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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Cineforms Planned 2k-4K workflow for Final Cut

1) As CineForm is primarily a codec on the Mac, it will doing anything you would expect of codecs. We have master to any resolution and output to a hardware device (with sufficient decode performance.) You would use CineForm in place of ProRES when 4:4:4 is preferred and for use in mulitple application where as ProRES is not 10-bit with tools like AE.

2) CineForm decoders are free, we already have filmout houses accepting CineForm files. Having a 444 CineForm master is handy, as you can playback them back, and they fit on single disk drives for feature length work. Yet we expect that many filmout houses will still require DPX, fortunately it is simple to convert CineForm files to DPX sequences.

Come see us at NAB to get the bigger picture able the workflow.
 
We can dicuss more NAB time frame, but yes you have the basic outline for the CineForm workflow in general. CineForm always converts out of the source camera format, whether it be from a Canon HV20, Sony EX or Red, as the camera's compression algorithms are typically optimized for aquisition not for post-production. Also CineForm focuses on online workflows, so we are the cross-platform 444 alternative to Apples ProRES 422.
 
shawname

shawname

I own NEO 4K. It will work well when we can export from REDCINE directly to Cineform. Right now I must export a DPX sequence, import to AAE, attach the audio, and export using Cineform to get a 444 editable clip. :blink:

Cineform color grades with noticeably more color variation than ProRes422.

Hope that the workflow will be up and running for NAB. See you there.

Shawn
 
Presumably Shawn is saying that there's less color artifacting with the higher color resolution of 4:4:4 in CineForm's 4:4:4 codec.
 
I have been working with Rob Lohman on the Redcine QT issues, he has debug version of our QT components as we also want Redcine to reliably export at 16-bits per channel ('b64a' or 'b48r') to CineForm 444.

Shawn,

As for DPX to CineForm conversions, have you tried the shell tools we have for that -- they are signifactly faster than AE. http://www.cineform.com/products/TechNotes/DPXConvert.htm These tools are being enhanced now and will be standard in a near future update to our 4K products (PC only today, although they will work fine under emulation.)

Question for you guys. If there a way to do an audio only export from RedCine? i.e. a wave file export. I just thinking of workaround solutions until RedCine is working well.
 
Hi David ! This is my first post here on Red User, I was just wondering when Cineforms HD Link feature will work without emulation on Mac's. I too really like the idea of using one DI throughout the editing process but detest running emulators on my Mac's. I have discussed this with some (Mac) post houses and they too have said they will not allow them on their machines. However I did mention Cineform to them and those who knew your products responded positively about working with it.
 
Hi David ! I was just wondering if you have a ballpark date for the HDLink working natively on Mac. Personally I think this will be a major selling point for NEO 4K. I already know of many FCS (finishing houses and editors) who are waiting for Cineform to finish this transition before taking the leap. I for one am. This must be a potential massive market for people like myself who are looking for one lossless DI to use throughout the finishing process.
 
CineForm will not have HD Link ported to MacOS by NAB, but we will be rolling out incremental tools for MacOS. One feature we have already mentioned is support for modifying active metadata in CineForm RAW files regardless of the camera origination.

I'll also throw out a one liner that we'll be showing an online 4K workflow at NAB for FCP (yes you heard me right) using CineForm RAW and CineForm 444, but with that zinger I'll withhold further details for the time being.... As everybody is aware we don't yet have a date to support R3D files, but we'll be showing this for 4K Dalsa and Vision Research originated files.
 
Thanks David ! I am looking forward to working with RAW files and 4K files natively on Mac, but just a reminder, I am looking at ordering a Red later this year but most of my existing work is using DVCProHD and Sony XDCAM.
In this area the market for a quality lossless 2K Intermediary like Cineform is huge, bigger I would hazard a guess than all existing 4K work combined. This will change down the line but for Mac users we really need a native solution. I have already spoken to two major FCS houses about working exclusivley in Cineform for our DI needs, but each time they keep answering the same thing no native FCP/S support. They refuse point blank to run emulation.
 
Gigabarone, I respect that. But of course a Windows machine (or emulation) is only needed for the conversion. Once converted the resulting files are FCP/S native. We support both cameras already.

We will begin moving portions of HD Link over to MacOS in the coming weeks/months.
 
David Taylor said:
I'll also throw out a one liner that we'll be showing an online 4K workflow at NAB for FCP (yes you heard me right) using CineForm RAW and CineForm 444, but with that zinger I'll withhold further details for the time being.... As everybody is aware we don't yet have a date to support R3D files, but we'll be showing this for 4K Dalsa and Vision Research originated files.
Click to expand...

These are great news

Gunleik
 
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