Format Conversion & Encoding

Here is how this works in practice. Format conversion sits between the finished colour-graded master and the dozens of receiving sites a typical Peruvian production has to feed — TV networks, OTT services, festival circuits, agency review systems, web embeds, mobile-first social cuts.

Here is the short of it. Our encoding team — working at Cinesphere DI Lima, Tondero Post, and Audiovisual Project Perú Post — runs enterprise transcoding farms covering the full professional codec stack: ProRes 4444 and 422 variants for mezzanine and broadcast deliveries to Latina, América, ATV, and TV Perú; DNxHD and DNxHR for edit conform across the Lima post community; H.264 and H.265/HEVC for streaming masters destined for Netflix Latin America, Disney+ LATAM, Amazon Prime Video LATAM, Movistar Play, and Claro Video; XDCAM and MXF wrappers for legacy domestic broadcast spec; and AV1 and VP9 for web-first social, festival sites, and YouTube ingest. ACES-managed colour pipelines preserve grade integrity from the Baselight or DaVinci Resolve session through every encoded output.

Here is the breakdown. NTSC-PAL frame-rate conversions for Peruvian content travelling worldwide — specific to Ibermedia co-production territories in Spain or EBU regions — are handled with motion-compensated processing rather than naive frame doubling, preserving cadence in pans, action, and dialogue. HDR-to-SDR tone-mapping for productions graded in the Dolby Vision room at Cinesphere DI is supervised by a colorist on a calibrated trim pass rather than dropped into an automated converter, so the Rec.709 SDR derivative preserves the creative intent of the HDR master rather than collapsing the highlights or crushing the shadows.

Here is what that looks like on the ground. Every encoded output is QC-verified against the destination sites's published spec — gamut, loudness, sync, container, metadata — and ships with a written technical report so the receiving operator can sign off and schedule the deliverable without back-and-forth rejection cycles.