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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 :)

CineForm Officially Supports Red One

I loved my Cineform HDV tool to turn HV20 footage into beautiful 24P MOV files for my Avid. Does the new Cineform product for r3d's have an advantage if you work in Avid and not in Premiere? One thing sounds good at least, from what I've read here: there is a very fast conversion of the r3d's to MOV files, and I like that.
 
Everything we are doing also generates MOVs as an option. In any of our batch scripts, just change line 13 which has = ".avi" to = ".mov", now you can quickly and similar produce CineForm MOVs. So not just for Adobe Premiere. We have also been working with Avid MetaFuze and ALE creation but those features aren't in public beta yet, but more direct Avid support is coming.
 
David Newman said:
Kaku, I'm not that knowlegde of monitor selection, particularly as the use of CineForm should change that decision form a traditional workflow.
Click to expand...

I see, can you kindly tell me then how we should setup monitors to do offline color grading (then takes stills for sample and do the destructive grading on online system)? What would you prefer? Calibrated Desktop monitor?

I checked around more and found out that there was a few Sony monitors that are compatible to RGB 4:4:4. I have BVM-D24, but I should have bought BVM-F24. Also, BVM-A20F1M(still in production?) is 4:4:4 compatible.
 
Kaku Ito said:
I see, can you kindly tell me then how we should setup monitors to do offline color grading (then takes stills for sample and do the destructive grading on online system)? What would you prefer? Calibrated Desktop monitor?

I checked around more and found out that there was a few Sony monitors that are compatible to RGB 4:4:4. I have BVM-D24, but I should have bought BVM-F24. Also, BVM-A20F1M(still in production?) is 4:4:4 compatible.
Click to expand...

All desktop monitors are 4:4:4, that only becomes an issue if you are looking for a 10-bit display and DVI is only 8-bit. There are so very few 10-bit displays, even via dual link. Now you don't really need a 10-bit display, a good full gamut callibrated 8-bit LCD will often work fine in a pinch, but I'm liking these new HP Dreamcolor monitors that get 10-bit via DisplayPort or HMDI 1.3 -- I think this is how we will be color-correcting in the near future.

P.S. HP, get a few of those monitors and we will make it easy for people to use them. ;)
 
Unfortunately, the HP monitor isn't true 10-bit, only 8-bit with internal dithering. In the OT section there's a thread about the monitor's price drop and this is mentioned there too. I haven't seen one with my own eyes yet, but I'm still curious.

I think for a grading monitor that won't break the bank, a good solution may be a Panasonic xUK pro-series plasma with HDMI 1.3 and SDI input options. Too bad we can't output Redcine / Red Alert through a Kona or Decklink card... Too bad Apple doesn't have any HDMI / 10-bit display card offerings.
 
Jeff Kilgroe said:
Unfortunately, the HP monitor isn't true 10-bit, only 8-bit with internal dithering.
Click to expand...

Not true. The Dreamcolor is a 30bit LED backlit panel.

Quote from the HP DreamColor LP2480zx faq:

"A full 30bit pixel is sent from the DreamColor Engine to be displayed on the HP 30-bit LCD panel with no dithering or frame rate control."

I think that's a rather definitive and clear statement.


JT
 
Jeff & John,

I've seen the HP DreamColor monitor in action, dithered or not, the results are compelling.


Jay,

You are welcome to visit any time. Hey, next time you camera goes for service, fly out with it, Red is only 40 minute drive north of here.
 
lunacie said:
Not true. The Dreamcolor is a 30bit LED backlit panel.
Click to expand...

Do your research. The display is 30bit internally, which is indeed very impressive, but the panel itself is manufactured by LG and is an 8bit panel, plain and simple.

...Please show me where they're hiding a 30-bit panel in here: LG_Philips_LCD.PDF

In fact, there isn't even a 10-bit 24" display, only 8bit and 6bit.

There are already two other threads discussing this very topic on these forums. A handful of others elsewhere on the net.

