Post-Production Glossary

A color management framework developed by the Academy of Motion Picture Arts and Sciences. ACES provides a standardized, scene-referred color space that serves as a universal working environment for color grading, VFX, and mastering. By working in ACES, colorists can generate accurate deliverables across multiple output standards — Rec.709, P3, HDR10, Dolby Vision — from a single grading session. Most Korean post facilities with streaming platform credits work in ACES or DaVinci Wide Gamut as their primary color management pipeline. Learn more about color workflows in Korea →

The process of re-recording dialogue in a studio environment after principal photography. ADR is used to replace production dialogue that's unusable due to background noise, technical issues, or performance adjustments. The actor watches the original scene and re-performs the lines in sync with picture. Korean ADR facilities offer bilingual supervision, ensuring that English-language ADR sessions are managed accurately even when the recording engineer is Korean-speaking. ADR is included in Seoul Post Studio's sound post-production services.

A file interchange format used to transfer editorial timelines between different post-production applications. AAF files carry edit decision data — cuts, transitions, track assignments — along with references to the source media. When moving a project from Avid to Pro Tools for sound editing, or from Premiere to DaVinci Resolve for color, AAF is one of the standard interchange formats. It's more comprehensive than EDL but less universal than XML.

An enterprise file transfer technology that uses a proprietary protocol (FASP) to achieve transfer speeds dramatically faster than standard HTTP or FTP. Aspera is widely used in post-production for transferring large media files between facilities, particularly for international workflows. A feature film's worth of camera originals (10–30TB) can be transferred between the US and Korea in hours rather than days. See also MASV and Signiant as alternative transfer solutions.

The first rough edit of a film or episode, assembled in script order using the best takes selected during editing. The assembly cut is typically longer than the final product and serves as the starting point for the editorial process. It's a creative document that shows the raw material available before the editor begins shaping the story through pacing, restructuring, and selective cutting. Assembly cuts for features often run 30–60% longer than the final runtime.

See Dolby Atmos.

The industry-standard non-linear editing system for feature film and high-end episodic television. Avid's shared storage architecture (Avid NEXIS) and media management tools make it the preferred NLE for projects involving multiple editors working simultaneously. Korean post facilities maintain current Avid licensing and hardware, and Korean editors working on international projects typically have extensive Avid experience in addition to Premiere Pro and DaVinci Resolve proficiency.

A color correction or visual effect that has been permanently applied to the image file, as opposed to being applied as a non-destructive, reversible adjustment. When a LUT is "baked in" to dailies or proxy files, the color transformation is written into the pixel data and cannot be removed. Production workflows typically avoid baking in color decisions to maintain flexibility for the colorist in post.

VFX retouching applied to actors' faces and skin in post-production. This can range from subtle blemish removal to more extensive work including skin smoothing, wrinkle reduction, and cosmetic adjustments. Beauty work is a standard part of high-end commercial and episodic post-production. Korean VFX artists have extensive experience with beauty work across K-drama and K-beauty advertising, making it one of the strongest specializations in the Korean post market.

The number of bits used to represent each color channel in a digital image. Common bit depths are 8-bit (256 levels per channel, standard for web/broadcast), 10-bit (1,024 levels, standard for HDR and professional broadcast), 12-bit (4,096 levels, used in high-end cinema cameras and DPX workflows), and 16-bit (65,536 levels, used in VFX and compositing). Higher bit depth provides more tonal range and reduces banding artifacts, especially in gradients and shadows. Professional color grading is typically performed at 10-bit or higher.

A standardized format for communicating basic color correction values (slope, offset, power, and saturation) between different applications and departments. CDLs are typically created on set by the DIT in collaboration with the cinematographer to establish a starting point for the colorist. They travel with the footage through the post pipeline, ensuring that the director's initial color intent is preserved from set to grading suite. CDLs are more portable than LUTs but less expressive — they represent primary corrections only.

Any visual element created entirely through computer software rather than captured by a camera. CG elements range from simple geometric objects to photorealistic environments, characters, and effects. In post-production, CG assets are typically rendered in 3D software (Maya, Houdini, Blender) and then composited into live-action footage in Nuke or After Effects. Korean VFX houses have demonstrated strong CG capability in theatrical features, though the market's particular strength is in compositing and integration rather than hero CG character work.

