Format Conversion & Encoding

Format conversion and encoding sits at the end of every Chinese production's deliverable schedule, and the breadth of destinations a typical project ships to means the encoding work is rarely trivial. 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 international 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.

Here is how this works in practice. Our post team runs the transcoding work through encoding farms at Base FX Beijing, More VFX, Beijing Film Group Post, and iQIYI Post Production, with parallel processing across multiple encoder nodes so a feature can complete its full deliverable matrix within a working week rather than weeks.

Encoding parameters are tuned per destination: rec.709 BT.1886 for SDR broadcast, rec.2020 PQ for HDR10 streaming, DCI-P3 for theatrical, with Dolby Vision metadata preserved through the transcoding pipeline where needed. ACES or Resolve Color Managed working spaces protect colour fidelity through frame-rate conversions handled with motion-compensated processing rather than simple frame doubling. HDR-to-SDR tone-mapping is supervised by the original grading colorist where the platform needs both deliverables, making sure the SDR trim faithfully carries the creative intent. Audio is remixed and re-loudness-normalised per destination.

The picture on the ground is more specific. NRTA spec for domestic broadcasters, ATSC A/85 OP-59 for US, EBU R128 for European, Dolby Atmos retained where the streaming platform supports it. Every encode is verified against the reference master through automated Interra Baton or Venera Pulsar QC plus operator spot-check before delivery.