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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

Yeah that's what I am thinking.. According to David "BWF" Wavs are a standard so if it works with a Cantar, then it SHOULD work with a sound devices. I am just of the opinion that for RIGHT NOW it's best to keep things with the same file, and then when it's working, try a different WAV to see if there are changes..

Of course I am not writing the damn thing.. It's David's call.

Jay
 
I'm sure he has his hands full and will request my files when he is ready.

Thanks for your diligence Jay.

-Thor
 
Reading Cantar's manual I cannot get away from the inherant problems of living in the 23.976 world. Things in regards to sync and so many other elements would work so much better if we could run our shows at 24fps and then do a final pulldown to 23.976 for HD delivery.

Any thoughts on this?

Jay
 
Off work today. Yes, I expect BWF wave files to be all very similar. However the placement of the date information it the metadata is the issue. Red doesn't set the user bits for date information, so this must be set manually on the audio recorder, and could be different between devices.
 
Well the date info is in the metadata of the Cantar. And it's in the FILENAME of the R3D file. This won't help?

Jay

And David, it's not a HUGE deal. We'd simply be telling people to move each days work into a single subdirectory and is organized by day. I don't believe this is a deal breaker
 
Jay, you are teasing me? ;) R3Ds have the metadata, we don't need to use the filenames, the issue is only with the external audio files. I want one system, maybe two if I have to. So if the date is not set in the BWF, I will use other metadata like the Tape ID, not filename or pathing, as the is too prone for user error.

Jay, didn't you say the the file date is preserved when move the audio files to you computer -- that is a good backup date system.
 
David What is the Cineform situation and the SDI card?
I kind of remember that you support the Xena right (wich one?Lh,Ls,2K etc...)

What kind of extra performance offer? i mean "just" an sdi external monitoring or does it offer better playback performance for cineform files and active metadata?

Also, talking about windows and Bootcamp : does it works?

Thanks

G
 
David Newman said:
Jay, you are teasing me? ;) R3Ds have the metadata, we don't need to use the filenames, the issue is only with the external audio files. I want one system, maybe two if I have to. So if the date is not set in the BWF, I will use other metadata like the Tape ID, not filename or pathing, as the is too prone for user error.

Jay, didn't you say the the file date is preserved when move the audio files to you computer -- that is a good backup date system.
Click to expand...

:tongue:

No David, I wish I WAS teasing you. But the truth is I probably don't understand everything you are saying well enough. This date issue confuses me a little. It's ok. I'll drop it as you seem to have a good handle on it.

Take care

Jay
 
Gabriele Turchi said:
David What is the Cineform situation and the SDI card?
I kind of remember that you support the Xena right (wich one?Lh,Ls,2K etc...)

What kind of extra performance offer? i mean "just" an sdi external monitoring or does it offer better playback performance for cineform files and active metadata?

Also, talking about windows and Bootcamp : does it works?

Thanks

G
Click to expand...

Currently the AJA Xena HS, LH and LHe are supported by Prospect HD/4K, and we are adding support for Xena 2K (working in-house.) Xena cards are not accelerators, so there is no speed advantage using then, but there are plenty of other advantages to these cards. Boot Camp should work fine, but it is a good question for AJA.
 
David Newman said:
The Look generator we added to Premiere needs a little hand-holding, we should post warning if any of these issues occur. It requires all the filters be 32-bit, the timeline resolution, clip resolution and export resolution all must match (what you seeing is the result of an incorrectly scaled 3D LUT) alone with the frame rates. Also as our LUTs are extensive 64x64x64 floating point cubes, you need to have at least an SD image, so no tiny source files.

Many users are using 1K Express files on HD/2K or 4K timelines, while that works great, it does allow for the look generater to work correctly (you can use 3D LUT files, just can't make new ones.) Instead, create a CineForm 1K editing preset in Premiere for your Express files (your editing experience will be even faster) now everything works. To "conform" to 4K, create a 4K project and import your 1K Express project (relink the media to 4K.) Simple.
Click to expand...

:help:
David, I seem to be misunderstanding how the 1k to 4k workflow is achieved. It seems to me that you say I should be able to edit everything in a 1k Express project, then open a new 4k project and simply import the former, 1k Express project. Sounds fine, but by this logic, should I not be able to directly drop in the timeline from the previous project? If not, then there'd be no point to editing in 1k, so I'm sure this isn't the case. As such, can you tell me how to get my timeline into the new 4k file, and what exactly is done with "relinking"? Is that done automatically when importing 1k into a 4k project, or do I need to actively replace clips one by one?

*EDIT* I see that David may be off today, so if ANYONE can give me some idea of what to do, you'd be a lifesaver. Thanks, everyone.
 
