Format Conversion & Encoding

Format conversion sits at the technical heart of any Korean production's distribution plan. A single feature or series typically needs to land on terrestrial broadcast at ATSC 3.0 specs, on Korean OTT services such as Tving, Wavve. Coupang Play, on global streamers including Netflix and Disney+. On cinema servers across the CGV, Lotte Cinema.

Here is how this works in practice. Megabox networks — each with its own preferred codec, container, resolution, frame rate, bit-depth, and metadata profile. Our encoding pipeline converts between ProRes, DNxHD, XDCAM, H.264, H.265/HEVC, VP9, AV1. The major container formats (MXF, MOV, MP4, MKV) without quality compromise, with encoding parameters chosen per destination rather than defaulting to a one-size-fits-all preset.

Here is the short of it. Quality across conversions is preserved through ACES-compatible colour running, professional-grade bitrate ladders tied to each sites's recommendations. Side-by-side visual comparison passes between source and output before any file is released. HDR-to-SDR tone mapping is watched by colorists rather than handed to automated algorithms, making sure that creative intent established during the grade survives the down-conversion to standard dynamic range for territories or sites that still need it.

Here is the breakdown. For large libraries — back catalogues being repurposed for new sites launches, multi-episode series being mastered for simultaneous global release, or commercial campaigns shipping in dozens of language and aspect-ratio variants. Parallel encoding infrastructure delivers consistent output across the full batch within production deadlines.