VFX work that removes unwanted elements from a shot — rigging, wires, crew reflections, equipment, set imperfections, or any other element that shouldn't appear in the final image. Cleanup is one of the highest-volume VFX tasks in post-production and one of the most cost-effective services to outsource internationally. Korean VFX houses are particularly strong in cleanup work, making it an ideal entry point for productions exploring Korean post-production for the first time.

The creative process of adjusting the color, contrast, saturation, and tonal qualities of a film or video to achieve a specific visual look. Color grading goes beyond basic color correction (which aims for technical accuracy) to shape the emotional and narrative impact of the image. A skilled colorist uses grading to guide the viewer's attention, establish mood, differentiate time periods or locations, and create visual coherence across an entire project. In Korean post-production, color grading is performed primarily in DaVinci Resolve, with colorists who have been trained on the high volume and quality demands of K-drama and Korean cinema. Read our complete guide to color grading in Korea →

The technical process of adjusting footage to achieve accurate, consistent color representation. Color correction addresses issues like white balance errors, exposure inconsistencies between shots, and color casts from mixed lighting. It's the foundational step that precedes creative color grading — ensuring the footage is technically neutral before the colorist begins shaping the artistic look. In practice, most colorists perform correction and grading simultaneously, but the distinction matters conceptually: correction is objective (matching reality); grading is subjective (shaping perception).

A defined range of colors that can be represented within a particular standard. Different color spaces serve different purposes: Rec.709 is the standard for HD broadcast and web (relatively narrow gamut), DCI-P3 is the theatrical digital cinema standard (wider gamut, especially in reds and greens), and Rec.2020 is the wide gamut container used for HDR content. Understanding color spaces is critical for any international post-production engagement — the colorist needs to know which output color spaces are required for your deliverables to ensure accurate reproduction on every platform.

The process of combining multiple visual elements — live-action footage, CG renders, matte paintings, particle effects, and other layers — into a single, smooth final image. Compositing is the backbone of visual effects work and is performed primarily in Nuke (for film and high-end work) and After Effects (for commercial and broadcast work). Korean compositing artists are among the strongest in the Asian post-production market, with experience spanning theatrical features, K-drama, and international commercial campaigns. Korean compositing teams deliver at competitive rates while maintaining international quality standards.

The process of replacing offline (proxy) editorial media with the original, full-resolution camera files for final finishing. Conform is the bridge between offline editing and online/color — the locked edit is recreated using the highest-quality source material. This step requires precise media management, accurate timecode, and compatible interchange formats (EDL, XML, AAF). Korean post facilities perform conform as part of their standard online editing workflow.

A professional post-production application developed by Blackmagic Design that integrates editing, color grading, visual effects, motion graphics, and audio post-production into a single platform. Resolve's color grading tools are the industry standard — used on the vast majority of feature films, episodic television, and high-end commercial work worldwide. Korean colorists work almost exclusively in Resolve, with most senior colorists using the DaVinci Resolve Advanced Panel for hands-on grading control. Seoul Post Studio operates multiple DaVinci Resolve grading suites.

The standard format for delivering digital content to movie theaters worldwide. A DCP contains the film's video (encoded in JPEG 2000), audio (PCM), and subtitle data in a package that can be ingested by digital cinema servers. DCPs can be encrypted (requiring KDMs — Key Delivery Messages — for each individual projector) or unencrypted (for festival screenings and review). DCP mastering in Seoul is available at competitive rates. Learn more about Korean delivery capabilities →

The organization founded by major Hollywood studios to establish technical specifications for digital cinema. DCI standards govern everything from projection brightness and color accuracy to security and encryption requirements for theatrical distribution. A facility that operates to "DCI standards" means its equipment and processes comply with these specifications — which is the baseline requirement for professional DCP mastering and theatrical delivery.

