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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 4K solution?

Great news, David.

I can inform you that there are several universities and other education and training institutions watching and following this thread.

I'm just finished to exchange email with a Dean in order to go with your product. 4K online editing with color correction and grading on a laptop is a great advantage to offer to any student of moviemaking. Or even on media studies related to any field of visual communication (we live into a media convergence age).

Thank you for your great contribution. Your care about posting so often -- replying your future customers and all our doubts, it has been so much appreciate. You can't figure how much! Simple and direct answers when necessary, beyond the usual tech talk for who follows you. :)
 
Yes, this has been mentioned here. We are eight people prepping work for next week. Cineform has the best industry's customer support. 5 star.
 
Why not?

Why not?

donatello said:
"first need to add CineformRAW as second codec into RED One "

IMO - not going to happen ... i think the only HOPE you can hope for is a easy/fast translation/convert from RED raw to Cineform raw ...
Click to expand...

Why not? Well bit in future.
 
I am not a technichian...


i read through this whole thread...and just few questions
Cineform needs less heavy iron ( online edit 4k on laptop)....but why? Just the way cineform is build?
What is about Redcode Raw ( online edit on macbook pro)?




Did i understand right:
1
Shoot redcode raw---
redalert---export as cineform 444 4k( or where is the place to do this?)
edit and finish in pp realtime

okay
this seems to be a fast and less expensive solution ( compared to mac)

2
question
why is it so complicated to work on mac with redcode raw.
redalert---proxy qt--edit-edl--scratch ( never ending story)
why do you need really expensive storage ( g-speed recommend by red)
with 4gbit ?

3
Why can you edit/ playback cineform on pc

Why can`t you just edit redcode Raw as easy (macbook 4k online edit, not just 8core 16 GB Ram)?
( i know fc will include redcode, but when they do, will it be as "fast" and easy as cineform?)


Last question: I think i missed something
The Raw file has to be changed to some RGB file , DPX?....and then you edit...
Or will you edit with raw and finally change the things.


I thing a need a summary for dummies.
 
While a not is still undisclosed disclosed about redcode, and what it can and can't do -- which I sure will change over time. About CineForm and CineForm RAW I know a lot more.

CineForm was designed from the ground up to be fast on Intel processors, we didn't care about tapes systems of the past, and we didn't care about cameras or distrubtion formats. This wavelet code was desgined for quality and software speed, ease for hardware implementation was not a huge factor. As a result of this design approach we are significantly faster than all other wavelet implementations, particularly when used for editing, and 5-7 times faster than JPEG2000 which we share a lot in common.

1) is going to be a common workflow (we hope.)

2 & 3) are questions for Red.

As for can you edit RAW directly, yes you can. We been doing that with anything converted to CineForm RAW for the past year. Many features have been completed through this workflow (one SI/CineForm project was in Cannes this past year.)
 
thank you very much

so it is possible to edit/playback cineform 4k 10 log realtime.

great great news.
 
till said:
thank you very much

so it is possible to edit/playback cineform 4k 10 log realtime.

great great news.
Click to expand...

They will offer their 4k after RED releases their redcine, iirc.
 
If you have ever work with higher end stuff, you will realize G speed isn't really that expensive, depends on how you look at it and what you do.
 
is the red----cineform---edit cs3/prospect/AE---online---workflow limited to windows?or is there a macsolution without problems?
 
david thank you for answering everything so fast and detailed...i think you are doing nothing else at the moment :)

ok cinfeorm has enourmous workflow advantages and it is less expensive then other worklfows.

but are there any cons?
 
David Newman said:
Could you please restate the question, as Prospect 2K is a 4:4:4 engine (and 4:4:4:4, 4:2:2 and RAW.)
Click to expand...

Damn my english....
I was asking if i will be able to work with red footage with an upgrade of my copy of prospect 2k or i have to buy another product from cineform (which i thought was called 444)
 
Paolo,

I'm not sure we answered your question. Think of the "2K" and "4K" numbers within CineForm products as the output render resolution. Prospect 4K will render at spatial resolutions up to 4K RGB (12-bit CineForm 444). Prospect 2K will render at spatial resolutions up to 2K RGB (12-bit CineForm 444). We think many 4K Red shooters will finish in 2K, so Prospect 2K will be the right product.

Does that answer your question?
 
I'm a mac user, just totally comfortable with Final Cut, but I'd love to be able to edit online 2k and finish in After Effects online, and make an HDCAM SR master from this. Would Neo 2K be the way to go for me? Also, what problems would this pose for a filmout later? Do post houses readily take online edits, or prefer EDLs? Thanks guys.
 
Liquidigital, your questions are excellent. As you're undoubtedly aware, REDCODE and CineForm RAW are both camera recording formats. In the case of either, at some point you have to render. In some cases you may render using RedCine early in the process, or you may defer your render until later depending on your workflow. At the point you need to render you must choose whether you want an online or proxy/conform workflow for your rendered material. Historically the assumption is that you'd render to uncompressed (like DPX) and also generate offline proxies (SD, DVCPRO HD, ProRes, etc). You'd edit the proxies and later conform back to uncompressed. The reason you do this of course is that DPX files are too large for online-editing of a feature-length production.

An alternative is to render to 12-bit CineForm 444 at either 2K or 4K resolution. CineForm 444 is an alternative to uncompressed, and exceeds the visual fidelity of HDCam SR (see http://www.cineform.com/technology/12Bit-RGB-QualityAnalysis/12Bit-RGB-QualityAnalysis.htm). The CineForm 444 files now become your new digital master (compressed DI) for online editing within and effects work (FCP, CS3 (PPro and AE), etc). The CineForm files are cross-platform compatible.

You also have numerous ways to finally export your production: 1) You can flatten the entire production as a CineForm 444 file. A number of post facilities are beginning to use CineForm files as source for their film recorders. This will be the highest quality deliverable. 2) You can export the final production as DXP files if your film recorder house needs or prefers DPX. You can also record the CineForm 444 file to HDCam SR through a dual-link HD-SDI card if that is a preferred deliverable. The choice of which is the right export format will be driven by a) your chosen filmout house, and also b) your own preferences.

Without writing an entire white paper in a forum post this is hopefully helpful in answering your question. And if your final deliverable is 2K, then Neo 2K is the right product for you.
 
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