SCENE 01 / POST-PRODUCTION
Post-Production & Editing Services Korea
Post-production turns your raw, unedited footage into finished, professional video. Our team blends technical skill with creative craft to deliver broadcast-quality content for films, television shows, and digital media platforms.
Finishing with Excellence
Comprehensive Post-Production Services
From editorial assembly to final delivery, our team brings your vision to life with world-class finishing for film, TV, commercials, and digital content.
Editorial Excellence
Avid and Premiere editors who have cut K-dramas for KBS, MBC, and SBS, plus Netflix originals and international co-productions, shaping footage into a gripping story.
Visual Finishing
Our Seoul facilities pair DaVinci colorists with Nuke compositors. They handle HDR and ACES work plus broadcast-compliant delivery for both Korean and global markets.
Audio Perfection
Our Seoul studio runs Dolby-certified mixing stages, Foley rooms, and ADR booths. We craft audio for Korean and global markets across cinema, streaming, and broadcast.
Service Catalog
Our Post-Production Services
Complete post-production pipeline—editing, color, VFX, audio, and delivery to any specification.
Editing & Assembly
Linked ServicesVideo Editing
Our editing team works in Premiere Pro and Avid. These editors bring deep skill in commercial, documentary, and feature film cutting, and they see projects through from start to finish.
Rough Cut to Final Cut
We work through director notes and revision rounds, then lock the timeline. Each cut is prepared for finishing in Korean and global formats.
Narrative & Documentary
Our editors weave interview recordings with B-roll and scripted content. Strong storytelling craft makes each cut engaging for Korean television viewers and global streaming audiences.
Multi-Cam Sync
Our editors merge footage from K-pop concerts, panel talks, and live events into clean, single-stream edited sequences.
Interview & Dialogue
We shape long interview recordings in both Korean and English content through three moves: Trimmed pauses, Jump cut smoothing, and Selective editing of interview segments.
Color & Visual Finishing
Linked ServicesColor Correction
We match clips by holding brightness levels and white points steady. This matters because the footage comes from different lighting and many cameras across Korean production sites.
Color Grading
Our colorists work in DaVinci Resolve and Baselight. They use film emulation and commercial brightness to build cinematic looks for both Korean and global markets.
Online Conform & QC
After VFX integration, we run automated QC checks as a final step. These confirm the content meets broadcast rules for Korean networks and the streaming standards of global platforms.
Look Development
We build pre-production LUTs and style references, so the final look shows on on-set monitors during Korean shoots.
Motion & VFX
Linked ServicesMotion Graphics
Our artists work in After Effects and Cinema 4D. They build lower thirds, animated sequences, and infographics for Korean broadcast and digital platforms.
VFX Compositing
Our compositors work in Nuke and Fusion. They blend green screen elements into Korean live-action footage, add set extensions, and create invisible effects.
CGI & 3D Animation
Our artists work in Maya and Houdini. They build photorealistic environments, character animations, and product visualizations for both commercial and film production needs.
Title Design
We design main titles, end crawls, and integrated credit sequences. Each one matches your project's tone and brand guidelines for Korean and global markets.
Matte Painting
Our artists pair Photoshop with 3D environment work. They turn live-action Korean footage into digital environments, extended sets, and sky replacements.
Rotoscoping
Our artists hand-draw mattes frame by frame. This lets us handle tricky composites, remove actors, and pull elements from Korean production footage.
Audio Post
Linked ServicesSound Design
We create sonic atmospheres, impacts, and textures. Each one supports your story's emotional beats and pacing for Korean and global audiences.
Foley Recording
Our Seoul Foley stages record footsteps, cloth movements, and prop handling. Every sound matches the action on screen exactly.
Dialogue & ADR
Our team handles audio cleanup, dialogue replacement, and Korean/English lip-sync recording. This work runs in our professional ADR facilities in Seoul.
Music & Scoring
We provide original music from Korean composers, plus library music supervision and sync licensing for both domestic and global markets.
Mixing & Mastering
We mix in Pro Tools on Dolby-certified Seoul stages. Broadcast-compliant loudness metering keeps content ready for both Korean and global markets.
Immersive Audio
We mix in Dolby Atmos and create 5.1 and 7.1 audio formats for theatrical, streaming, and broadcast release. Exact control over object and bed positions shapes every mix.
Audio Restoration
We use iZotope and Cedar processing to strip hum, wind, traffic, and production noise from Korean location recordings.
Delivery & Output
Linked ServicesDCP Creation
We provide Digital Cinema Packages with encryption and KDMs, so content reaches theaters across Korean and global markets. We test each package on theater servers before it ships to its final destination.
Broadcast Delivery
We meet every requirement from KBS, MBC, and SBS, and we follow EBU R128 global standards and Korean broadcast specifications. Full QC reporting backs delivery for both domestic and global markets.
Streaming Platforms
We prepare Netflix, Amazon, Disney+, and Apple TV+ deliverables. Each one meets the platform's own technical requirements for Korean and global release.
Archival & Preservation
Our facility runs LTO tape archives with checksum backups and preservation masters. This keeps Korean production materials safe for the long term.
Format Conversion
We transcode between ProRes, DNxHD, H.264/265, and legacy formats. The system also handles frame rate and resolution changes for delivery to both Korean and global markets.
