAG-AFTRA Commercials Contract is executed for every principal, and calendar the 21-month use-cycle expiry. Holding fees and lift fees should already be scheduled with payroll. Unauthorized-use claims are expensive and avoidable.

If the campaign includes any influencer posts, dark posts, or whitelisted content, confirm #ad or "Sponsored by" disclosure is on every asset per FTC Endorsement Guides (16 CFR Part 255). NAD challenges on missing disclosure are common.

Have each creator sign off that their post-ready copy includes the required disclosure in the first three lines (not buried under "more"). Store the attestation alongside the brief in CreatorIQ or the influencer folder.

Upload broadcast versions to Extreme Reach or Adstream with the network destination list and air dates. Online versions go to the DSP via DCM/CM360 tags. Confirm slate ISCI codes match the traffic instructions.

Use the client's approved transfer channel — usually MASV, Aspera, or the client's own ingest portal. Personal Dropbox or WeTransfer often violates the client's data-handling policy. Include a manifest with file names, durations, codecs, and checksums.

Push masters and web-resolution proxies to Bynder, Brandfolder, or the client's Aprimo instance. Tag with rights metadata: usage term, geo, channels, talent expiry date, music expiry date. Skipping rights metadata is the reason old assets get pulled and reused improperly.

Pull the as-run reports from the traffic vendor for each network and air date. Reconcile against the buy. Discrepancies should be flagged to the media team within 5 business days for make-good negotiations.

The producer compiles budget actuals vs. plan, pass-through reconciliation, and any change orders executed during the project. Flag any overage above the change-order threshold for explicit client sign-off.

Send the use-cycle expiry dates to the talent team and to client legal. Calendar a reminder 90 days before the 21-month commercial cycle ends so the extension or pull decision happens before unauthorized-use exposure begins.

Account, creative, strategy, and production review what worked and what slipped. Document scope-creep moments, brief drift, and trafficking issues so the next project's SOW and timeline reflect reality.

If the work is awards-eligible, prep the case-study brief and deliverables mat for One Show, Cannes Lions, Effies, or D&AD per each show's eligibility window. Cannes deadlines are hard cutoffs — build in a 48-hour buffer.