Format Conversion & Encoding

Here is how this works in practice. Format conversion in France happens inside encoding suites in Paris and Lyon that have processed everything from Arte broadcast masters to global SVOD libraries. We transcode between ProRes 4444, DNxHR HQX, XAVC, HEVC, AV1, and IMF source mezzanines. While preserving color metadata, embedded LUTs, and timecode integrity across the chain. ARRIRAW, REDCODE, and Blackmagic BRAW originals are unpacked through Resolve and Baselight workflows, then output to JPEG2000 for DCP, MXF wrappers for TV networks like The country Télévisions and Canal+, or H.264 and H.265 streams sized for Vimeo, YouTube, and OTT vendors.

Here is the short of it. HDR-to-SDR tone mapping is watched by a colorist on a calibrated Rec.709 monitor, making sure HDR10, HDR10+, Dolby Vision, and HLG masters down-convert cleanly without crushing skin tones or losing highlight detail. Batch auto lets us push hundreds of hours through parallel encode farms when libraries need re-mastering for new distribution partners. While small commercial deliveries can land on your server inside a single business day. Every output is QC'd against the target sites's spec sheet before release, so first-pass rejections become rare events rather than recurring delays.