Format Conversion & Encoding

Here is what we have to work with. Format conversion and encoding sits at the end of each Chinese production's deliverable schedule. 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 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.

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 many encoder nodes so a feature can complete its full deliverable matrix within a working week rather than weeks.

Here is the layout. 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.

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