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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 :)

Any chance for Cineform Export on Windows?

I know there is a history here but we would be interested in a Cineform export from Redcine-X Pro on Windows 7 as well.
 
I have no idea of the politics of this, but this would be very useful to me.
 
RedCine-X only needs to integrate the VFW SDK, that's all. It will not only enable Cineform but hundreds of other excellent VFW codecs plus enable useful features like frameserving. Almost all video-related software on Windows supports VFW.

For now, Cineform MOV works fine off RC-X. But Cineform AVI offers many more options, is faster and way more stable (Cineform MOV can be buggy).
 
Half of the 4K film I just cut is Cineform AVI. The other half is R3D. I could not have cut the film in 4K online without Cineform... it's as simple as that.
 
Mennovandijk said:
Exporting Cineform movies from redcine-x is no different than using other codecs
you nee a cineform license though
Click to expand...

Currently there is no way to export a Cineform AVI file from REDCINE-X PRO on a windows box. Or at least i can't figure out a way. And as far as I'm concerned a Cineform MOV file on windows is about as useless as rendering it out in ancient Egyptian.
 
I think you meant to say: Cineform MOV works fine off RC-X IF YOU ARE OK WITH 8 BIT output.


Subhadip Sen said:
RedCine-X only needs to integrate the VFW SDK, that's all. It will not only enable Cineform but hundreds of other excellent VFW codecs plus enable useful features like frameserving. Almost all video-related software on Windows supports VFW.

For now, Cineform MOV works fine off RC-X. But Cineform AVI offers many more options, is faster and way more stable (Cineform MOV can be buggy).
Click to expand...
 
Les Dittert said:
I think you meant to say: Cineform MOV works fine off RC-X IF YOU ARE OK WITH 8 BIT output.
Click to expand...

Indeed, and stuck with 'Medium' quality preset. It's very limited, perhaps unusable for post-production, but it works.

Perhaps we should file a combined request for VFW. I have requested it several times over the last few years but they have all gone unnoticed.
 
4:4:4 is a setting for chroma resolution. This is different than bit depth.

So: 8 bits gets you 256 shades of each of R G and B.
444 makes the colors of the image 'more sharp' is the simple way of putting it. Not more shades of colors, just more detailed , less smeared out colors.

Mennovandijk said:
Les, So the 4:4:4 RGB checkbox doesn't really work for QT movie files?
Click to expand...
 
There is a work around. Make your changers/ grade in RCX then use the script to convert to cineform. This should work shouldn't it?
 
guys, if you don't mind using firstlight instead of redcine
then just use the R2CF script....
it is at least 5 times faster then exporting through redcine

There is a work around. Make your changers/ grade in RCX then use the script to convert to cineform. This should work shouldn't it?
Click to expand...
cineform does not respect red metadata, especially in terms of redgamma ect ect...you will have to regrade in firstlight
http://www.dvinfo.net/forum/cinefor...irstlight-database-questions.html#post1719036

and if you need the Redcine grading, just export to TIFF and run the DPX2CF script...which will convert DPX and TIFF to cineform AVI

Indeed, and stuck with 'Medium' quality preset. It's very limited, perhaps unusable for post-production, but it works.

Perhaps we should file a combined request for VFW. I have requested it several times over the last few years but they have all gone unnoticed.
Click to expand...

also in regards to 8bit and medium settings....
you can adjust the setting in the codec setup, as far as 8 bit goes...if the color is set to "millions of colors +" that usually means higher bit depth...unless there is a restriction in redcine not allowing greater then 8bit through the pipe....are we sure it is restricted to 8 bit?

Also VFW exports are only 8 bit....this is the case for cineform....that is why when you export from Adobe apps...you use the cineformAVI option....you dont pick windows avi and then set the codec to cineform....then you are using VFW and VFW will only be 8 bit
http://www.dvinfo.net/forum/cineform-software-showcase/503904-neo-first-light.html#post1707184

also, yes cineform AVI is more freindly then cineform.mov....but if you use hdlink...you can rewrap .avi>>>.mov
the rewrap DOES NOT recompress....just re wraps....and runs extremely fast....fast as your drive can read and write generally.
 
+1.

I've become addicted to the unsharp filter in RCX, really makes the footage look great, direct export from RCX would allow for much sharper Cineform avi's.
 
Hi All,

we have something for you!

Alongside the upcoming release of FinalDCP, our Digital Cinema Package encoding software that supports R3D, CineForm, ProRes, DNxHD, MOV etc. as direct input and renders using our advanced self-configuring network render engine, we have a converter tool using the exact same technology.

So how would that help you?

Here is the simple workflow:

1. Pregrade in RED CINE-X. You may use an existing rough or final EDL to reduce the work to "used" footage only. Write back the RMD files as usual.
2. Generate a simple text list consisting of input path/filename (the R3D file), output path/filename, TC IN and TC OUT. We will provide a software for this step soon to derive the data from the EDL itself, but its usually fairly simple to do this manually.
3. Import this footage text list into our Converter tool. Set your settings to use either original camera metadata or RMD files (from RED CINE-X) or even override the settings for Gamma Curve and Color Space. We do support RED Color 3, clearly!
4. Send off the jobs to the Render Manager and see your network fly on RED to CineForm conversion with unseen speed. Depending on your network setup and machines, you can be faster than the RED ROCKET - at the full software deBayer quality (which is better than the one from the ROCKET IMHO).

See here a screenshot of the software. Notice the format settings on the right tab.

http://dl.dropbox.com/u/22067399/Screenshot Converter.png

Screenshot%20Converter.png


One very big difference between our Converter and the CineForm own R2CF tool is the way the color is interpreted:

While CineForm wants to keep everything "sensor flat" to provide maximum fidelity in further post, it thereby ignores simply all settings in the RED metadata, be it while recorded or from custom RMD files. So in the end most users are disappointed with the results, as they did not match what they have seen on-set or in RED CINE-X. While technically CineForms approach is OK, its not the best decision for the user experience in this particular case

Our Converter instead uses all the RED metadata information to process the final CineForm DPC, AVI and MOV files with exact those colors your expect. And clearly with full 12 bit CineForm depth, way enough to handle 16+ bit data in a log format, better than standart DPX files in most cases.

I think I have no one to convince that CineForms outstanding codec will easily survive 1000 iterative generations with minimal loss. Honestly, the 1000. generation of CineForm is closer to the software deBayered results from RED CINE-X than the first generation of the RED ROCKET :)

We will shortly provide demo versions of the Converter for interested people. You can mail me if you are interested.

Using our tools, especially the Converter, CineForm for Fusion, CineForm for Nuke, DPC to CF wrapping tools and FinalDCP we can provide an end-to-end workflow on CineForm that in most cases outperforms a so called "RED native" workflow in terms of overall processing speed.

We currently work on a comedy mini series for germany's biggest broadcaster ZDF with 6 * 15 mins. All footage is 100% greenscreen / bluescreen and shot in Quad HD resolution (3840x2160y). It is probably the first TV production being fully processed in that resolution with practially 100% visual effect shots, be it virtual set extensions, matte paintings, 3D composites etc. You won't believe the minimal resources it takes and how good the results are.

Its not a gimmick, its the true alternative, especially when you do VFX.

Btw, we work MOSTLY on CineForm MOV files and DPC sequences, and we use 95% Windows PCs in our setup.

Best regards,
Axel
 
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