The process of cleaning, smoothing, and organizing all recorded dialogue for a film or episode. Dialogue editors remove unwanted noise, fix level inconsistencies between takes, smooth transitions between shots, and prepare the dialogue tracks for the final mix. This is one of the most time-intensive phases of sound post-production and one where meticulous attention to detail directly impacts the finished product's quality. Korean dialogue editors are highly proficient, trained on the demanding turnaround requirements of K-drama production.

The on-set technical role responsible for managing digital camera data, applying on-set color processing, creating dailies, and ensuring the integrity and backup of all camera original files. The DIT works closely with the cinematographer to establish CDLs and LUTs that communicate the intended look to the post-production team. For productions shooting in Korea, Seoul Post Studio can provide DIT services with bilingual operators.

A family of lossy and visually lossless codecs developed by Avid, optimized for non-linear editing. DNxHR is the successor to DNxHD and supports resolutions up to 8K. It's commonly used as an intermediate codec for editing and as a delivery format. Variants include DNxHR LB (low bandwidth, for offline), DNxHR SQ (standard quality), DNxHR HQ (high quality), DNxHR HQX (high quality 10/12-bit), and DNxHR 444 (highest quality, 4:4:4 chroma sampling).

A proprietary HDR format developed by Dolby Laboratories that supports dynamic metadata — meaning the HDR characteristics can be adjusted on a shot-by-shot or even frame-by-frame basis, unlike HDR10 which uses static metadata for the entire program. Dolby Vision provides the highest quality HDR experience and is required by several major streaming platforms. Korean facilities working with Netflix operate Dolby Vision grading and mastering workflows.

An immersive audio format that allows sound designers and mixers to place individual sound elements in three-dimensional space, including overhead channels. Unlike traditional channel-based formats (5.1, 7.1), Atmos uses an object-based approach where each sound is positioned as a discrete object in a 3D sound field. The renderer then adapts the playback to whatever speaker configuration is available — from a theatrical Atmos installation to a soundbar to headphones. Korean mixing stages with Dolby Atmos certification deliver final mixes that meet the technical requirements of all major theatrical and streaming platforms.

An uncompressed, frame-based image file format used in high-end post-production, particularly for VFX and color grading. Each frame of video is stored as a separate DPX file, typically at 10-bit or 16-bit color depth. DPX files are large (approximately 12MB per frame for 2K 10-bit) but provide the highest fidelity for critical workflows. They are the standard interchange format for VFX work between compositing and color departments.

Processed footage from each day of shooting, typically with basic color correction applied, prepared for editorial review. Dailies allow the director, editor, and producers to review the day's work and make decisions about coverage, performance, and technical quality. For international productions, Korean facilities can receive camera originals via secure transfer and deliver processed dailies within hours, using the time zone offset to have dailies ready before the production team's next shooting day.

A text-based file that records every edit in a sequence — including source timecodes, record timecodes, and transition types. EDLs are one of the oldest and most universal interchange formats in post-production, used to transfer edit information between different systems. While limited compared to XML or AAF (EDLs support only basic cuts and dissolves on a single video track), their universality makes them a reliable fallback for moving projects between platforms.

A high-dynamic-range image file format developed by Industrial Light & Magic, widely used in VFX for its ability to store multiple data channels (including depth, motion vectors, and alpha mattes) in a single file. EXR files support 16-bit and 32-bit floating-point color depth, providing far more tonal range than DPX. They are the standard output format for 3D renders and the preferred interchange format for complex compositing workflows.

The art of creating and recording sound effects in sync with picture, performed by a Foley artist on a Foley stage. Foley includes footsteps, cloth movement, object handling, and any other sounds produced by characters interacting with their environment. High-quality Foley adds realism and texture that production sound alone cannot capture. Korean Foley artists are considered among the world's best — trained on K-drama production schedules where Foley often replaces production sound entirely, they combine exceptional speed with meticulous attention to sonic detail.

A cloud-based video review and collaboration platform (now part of Adobe) widely used in professional post-production. Frame.io enables real-time playback, timestamped commenting, drawing annotations, and version comparison — making remote review nearly as effective as being in the suite. For international post-production workflows, Frame.io is the primary tool for asynchronous review sessions between US clients and Korean post facilities. Learn more about remote workflow tools →

The range of colors that can be displayed or captured within a particular color space or by a particular device. A "wide gamut" monitor can display more colors than a standard-gamut monitor. Understanding gamut is essential for color grading work — the colorist needs to know the gamut of the reference monitor, the target delivery color space, and any gamut limitations of the intended display environments (theaters, TVs, mobile screens).

