Format Conversion & Encoding

Format conversion and encoding sits at the end of each Chinese production's deliverable schedule. A typical project ships to so many destinations that the encoding work is rarely simple. A single feature might need a DCI-compliant DCP for Wanda, CGV China, and Bona Cineplex theatrical release, NRTA-spec MXF masters for CCTV and Hunan TV broadcast, IMF packages for Netflix and Amazon Studios global SVOD versions, platform-specific H.264/H.265 encodes for iQIYI, Tencent Video, Youku, Mango TV, and Bilibili domestic streaming, plus ProRes and DNxHR mezzanines for festival circulation and editorial archive.

Our post team runs the transcoding through encoding farms at Base FX Beijing, More VFX, Beijing Film Group Post, and iQIYI Post Production. Parallel processing across many encoder nodes lets a feature finish its full deliverable matrix within a working week rather than weeks.

We tune encoding settings per target: rec.709 BT.1886 for SDR broadcast, rec.2020 PQ for HDR10 streaming, and DCI-P3 for theatrical, with Dolby Vision metadata kept through the transcoding pipeline where needed. ACES or Resolve Color Managed working spaces guard colour through frame-rate conversions, which use motion-compensated processing rather than simple frame doubling. Where a platform needs both, the original grading colorist oversees the HDR-to-SDR tone-mapping so the SDR trim carries the creative intent. Audio is remixed and re-normalised for loudness per target.

The specifics get finer still. We meet NRTA spec for domestic TV networks, ATSC A/85 OP-59 for US, and EBU R128 for European delivery, with Dolby Atmos kept where the streaming site supports it. Each encode is checked against the reference master through automated Interra Baton or Venera Pulsar QC plus an operator spot-check before delivery.