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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 Offers NEO 4K-Mac for Red Support (BETA)

Can you tell me what would be the output log setting that will match the REDCINE DPX/redlog files?

What I'm trying here is that most of the clips are going to online with DPX/REDLog from REDCINE directly and some clips that will be composited with After Effects are converted to Cineform using ReMaster, then I want the clips from both route to have easier time grading to match.
 
Hi Davids, hi Craig

I dowloaded the beta app., and to begin with I really like it and would love to use
it in our workflow. Nonetheless, there are some questions open I like to discuss.

1. Reels. With ReMaster rendered Cineform files DO NOT contain the reel-number of the corresponding R3D file. I know that you guys want to eliminate Off-Line/On-Line and EDL based workflows but for me as a SpeedGrade user I need the possibility to conform via EDL. EDL is going to stay for another decade...

2. May be I should try more, but I'm too dumb to figure out how to get Iridas .look files working in ReMaster.

3. And last but not least I don't manage to build my own tamplates and get them working. I have a daily workflow in which I have 3K RAW 2:1 shot footage which sides must be cropped to 16:9 and then downscaled to 1080p. This is due to shooting with S16 glass on docs with the aim to mentain full FOV plus full 1080p resolution which with 2K Raw is not possible because of the debayer factor of 0.8. In RedRushes I can make crop and scale accomplishing this in ReMaster I'm kinda lost in this regard.

Otherwise your app. is very promising and Cineform is a very viable option for anyone who needs DPX quality but wants to avoid the montains of data involved in uncompressed workflows.

Summary:

1. Please REEL Number in metadata off the corresponding R3D file

2. Convenient cropping and scaling

3. using .look files in ReMaster

Point 2 and 3 might be solved already and it's just me who can't figure it out and make it working.

Kind Regards,

Hans
 
Hans von Sonntag said:
Hi Davids, hi Craig


1. Reels. With ReMaster rendered Cineform files DO NOT contain the reel-number of the corresponding R3D file. I know that you guys want to eliminate Off-Line/On-Line and EDL based workflows but for me as a SpeedGrade user I need the possibility to conform via EDL. EDL is going to stay for another decade...

2. May be I should try more, but I'm too dumb to figure out how to get Iridas .look files working in ReMaster.

3. And last but not least I don't manage to build my own tamplates and get them working. I have a daily workflow in which I have 3K RAW 2:1 shot footage which sides must be cropped to 16:9 and then downscaled to 1080p. This is due to shooting with S16 glass on docs with the aim to mentain full FOV plus full 1080p resolution which with 2K Raw is not possible because of the debayer factor of 0.8. In RedRushes I can make crop and scale accomplishing this in ReMaster I'm kinda lost in this regard.


Kind Regards,

Hans
Click to expand...

Thanks for the comments. The reel Id is stored in the CineForm meta data using the TAGN/TAGV fields. TAGN=reel_id and TAGV="xxx" where xxx is the reel ID. As of today, I do not think FCP or QT can access that data. The file name is not changed, and it has the camera letter followed by the three digit reel number as the first four positions. When we add the timecode track, it will have both the user selected time code from the source metadata and the reel name.

The processing setting in ReMaster only supports a single stage crop/scale. If you select "Center Crop" with a target resolution of 1920 x 1080, you should have full vertical FOV with the edges cropped. The output must be either 422 or 444.

The .look files are applied only in the decode of the CineForm (422,444 or RAW) material. Each clip is assigned a GUID, and the applied look is tracked by that GUID. By not baking the look in, it can more easily be changed.
 
Kaku Ito said:
Can you tell me what would be the output log setting that will match the REDCINE DPX/redlog files?

What I'm trying here is that most of the clips are going to online with DPX/REDLog from REDCINE directly and some clips that will be composited with After Effects are converted to Cineform using ReMaster, then I want the clips from both route to have easier time grading to match.
Click to expand...
Log 100 with a black level of 0 is the closest match to Redlog
 
CraigDavidson said:
Thanks for the comments. The reel Id is stored in the CineForm meta data using the TAGN/TAGV fields. TAGN=reel_id and TAGV="xxx" where xxx is the reel ID. As of today, I do not think FCP or QT can access that data. The file name is not changed, and it has the camera letter followed by the three digit reel number as the first four positions. When we add the timecode track, it will have both the user selected time code from the source metadata and the reel name.
.
Click to expand...

