Delivery & Output

Shoots out of Japan deliver to a wide range of platforms and networks. Each end-point brings its own tech specs, file names, and delivery sites. The list spans local networks, global streamers, theatrical distributors, and corporate clients.

Our delivery team runs the output stage with the same care we bring to the shoot. Every file leaving the pipeline meets the target's specs exactly. Secure Transfer flows then guard it in transit. Each quality check finds and fixes spec issues before any file reaches the client or distributor.

Multi-Platform delivery means we build outputs across formats at once. That covers broadcast masters for local Japanese networks, streaming packs for global sites, and archive masters for long-term storage and re-versioning. Spec checks run against each end-point's spec sheet. They cover frame rates, colour space, loudness norms, and closed-caption formats where they apply.

For theatrical content shot in Japan, we run DCP build and mastering to cinema delivery norms. QA passes finish before the pack ships to exhibitors. Fast Turnaround is there for you when broadcast windows or launch dates leave little time between picture lock and delivery.

The output chain runs on DaVinci Resolve, with mastering and IMF authoring at houses such as Imagica and Sony PCL when scale calls for it. We build to the spec your end-point names. That covers NHK 4K and 8K broadcast, network masters for TBS and Fuji TV, and platform packs for Netflix Japan. Theatrical work ships as DCI-compliant DCP. Each file holds the right frame rate, colour space, loudness norm, and caption format for its target.

We run delivery bilingually, with English-language coordination beside our Japanese mastering teams. Overseas producers get spec sheets, QC notes, and delivery confirmations in plain English. Scheduling tracks your release date, and turnaround scales to the deliverable count. Quotes come in Japanese yen and state the 10 percent consumption tax up front. Each master, encode, and delivery transfer is costed as a separate line, so the output budget stays clear from picture lock to platform acceptance.