Language Localization

Subtitling

Subtitling is our business root always been our anchor business since day one.

With over 100 subtitling professionals within our arsenals, we surely can handle any kind of Subtitling projects.

Currently we are in close cooperation with many Producers, Distributors, local and regional broadcasters based in Indonesia and Asia Region alike.

Our subtitling services can be classified as follow :

Burn-In Subtitling: Preparing conventional Burn-In Subtitle master on any broadcast compatible media. Either on file base or other legacy formats such as HDCAM, HDCAM-SR, Digital Betacam, Betacam SP, DVCAM or any other media requested by clients.

Subtitle Files. We can deliver subtitle files in Screen Subtitling’s *.PAC, Cavena’s *.890/*.cip, *.srt, DCI Cinecanvas *.xml, image sequence or any other subtitle file formats required.

Digital Cinema Subtitling: We also deliver subtitle files on 2D or 3D Texas Instrument Cinecanvas DCI Compliance format for Digital Cinema needs.

Here is the language pair that we do at the moment:

  • English – Bahasa Indonesia ( vice versa )
  • English – Malay ( vice versa )
  • English – Phillipine’s Tagalog ( vice versa )

Other than that we can also do from any languages, as long as the English scripts are provided.

Dubbing / Voice Actor

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On 2011 we expanded our service and started to provide Voice Over / Dubbing service.

Starting with just 2 studios, at the moment we have total 5 Dubbing suites, and 2 dedicated Mixing rooms on our 8500 sqft facilities.

All the room’s acoustic are accurately designed by John Brandt, an American acoustic designer with over 40-Years experience on designing major recording studios Worldwide. We are using Protools HD system and Neuman TLM 103 Microphones along with sealed Ducting AirCon System to get the best quality out of all our suites.

Media Processing

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Equipped with Non-Linear and Linear Editing systems, we have been trusted to render our editing service to many broadcasters in Indonesia.

One of our biggest Media Assets project was during Astro Indonesia time on 2008, where we were the anchor vendors for Astro Indonesia.

We were trusted to handle all Astro’s media asset for their needs to air from Kuala Lumpur.

We handle the masters from its first arrival up until it’s ready to air. We do Ingest, Up, Down, Cross Conversion, S&P editing, censorship edits, commercial break inserts, On-screen logo inserts, time-code alignment, Bi-Lingual Audio track alignment, proxy files creation as well as Subtitling or Dubbing.

We also did conversion for Airline VOD system that complies with Thales airline VOD.

Digital Cinema Services

As the Cinema technology evolved from 35 mm to Digital Cinema system, our services evolved as well.

Started with e-cinema mastering service back on 2007, in last quarter of 2009 we migrate our services to DCI Compliance standard. We are the First and the Only full pledge Digital Cinema Mastering facility in the Indonesia during 2009-2012. And up until now we are still the market leader on Digital Cinema services. With hundreds of titles on our Portfolio, we surely can handle any kind of Digital Cinema services needed by clients.

  • DCP Mastering
  • DCP Forensic Watermark Detection
  • DCP Censorship conformance / Re-visioning
  • DCP Duplication and Distribution
  • Digital Cinema subtitling and dubbing
  • KDM Management Service

We accept any kind of media format to be mastered into DCP. From HDCAM-SR tapes, Digital Betacam or Analog tapes, DPX, TIFF, DCDM, Quicktime, etc… we can handle them all.

Color Grading

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Our cozy Cinema Color Grading suite, equipped with the latest Davinci Resolve system, Grading panels, Latest Mac Pro with high-speed Thunderbolt storage raid system, along with a calibrated color-accurate 2K Monitor and 5.1 audio system for testing the final DCP.

The Grading workflow has been designed and calibrated to meet the Digital Cinema DCI standard. So whatever color you see on our suite, it will be 95-98% match to the theater screen, where the remaining 2%-5% error are usually due to the projector’s lamp tolerance.