The "Korean Wave" — the global spread of South Korean pop culture, including K-drama, K-pop, Korean cinema, and Korean beauty/fashion. In the context of post-production, Hallyu is significant because it created the production volume and quality demands that built Korea's current post-production infrastructure. The colorists, VFX artists, editors, and sound designers who finish Hallyu content are the same talent pool available to international clients through facilities like Seoul Post Studio. Read about the Hallyu factor in Korean post →

A set of technologies for capturing, processing, and displaying images with a wider range of brightness levels than standard dynamic range (SDR). HDR content can reproduce brighter highlights, deeper shadows, and a wider range of colors, resulting in a more lifelike and visually impactful image. Major HDR formats include Dolby Vision, HDR10, and HDR10+. HDR delivery is now required by most major streaming platforms, making HDR grading capability a baseline requirement for any post facility serving international clients. Korean grading suites routinely handle HDR workflows.

An open HDR standard that uses static metadata — a single set of HDR parameters applied to the entire program. HDR10 is the most widely supported HDR format, compatible with virtually all HDR displays. Its main limitation compared to Dolby Vision is the use of static rather than dynamic metadata, meaning the HDR characteristics can't be optimized on a per-scene basis. Many projects deliver in both HDR10 and Dolby Vision to maximize compatibility.

A 3D animation and VFX software developed by SideFX, known for its powerful procedural generation and simulation capabilities. Houdini excels at particle effects, fluid simulations, destruction effects, and complex procedural geometry. It's the industry standard for effects-heavy VFX work and is increasingly used for environment creation and asset development. Korean VFX studios use Houdini for simulation and effects work on both domestic features and international projects.

A standardized format for mastering and distributing content, increasingly replacing DCP for streaming platform delivery. IMF uses a component-based structure where video, audio, and subtitle elements are stored separately, allowing different versions (different audio mixes, subtitle languages, or even different picture edits) to be assembled from a single master package. Netflix, Disney+, and other major platforms require IMF delivery. Korean post facilities with platform partnerships maintain current IMF authoring tools and specifications.

A digital key used to access encrypted DCPs for playback on a specific digital cinema projector during a specific time window. KDMs are the security mechanism that prevents unauthorized screening of theatrical content. Each KDM is generated for a unique combination of DCP and projector, ensuring that the content can only be played on authorized equipment. Managing KDM distribution for festival screenings and theatrical releases is a standard part of DCP mastering services.

The Korean government organization that supports and promotes the Korean film industry. KOFIC provides funding for film production and post-production, administers international co-production treaties, runs crew training programs, and supports facility development. For international co-productions, KOFIC-administered treaties with countries including France, Canada, New Zealand, and Australia allow Korean post-production expenditure to count toward local content thresholds. Learn about government support for Korean post →

A magnetic tape storage technology used for long-term archival of digital media. LTO tapes offer very high capacity (current LTO-9 tapes hold 18TB uncompressed, 45TB compressed) at a fraction of the per-gigabyte cost of hard drives. Professional post-production facilities use LTO for archiving camera originals, project files, and final masters. Korean facilities include LTO archival as part of their standard deliverable packages.

A mathematical transformation that maps input color values to output color values. LUTs are used throughout the post-production pipeline for multiple purposes: converting between color spaces (technical LUTs), applying a specific visual look (creative LUTs), simulating film stock characteristics, and converting camera-native log footage to a viewable display standard. A 1D LUT adjusts each color channel independently; a 3D LUT can make cross-channel adjustments, enabling more complex color transformations. LUTs created on set by the DIT provide the colorist with a starting point that reflects the cinematographer's creative intent.

A cloud-based file transfer service designed for large media files. MASV offers a pay-per-use model (charged per GB transferred) that's often more cost-effective than enterprise solutions like Aspera for smaller or intermittent transfer needs. It works through a web browser without requiring software installation, making it accessible for freelancers and smaller productions. MASV is widely used for transferring media between US productions and Korean post facilities.