Gopher77 said:
:help:
David, I seem to be misunderstanding how the 1k to 4k workflow is achieved. It seems to me that you say I should be able to edit everything in a 1k Express project, then open a new 4k project and simply import the former, 1k Express project. Sounds fine, but by this logic, should I not be able to directly drop in the timeline from the previous project? If not, then there'd be no point to editing in 1k, so I'm sure this isn't the case. As such, can you tell me how to get my timeline into the new 4k file, and what exactly is done with "relinking"? Is that done automatically when importing 1k into a 4k project, or do I need to actively replace clips one by one?
Click to expand...

Firstly, it is really easy. All your "express" 1K and "RAW" 4K media files are placed in a simple series of one or more folders, which makes the jump from off-line to on-line straight forward. For example, when I converted to Suzannah (Open Cut 1.0) project, the 1236 files in 269 folders get placed into one "express" folder of AVIs (at a path of your choosing.) When I converted the 4K Raw get a "RAW" folder, with the exactly the same file names as the express folder (same name, same timecode, same Active Metadata, same color profile and curves.) So not only is the project simpler to get started, importing media from one unified path rather than browsing all 269 folders, it makes the re-linking of the media is hugely simplified. Once my 1K edit is finished, using a 1K preset/project format for even more speed, create a new 4K project and import the 1K version. As the media is still linked to the "express" folder, select all the media in the clip bin and select "Make Offline..." from the right click pop-up (don't delete the files.) Now select ALL the off-lined media and right click selecting "Link Media...", in the popup set "Display Only Exact Name Matches" and browse to the "RAW" 4K folder, and select the one name that matches then press "Select". All you media will automatically re-link at 4K in one step (no manual clip by clip re-link is required.) The whole operation takes many many times longer to explain than actually do (only a few seconds.) Hopefully this helps make it clear.
 
David,

Sorry if you covered this already, but is there a kill/stop procedure?

When I run the conversion and decide to stop the process, the box will keep popping up until it reaches the last r3d file in the folder.
 
Christopher Grant Harvey said:
CTRL + C
Click to expand...

Thanks.

David,

I understand the linking part, but when you say "RAW" folder what are you referring to, the r3d files or should I have batched converted a 4K file as well if I did shoot at 4K. I know adobe doesn't recognize r3d, so where or how do you create a RAW folder to link the express files?

Still very green on this as you can see.
 
sotty said:
Thanks.

David,

I understand the linking part, but when you say "RAW" folder what are you referring to, the r3d files or should I have batched converted a 4K file as well if I did shoot at 4K. I know adobe doesn't recognize r3d, so where or how do you create a RAW folder to link the express files?

Still very green on this as you can see.
Click to expand...

When you use the scripts provided, it will defaultly create a directory structures like so:

RAW for 4K CF conversions
HD444 for HD RGB 444 CF conversions
express for CF YUV 422 Express conversions

You edit with the Express Files found in the express directory, and when you are ready to "online" you tell Premiere to Link Media and point it to one of the other directories depending on your export desires.
 
Christopher,

Thats what I wasn't understanding. So when we speak RAW we are speaking the cineform RAW rewrapped r3d. ?

I don't get that folder structure created "Express, HD444, Raw", I only get one folder created for the script I run. Batch to Express, I only get an Express folder created, batch to HD444 only the HD444 folder is created, etc. Is there another script or should I be editing one of the batch scripts to create the 3 folders simultaneously?




Also, I noticed Batch to Raw doesn't batch convert all in one root folder as express and the others do. It converts one clip and stops, has this been disabled for
Batch Raw?




Thanks again.
 
David Newman said:
Currently the AJA Xena HS, LH and LHe are supported by Prospect HD/4K, and we are adding support for Xena 2K (working in-house.) Xena cards are not accelerators, so there is no speed advantage using then, but there are plenty of other advantages to these cards. Boot Camp should work fine, but it is a good question for AJA.
Click to expand...

Thanks David

But now that you are supporting final cut pro too...are you planning to support the Kona? What about premiere under OSX?

Guys, nobody have tried Xena under bootcamp?

Thanks

G
 
David Newman said:
Currently the AJA Xena HS, LH and LHe are supported by Prospect HD/4K, and we are adding support for Xena 2K (working in-house.) Xena cards are not accelerators, so there is no speed advantage using then, but there are plenty of other advantages to these cards. Boot Camp should work fine, but it is a good question for AJA.
Click to expand...

Thanks David

But now that you are supporting final cut pro too...are you planning to support the Kona under OSX ? What about premiere under OSX?

Guys, nobody have tried Xena under bootcamp?
According to this article :
http://www.aja.com/html/press_ibc2008.html
It seems that loading a xena drivers unders bootcam , let use the Kona underst windows, so does it means that a cona under bootcamp became a xena and so compatible with cineform?



Thanks

G
 
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