Data Management Systems

Here is how this works in practice. Data running on a Korean production has to keep pace with the country's appetite for high-end formats. ARRIRAW, Sony X-OCN, RED R3D and BRAW arrive together on most feature and commercial sets. And with the speed at which post-studios in Sangam DMC and Paju Studio Cube expect dailies to land. Our DIT stations are configured per camera package before the truck rolls out, with checksum-verified offload, triple-redundant backup across independent drives. CDL-driven on-set grading tied to the show LUT supplied by your colourist. We run dedicated runners between unit and base camp so camera mags clear fast. Detailed chain-of-custody records accompanies every drive that leaves the set.

Here is the short of it. The end-of-day handoff is where Korean productions tend to live or die. Our team sets up same-day delivery of verified clones to post houses across the Greater Seoul area, courier transfers to Busan or Jeju via Korean Air Cargo when shoot units are split. LTO-8 archive masters for long-form productions that need a deep, retrievable record once the project wraps.

Here is the breakdown. We integrate with your VFX and edit pipelines through standard metadata exports, ALE files for script oversight and Avid-ready transcodes for offline cutting, all created on set. Five hundred terabytes of production data have moved through our workflows without a frame lost. The same protocols apply whether your shoot is a two-day commercial in Seongsu-dong or a sixty-day feature touring the peninsula.