Hi Craig,

thanks for your reponse!


Reel names:

If I understand you correctly I cannot create a usable EDL in FCP right now since FCP is not able to read your metadata. Also, you are planning in an upgrade to add TC (identical to the corresponding R3D file?) and the reel name. Will it then work? Will FCP read the reel name? Obviously I'm a bit consfused.

.look files:
I understand that .look is not baked in. Which application do I need to make the applied look visible and create a new file with the look baked in. In some stage that will be neccessary.

Scaling: I give it a try.

Thanks a lot,

Hans
 
Hi Craig

I've done more research:

1.)

If I try to conform in SpeedGrade Cineform full-res from Cineform Express it works, because the EDL gives the reel the same name as the file. (REEL AX IS CLIP A002_C001_080617_001.mov)

If I try to conform in SpeedGrade R3D from Cineform Express it does not work, because the file has a different name due to the suffix (.r3d instead of .mov) and hence no analog reel name.



2.)

RedRushes renders the filename into the reel name metadata wich creates a reel name that is much longer than CMX EDL allows. Now, if you import a RedRushes rendered file into FCP (A002_C001_080617_001.mov for example )the reel in the EDL is this: A002C001

If you create an EDL off the RedRushes rendered Proxies in Premier Pro the reel name is this: A002_C00

Obviously PremierPro just shortens the Filename to the stadard length of CMX while FCP intelligently modiefies the reel name by pulling the meaningless "_" and adding the important last didgit, in this case (1).

If you are thinking of implementing NLE readable reel names (please do so!) consider the FCP way and not the Premier Pro way, because Premier Pro EDLs are, when using RedRushes useless, unless you modify the reel name manually (please not...)

This is not only vital for SpeedGrade users but for all of the crowd who use not the NLE for finalising but use a finishing/CC application that can read Red RAW, such as Scratch, Filmmaster, Baselight etc... Whom am I telling, anyway....

Please implement this and we are in.


Regards,

Hans
 
Hello, David , David, Craig + Hans

Sounds like great progress.!!

Can you recommend a hardware configuration that will out put in "real-time" 2K coupled with your software?

Thanks
Dave
 
EDL Batch for Mac?

EDL Batch for Mac?

Hi there
Saw David Newman's post on the EDL tool over on the Adobe workflow forum.
Any chance we will be seeing this on the Mac soon? Would be great if we could

We're having a bunch of problems (weird banding etc) with the Remaster to Cineform RAW which my team have posted some questions to the support address.
So back to the Cineform 444 for Grading.

Just finishing that up for a commercial this coming week. Have bumped our heads a few million times with Cineform in Mac world but am enjoying getting past those little bumps in the road.

thanks again Cineform,

-Ross
 
Ross,

We will add the "EDL filter" (if you will) for Mac conversions. That way you can setup to convert a folder (or a full disk) of files, but the EDL filter will first verify that the name of each file scheduled for conversion is in the EDL filter list. If it is not present the conversion will be skipped.

You'll see us announce Neo 4K later this coming week. The filter will probably NOT make it into this first release. But that is an important enough feature that we will get it added soon after and will post an update release.
 
Ross, the support email will probably not be checked this weekend. So I suggest you send the email to me at dtaylor at cineform dot com. I'll see if we can take a look at your problem this weekend. Please state the problem as clearly as possible. If screen captures or even files will be helpful please also send those.
 
David Taylor said:
Ross,

We will add the "EDL filter" (if you will) for Mac conversions. That way you can setup to convert a folder (or a full disk) of files, but the EDL filter will first verify that the name of each file scheduled for conversion is in the EDL filter list. If it is not present the conversion will be skipped.

