Format Conversion & Encoding

Format conversion sits at the tech heart of any Korean production's distribution plan. A single feature or series often needs to land on terrestrial broadcast at ATSC 3.0 specs. It also goes to Korean OTT services such as Tving, Wavve, and Coupang Play, and to global streamers like Netflix and Disney+. On top of that, it must reach cinema servers across the CGV, Lotte Cinema, and Megabox networks.

Each target has 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, and AV1. It also handles the major container formats (MXF, MOV, MP4, MKV) with no quality loss. We pick the encoding settings per destination, not a one-size-fits-all preset.

Quality across conversions holds through ACES-compatible colour handling. We also use pro-grade bitrate ladders tied to each site's specs. Before any file goes out, our team runs side-by-side match-up passes between source and output. Colorists watch HDR-to-SDR tone mapping rather than hand it to software. That way the look set during the grade survives the down-conversion to standard dynamic range for areas or sites that still need it.

Large libraries bring their own demands. Back catalogues get repurposed for new site launches. Multi-episode series get mastered for a simultaneous global release. Commercial campaigns ship in dozens of language and aspect-ratio variants. For all of these, parallel encoding setup delivers steady output across the full batch within production deadlines.