Why Fixers in Korea
Why Choose Us for Post-Production
Industry-standard workflows, creative expertise, and seamless delivery for projects of any scale.
01.
Industry Standards
Our broadcast-compliant workflows meet Netflix, BBC, and major platform specifications.
02.
Fast Turnaround
We offer expedited delivery with 24/7 support for tight deadlines and urgent projects.
03.
Creative Partnership
We take a collaborative approach, working closely with directors and producers to realize your vision.
04.
End-to-End Service
We run the full post-production pipeline from ingest to final delivery under one roof.
On Location
Post-production editing and finishing Korea
South Korea's film and television industry has built a strong post-production base centred on Seoul. Our team works inside that ecosystem to deliver broadcast-quality finishing for global clients. Raw footage from anywhere, from the DMZ to Haeundae Beach in Busan, moves through our edit pipeline with clear versioning and client review milestones built in. Whether your content is bound for theatrical release, streaming sites, or broadcast, we bring the same technical care and creative attention to every stage of post.
Seoul editors, DaVinci colorists, and Dolby-certified mixers working the same K-drama and Netflix Korea stages your finishing schedule demands.
Video Editing and Rough Cut to Final Cut services form the backbone of our workflow, with editors who have cut both Korean-language drama and foreign documentary material. Color correction runs on every project as a baseline pass, bringing consistency across shooting days and locations. Our colorists then move into full Grading to set the look your director and DP have called for. For multi-camera content from Gangnam conference venues or live events in Incheon, our Multi-Cam Sync service folds all feeds into a clean, time-coded sequence ready for picture lock.
Motion and VFX finishing carry the same care. Our compositors blend green-screen elements, set extensions, and CG creatures into Korean live-action footage so the join is invisible. Our motion designers build title sequences, animated graphics packages, and branded content for both Korean and global cuts. Every shot ships with frame-accurate reference to the offline edit, so the look the director approved survives all the way through to the final master.
South Korea's post talent pool is deep and well connected. We draw on senior VFX houses such as Mofac Studios, Digital Idea, and Creative Party, plus the edit suites, colour rooms, and Dolby-certified mixing stages clustered around Digital Media City in Seoul. Our team matches each project to facilities sized to the work, from a single boutique for a commercial up to a full multi-vendor pipeline for a streaming series, and we manage the schedule across every stage.
The toolset runs to the current industry standard. Editors cut in Avid Media Composer and Adobe Premiere Pro, while colourists grade in DaVinci Resolve. Compositors work in Nuke, motion designers in After Effects, and CG artists in Maya and Houdini. Unreal Engine drives real-time and virtual-production work. Our team briefs each artist from the camera, lens, and lighting data captured on the Korean shoot, so finishing matches the footage exactly.
Our post team builds delivery to the broadcaster or streamer taking the master. Programmes for KBS, MBC, SBS, or JTBC follow each network's loudness and colour spec, while originals for Netflix, Disney+, or Coupang Play meet the platform's HDR and Dolby Vision rules. We QC every deliverable on calibrated displays, then archive the project with proxies, masters, and a checksum manifest, so a Korean or global client can reopen the finish months later without missing media.
FAQs
Post-Production FAQs
Answers about timelines, deliverables, and how we handle your post-production needs.
What's included in post-production services?
We run the full pipeline from dailies through final delivery. The offline edit happens in Avid or Premiere, then we move to online conform for VFX integration, DaVinci color sessions, and Pro Tools sound editorial with Foley and ADR when needed, plus the final mix on calibrated stages. Our team handles tech handoffs, so you never juggle separate vendors. Every deliverable is QC'd to spec for Netflix IMF, Korean broadcast masters, or encrypted DCPs for theatrical release.
How long does post-production typically take?
Commercial work runs two to three weeks, from the end of offline editing to final delivery. Documentaries take eight to twelve weeks, since they hinge on archive clearance and interview transcription. Features with heavy VFX need 16 to 24 weeks, and less for dialogue-driven projects. We have handled rush turnarounds for festival deadlines, but those cost more and strain the schedule, so it is better to plan realistic timelines from the start.
Do you handle international deliverables?
Daily. Each streaming site has its own technical needs: Netflix wants IMF packages with set audio channel configurations, Amazon runs its own quality check system, and Apple TV+ needs Dolby Vision support. We stay current on all of them. Our Korean broadcast service meets KBS, MBC, and SBS rules along with EBU R128 loudness standards. We also test every DCP on theater servers before it ships to its final destination.
Can you match existing looks or brand guidelines?
Our colorists match seasons, hold brand consistency, and recreate director-OK'd looks using LUTs, CDLs, and reference stills. Each suite has calibrated monitors that set up proper viewing conditions. For series, we build show LUTs that keep every episode and season uniform, whatever the production conditions.
What formats can you work with?
Everything current: ARRIRAW, RED R3D, Sony Venice X-OCN, Blackmagic RAW, and ProRes in all flavors. We also handle legacy formats that enter the cut when archive materials need work, including digibeta, HDCAM SR, and film scan formats. Our Seoul facilities keep both modern setups and older gear ready for when you need them.
On Set
Ready to Finish Your Project?
Tell us about your project, and we'll deliver broadcast-ready masters on time and on budget.