Every film, series, and commercial goes through the same fundamental process after cameras stop rolling. Here is what happens at each stage and what to look for when hiring a team.
The moment footage leaves the camera, it enters post. DIT (Digital Imaging Technician) handles on-set data management: backing up camera originals, verifying checksums, creating working copies.
Dailies are the first viewable versions of each day's footage. They get a temporary color treatment (CDL/LUT), synced audio, and are uploaded for the director and producers to review.
Camera originals backed up to redundant drives and verified with checksums. Nothing moves forward until data integrity is confirmed.
Footage transcoded to editing-friendly formats, synced with audio, uploaded for same-day review.
Offline editing is where the story comes together. The editor works with proxy files to build the narrative: selecting takes, structuring scenes, finding rhythm and pacing.
A project might go through assembly cut, rough cut, fine cut, and picture lock. Each one tighter and more refined.
Online editing happens after picture lock. The timeline is conformed to full-resolution media and VFX plates are inserted.
Story assembly, scene selection, pacing, restructuring. The creative core of post.
Timeline conformed to full-res media. VFX plates inserted. Technical quality verified frame by frame.
Color grading defines the visual emotion of your project. A colorist works shot-by-shot to create consistency, set mood, and establish the signature visual identity.
Look development often starts during production. Grading styles range from naturalistic film emulation to heavily stylized looks.
HDR grading is now standard for streaming. Both HDR and SDR versions are created, ensuring the project looks right on everything from an OLED TV to a phone.
Scene-to-scene consistency, skin tones, exposure balancing, and creative color choices.
Signature looks, film stock emulations (Kodak 5219, Fuji 3513), show LUTs, and custom color science.
Dolby Vision, HDR10, and SDR versions from a single session. Trim passes for both.
VFX runs from completely invisible (removing a boom mic, erasing a wire) to hero shots that define a scene.
Most mid-budget projects need cleanup and compositing more than blockbuster CG. Wire removal, beauty retouching, set extensions, sky replacements are the workhorses of everyday VFX.
Green screen keying, wire removal, rig removal, beauty work, set extensions.
3D modeling, animation, particle effects, title sequences, lower thirds.
Sound is half the experience. This phase covers everything the audience hears.
Foley is the art of recreating everyday sounds: footsteps, clothing rustle, object handling. Performed and recorded in sync with picture. Korean Foley artists are among the best in Asia.
Original scoring means composing music specifically for the project: themes, cues, underscore. Ranges from full orchestral to minimal electronic.
Music supervision handles licensing existing tracks and curating the musical identity.
Cleaning production audio, removing noise, re-recording lines in studio.
Live performance of everyday sounds recorded in sync. Footsteps, fabric, props. Adds realism and texture that production audio never captures.
Creating the sonic world: ambiences, impacts, transitions, textures. Everything that is not dialogue or music.
Composing original music to picture: orchestral, electronic, hybrid. Theme development and cue-by-cue composition.
Final balance: dialogue, music, effects, and Foley combined into a cohesive mix. Dolby Atmos, 7.1, 5.1, stereo deliverables.
Everything converges: graded picture, mixed audio, VFX, titles, subtitles. Then packaged into whatever format each distributor requires.
Every streaming platform has different specs. Netflix requires IMF. Apple TV+ requires Dolby Vision. Theatrical needs a DCP. Each format has its own QC requirements.
Knowing what actually passes QC prevents the most expensive revision: the one after you thought you were done.
Final master: picture and audio married, subtitles embedded or sidecar, metadata complete.
IMF for streaming, DCP for theatrical, ProRes for broadcast. Each with platform-specific metadata.
Automated and manual QC: every frame checked for artifacts, loudness, color space accuracy, format conformance.
We match you with the right Korean team for each phase or the entire pipeline. Tell us where your project is.
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