You'll see us announce Neo 4K later this coming week. The filter will probably NOT make it into this first release. But that is an important enough feature that we will get it added soon after and will post an update release.
Click to expand...

We will have the time code in the .mov with the reel number. The generated EDLs from FCP reference the files correctly.
 
Thanks so much for the replies Cineformers ;-)
In re-reading my post I hope I didn't give a negative view of Cineform. We are all really happy with it. Its more about the little things like FCP not supporting its as a native codec. (Not a Cineform problem). And the work around is fine. We just had an offline editor from Avid and non RED world who was moaning a bit.
We used the Windows side to run the Batch scripts in the beginning and it worked great.
So I'm sorry if that came across as negative. Not my intention at all.
And your support is amazing.
I had one of my team send off the files to support so that will have to wait until next week. We didn't expect you guys to check it out this weekend. Thanks for the offer tho!
Enjoy your weekend
Ross
 
Speedgrade XR

Speedgrade XR

Hans, i want to test the same path... we are using the SG XR for grading and cineform RAW will be great... the conform issue is the main issue to solve...

keep in contact..
 
CraigDavidson said:
We will have the time code in the .mov with the reel number. The generated EDLs from FCP reference the files correctly.
Click to expand...

So if I understand you correctly in a later build Cineform will have TC and reel embedded in the matadata readable within FCP and PP?

When will this build be scheduled?

Hans
 
sinsistema said:
Hans, i want to test the same path... we are using the SG XR for grading and cineform RAW will be great... the conform issue is the main issue to solve...

keep in contact..
Click to expand...

Hi Sebastian,

Are you evaluating or already using SG XR on a regular basis? PM me off-list if you like.

Kind Regards,

Hans
 
David Taylor said:
Nick and others, we confirmed that some compile switches were not set properly in the Build we posted Saturday for support of 10.4. That is now fixed in an internal build. I suspect we'll post the new build later today, worst case tomorrow.
Click to expand...

David

Any news on the fixed build you referred to here? My 15 days are ticking away, and I can't test it.
 
So, this is interesting...

Speedgrade XR/Cineform is definitely worthwhile testing on OSX.

Will you tell us when it is worth the effort?

Gunleik
 
Gunleik,

Cineform and Iridas SpeedGrade work together nicely since a year or so. I'm using it over a year now. SpeedGrade XR is maturing to a logical companion of RAW cameras with any flavour. It swallows QT, AVI, RAW, DPX, EXR, TIFF, etc... You can use it as a digital RAW telecine, outputting separate files or as a finishing system for your final grade.

Recently Iridas improved conforming inside SpeedGrade to a very robust and convenient tool. Assuming you've got proper reel numbers (RedRushes delivers this today, presumably ReMaster will) you can conform via EDL from proxy rushes to the R3Ds or to previously renderd Cineform files. In Dezember SpeedGrade will have Build16 RAW integrated, through the SDK yet, as every one else.

I use SpeedGrades capabilities to grade off RAW files on a daily basis and can tell you that the quality it delivers is stunning. There are many applications where other RAW cameras have their realm, for instance the Phantom HD or the SI2K.

If you see Iridas' RT 2.0 engine working with the RAW files of the above mentioned cameras or the Dalsa 4K you get a good feeling what will happen when Red delivers a RAW SDK.

SpeedGrade XR is a nobrainer for everyone who does serious postproduction with RAW cameras. If you wish I can let you know when SpeedGrade XR with Build16 support is publicly available. An evaluation is always a good thing.

Hans
 
Interesting reply Hans.
My apologies if I missed it, but I can't tell if you're grading on Os X???
Speedgrade looks fascinating. We were considering trying it out about 18 months ago on the OS X side but never did get around to it. I am really enjoying Cineform on the Mac side tho.
-Ross
 
Mac Cineform and Alpha Channels

Mac Cineform and Alpha Channels

Hello Cineformers...
We were trying to output files to Cineform in After Effects with Alpha Channels and it didn't seem to be enabled.
Do you have plans to enable this feature? Would be great! We do a lot of VFX work and Alpha channels are part of the real basic building blocks for us.
-Ross
 
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