The final stage of sound post-production where all audio elements — dialogue, music, sound effects, Foley, and atmospheres — are balanced, processed, and combined into the final deliverable format (stereo, 5.1, 7.1, or Dolby Atmos). The mix is performed by a re-recording mixer on a calibrated mixing stage. This is where the sonic character of the finished project is established. Korean mixing stages with Dolby Atmos certification meet all international theatrical and streaming delivery requirements.

Any software application that allows random-access, non-destructive editing of video and audio. The term distinguishes modern digital editing from the linear, tape-based editing that preceded it. The three major professional NLEs are Avid Media Composer, Adobe Premiere Pro, and DaVinci Resolve (which functions as both an NLE and a color grading system). Korean editors are proficient across all three platforms.

A node-based compositing application developed by The Foundry, widely regarded as the industry standard for feature film and high-end VFX compositing. Nuke's node-based workflow (as opposed to After Effects' layer-based approach) provides greater flexibility and scalability for complex compositing tasks. Korean VFX houses use Nuke for their most demanding compositing work, including theatrical features and streaming originals.

The creative editing phase where the story is shaped using lower-resolution proxy files rather than the full-resolution camera originals. Offline editing focuses on narrative structure, pacing, and performance without the computational overhead of full-resolution media. The offline edit produces the locked timeline that will be conformed to full-resolution for online editing and color grading. Korean editors working on international projects follow standard offline/online workflows compatible with any production pipeline.

The technical finishing phase where the locked offline edit is conformed to full-resolution media and prepared for color grading and final delivery. Online editing includes conform, title insertion, graphics integration, and quality control. It's the bridge between the creative editorial process and the finishing pipeline. In modern workflows where DaVinci Resolve serves as both color grading and finishing tool, online and color are often performed in the same suite by the same operator.

The point in post-production where the edit is finalized and no further changes will be made to the timing, ordering, or selection of shots. Picture lock triggers the downstream finishing processes — color grading, VFX, sound design, and music can all be completed against a locked picture without risk of being invalidated by editorial changes. Changes made after picture lock (known as "accessing") cause significant disruption and cost increases across all finishing departments.

A professional non-linear editing system developed by Adobe, widely used for feature film, episodic, documentary, and commercial editing. Premiere's integration with the broader Adobe ecosystem (After Effects, Photoshop, Audition) and its native support for a wide range of camera codecs make it particularly popular with productions that value workflow flexibility. Korean editors maintain proficiency in Premiere alongside Avid and DaVinci Resolve.

A family of intermediate codecs developed by Apple, widely used in post-production as both a working format and a delivery format. ProRes variants include ProRes Proxy (lowest quality, smallest file), ProRes LT, ProRes 422, ProRes 422 HQ (the most common delivery format), ProRes 4444 (for high-quality finishing with alpha channel support), and ProRes 4444 XQ (highest quality). ProRes 422 HQ is a common delivery format for streaming platforms, and ProRes 4444 is used as an intermediate for color grading and VFX.

A lower-resolution, lower-bitrate copy of camera original footage used for offline editing. Proxies allow editors to work efficiently on standard hardware without the computational demands of full-resolution camera files. Common proxy formats include ProRes Proxy, DNxHR LB, and H.264. The final edit is then conformed back to the original camera files for finishing. Most modern NLEs support automatic proxy/original switching.

The industry-standard digital audio workstation (DAW) developed by Avid, used for virtually all professional sound post-production including dialogue editing, sound design, Foley editing, music editing, and final mixing. Pro Tools is to sound post what DaVinci Resolve is to color — the default professional tool. Korean sound post facilities operate Pro Tools environments with current licensing and hardware.

The ITU standard color space for high-definition television and the most common delivery standard for broadcast and web content. Rec.709 defines a relatively narrow color gamut compared to P3 or Rec.2020, but it remains the baseline for SDR content and the target color space for the majority of screens viewers use. When a project is graded for Rec.709, it will display consistently across HD televisions, computer monitors, and mobile devices.

