Format Conversion & Encoding

Format conversion sits between the finished colour-graded master and the dozens of endpoints a typical Peruvian production must feed. These include TV networks, OTT services, festival circuits, agency review systems, web embeds, and mobile-first social cuts.

Our encoding team works at Cinesphere DI Lima, Tondero Post, and Audiovisual Project Perú Post. There we run large-scale transcoding farms that cover the full pro codec stack. ProRes 4444 and 422 variants serve mezzanine and broadcast deliveries to Latina, América, ATV, and TV Perú. DNxHD and DNxHR handle edit conform across the Lima post community. H.264 and H.265/HEVC produce streaming masters for Netflix Latin America, Disney+ LATAM, Amazon Prime Video LATAM, Movistar Play, and Claro Video. XDCAM and MXF wrappers cover legacy domestic broadcast spec. And AV1 and VP9 serve web-first social, festival sites, and YouTube ingest. ACES-managed colour pipelines keep the grade intact from the Baselight or DaVinci Resolve session through each encoded output.

NTSC-PAL frame-rate conversions let Peruvian content travel worldwide, which matters for Ibermedia co-production areas in Spain or EBU regions. We use motion-compensated processing, not naive frame doubling, so cadence stays smooth in pans, action, and dialogue. For shoots graded in the Dolby Vision room at Cinesphere DI, a colorist oversees the HDR-to-SDR tone-mapping on a calibrated trim pass, not an automated converter. This way the Rec.709 SDR version keeps the creative intent of the HDR master and does not blow out the highlights or crush the shadows.

Each encoded output is QC-verified against the target site's published spec — gamut, loudness, sync, container, metadata — and ships with a written tech report. That lets the receiving operator sign off and schedule the deliverable without back-and-forth rejection cycles.