HP is indeed stretching the truth here... In the same way most all display manufacturers do.

Anyway, you can choose to believe me or not, at your own peril. I have nothing more to say.
 
Jay A. Kelley said:
Ahem... I mean, you can make your one light corrections in Finesse, and them export these corrections as a LUT that you can then pull back into premiere and view in REALTIME..
Click to expand...

Jay how can you export the color settings from Color Finesse as a LUT?
When you say load it into premiere you mean using the cineform set active metadata control panel right?

Thanks

G
 
Gabriele Turchi said:
Jay how can you export the color settings from Color Finesse as a LUT?
When you say load it into premiere you mean using the cineform set active metadata control panel right?

Thanks

G
Click to expand...

Yes, that's exactly what I mean.

On the "AV Link" module front: I've managed to send David some "usable" data so he can get started on creating the utility program.

I think Thor, who is suffering from matching a lot of Audio/video together can really feel where this program will help, but the implications are much larger than that. Post audio is a VERY weak point across MANY applications, not just one or two.

RED's audio board is going to improve, there's no doubt there. But it will never reach the quality of a premiere recorder/mixer like the Cantar good Sound Devices model. The ability to match up these files during the Cineform Transcode (Or right after) takes away ALL compatibility issue with whatever editor you may be using. Currently the only two programs with decent timecode support are FCP and AVID.

Very exciting stuff.

Jay
 
Jeff, my Sony Bravia 52 inch is supposed to be 10 bit panel with HDMI version 1.3a connection. How do you think we can utilize these features?
 
ATI claims that their Radion 3800 works with Mac Pro and provide HDMI output. Would this be it with Bravia with 10bit panel?
 
Gabriele Turchi said:
Jay how can you export the color settings from Color Finesse as a LUT?
When you say load it into premiere you mean using the cineform set active metadata control panel right?

Thanks

G
Click to expand...

We have lot of powerful features like this that we barely scratched the surface in explaining to the users at large. The 3D LUT uses Iridas look files, so any tool that generates these type of look files are compatible with CineForm. In addition to tools that generate Iridas LUT directly, we allow any Premiere compatitible color corrector (32-bit filter only currently) to allow CineForm Prospect 4K to generate the LUT for you. The only operation not support by a single 3D LUT, are windowed based CC, but keying based secondaries work fine. These means any complex color correction, even a filter stack of Color Finesse, CineForm's CC and Adobe internal color filters, can be converted into a single real-time 3D LUT (float point precision) and attached to any CineForm file to be use any any video tool and moved across platform as needed. There is a video in the works that demos all of this.
 
sorry guys...I did not understood...
so basically how i can generate the LUT from color finesse?
Are you saying that is not available yet?

David i have a problem with the set active metadata control panel in windows XP... when i launch the program it says error....
I have propsect 4K demo installed... i have tried to install it 2 times but nothing... any idea?

(works beautifully in my OSX)

PS:what are the differences between prospect and Neo 4K?

PSS:The metadata function is CPU based or GPU based?...At the moment if i active the metadata in OSX i can't have a realtime playback(only 14fps) on a 444 2k file (mac pro quad core 2.66 Nvidia 7300)...is that correct?...if i disable the metadata i have 24fps...

Thanks!


G
 
Gabiele,

The ability to generate LUT from tools like Color Finesse within Prospect 4K has been available for many months (since NAB), just nice documentation on the feature has been missing.

Please talk to support about that error, I've not heard of that before.

Prospect 4K and NEO are very different, more so than I can document here. Very simply Prospect 4K is like a virtual hardware accelerator for Premiere Pro (PC), compared to NEO which is primarily a batch conversion tool, both include the CineForm codecs.
 
Thanks david

Does exist a kind of quide to how export a lut from color finesse etc...?It is complicated to explain?

PS:What about to play a 2k 444 file at just 12fps in osx on my machine? (having metadata on)..is that the correct performance ? Is a GPU based think or CPU?

Thanks

G
 
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