The process of manually creating frame-by-frame mattes (selections) around objects in footage, enabling those objects to be isolated for compositing, color adjustment, or removal. Rotoscoping is one of the most labor-intensive VFX tasks and benefits significantly from the cost efficiencies of international post-production. Korean roto artists deliver high-quality results efficiently, making rotoscoping one of the most common entry points for productions exploring Korean VFX services.

An intermediate stage of editing between the assembly cut and the fine cut. The rough cut has been shaped from the initial assembly — scenes have been restructured, pacing has been adjusted, and many editorial decisions have been made — but it's still a work in progress. Multiple rough cut iterations are typical before the project advances toward picture lock. The rough cut is where the story truly begins to emerge from the raw material.

A VFX technique that digitally extends a physical set beyond its actual boundaries. Set extensions are used to add scale, period-appropriate architecture, environmental context, or any visual element that would be impractical to build physically. They're one of the most common "invisible VFX" techniques — when done well, the audience has no idea they're looking at anything other than a real location. Korean VFX houses deliver set extension work for both domestic and international productions.

An enterprise file transfer platform used in media and entertainment for moving large files securely between facilities. Signiant's Media Shuttle product provides a web-based interface for file transfers, while its Flight product handles transfers to and from cloud storage. Like Aspera, Signiant is used for international post-production workflows where standard internet transfer protocols would be too slow for the file sizes involved.

The creative process of designing, creating, and manipulating sounds for a film, series, or other media project. Sound design encompasses everything from creating specific sound effects (a spaceship engine, a creature's voice, the ambiance of a fictional world) to establishing the overall sonic character of a project. A sound designer shapes the audience's emotional experience through sound in the same way a colorist shapes it through image. Korean sound designers bring a distinctive attention to detail, honed by the demanding production culture of K-drama where sound design often carries significant narrative weight. See our sound post services →

The broad category of techniques used to create, alter, or enhance imagery in post-production. VFX encompasses compositing, CG creation, set extensions, digital cleanup, rotoscoping, particle effects, motion capture, and any other process that modifies the original camera image. The Korean VFX industry has grown dramatically over the past decade, with major Korean VFX houses demonstrating Hollywood-comparable capability on both domestic and international projects. For US productions, Korean VFX teams deliver compelling quality with competitive economics. Read about Korean VFX capabilities →

The adjustment of color temperature in an image to ensure that white objects appear truly white (neutral) under the lighting conditions present in the scene. White balance is set in-camera during shooting and can be further refined in post-production during color correction. Inconsistent white balance between shots is one of the most common issues corrected during the color grading process — the colorist ensures visual consistency before applying creative grades.

A VFX cleanup technique that digitally removes visible support wires, rigs, or safety cables from shots involving stunts, flying effects, or suspended objects. Wire removal is one of the most common VFX cleanup tasks and is typically handled through a combination of rotoscoping and paint/clone techniques. It's a high-volume, relatively straightforward VFX task that benefits significantly from Korean teams' efficiency and experience.

A structured data format used in post-production to transfer complex edit information between applications. XML is more capable than EDL, supporting multiple video and audio tracks, nested sequences, effects parameters, and metadata. Final Cut Pro XML and Premiere Pro XML are commonly used to transfer editorial decisions to DaVinci Resolve for color grading. XML interchange is a standard part of the conform process at Korean post facilities.

A motion graphics and compositing application developed by Adobe. While Nuke is the standard for high-end feature film VFX, After Effects dominates the commercial, broadcast, and motion graphics space. Its layer-based workflow is more intuitive for graphic-oriented work, and its integration with the Adobe ecosystem makes it particularly efficient for branded content and advertising post-production.

An algorithm that compresses and decompresses video or audio data. The word "codec" is a portmanteau of "coder-decoder." In post-production, the choice of codec affects file size, processing speed, image quality, and compatibility between applications. Common post-production codecs include ProRes, DNxHR, H.264, H.265/HEVC, and JPEG 2000. Choosing the right codec for each stage of the pipeline — camera capture, editing, grading, VFX, delivery — is a core part of post-production workflow design.