Welcome to our community

Be a part of something great, join today!

Log in
  • 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

Joyfool said:
Hi David,

Does the R2C convert spanned R3Ds to spanned Cineform files? Or does it create 1 output file? If so is there a way to enable spanning in order to accommodate fat32 media?


thx
Click to expand...

multiple spanned R3Ds (001, 002, etc) become one AVI. We don't recommend FAT32 as a write to volume for media, as all OSes can read NTFS without issue (and pretty much everything can also write NTFS now.)
 
David Newman said:
multiple spanned R3Ds (001, 002, etc) become one AVI. We don't recommend FAT32 as a write to volume for media, as all OSes can read NTFS without issue (and pretty much everything can also write NTFS now.)
Click to expand...

thanks David. Your response made me use "the google" and lo and behold I found macfuse.dmg along with NTFS-3G.dmg and now my mac can format & read/write to ntfs.
 
Hi David,

just started using Neo Hd, and encoded a bunch of clips to cineform 2K 444, the image was very low contrast so tried to go with the -eL100-b0 and also the -l100 -b0 switches, but neither of those was giving something close to what come out of redcine with redspace applied which is what I'm after.
Then tried with the -dR switch which gives me something close colourwise but a bit too dark.
Do you know of any settings that would give me something close to redspace. or a bit lighter than with the -dR switch ?

Or maybe do you think it's better to just render in r2cf with default settings and grade from there ?

Also about the clips I render , if I look at them in premiere they usually look ok but once I switch to AE everything goes weird, depending on how I set things up, do you know what would be the right settings in Ae to take care of those clips. (16/32 bits, linear light etc...)
 
You don't really want the RedCine default look baked in, then grade against it, blacks are pre-crushed and some highlight clipping can occur. Use RedSpace (-dR option in R2CF) if that is close to you intended color corrected output, otherwise the defaults Log curve are the best starting point for extensive grading (greatest flexibility.) Of course we handle RedSpace as Active Metadata so you can turn it off in post (Prospect 4K, NEO 4K Mac), and go back to Log curves if particular clips need more range (so you can use -dR without compromise.) You can also brighten the default in Active Metadata and add digital gain like RedCine does, gain we do it non-destructively. Add to the script "+COLM=1.4,0,0,0,0,1.4,0,0,0,0,1.4,0", this is a colour matrix that gains up your primarilies (I guess we could make the -dR switch do this by default -- so many ideas.)

Will check out what is happening in AE 32-bit linear light mode.
 
Hi Steve tried encoding again with R2Cf to match redspace with the switch settings you recommended but I'm still having the same dark footage, colour is quite accurate compared to what would come out of redcine but blacks are too crushed, i get the same image i would get just using thge -dR switch, this is the scripts I used
defaultr3dswitches = "-dR -+COLM=1.4,0,0,0,0,1.4,0,0,0,0,1.4,0 -q4 -w3072 -h1536 -p1"

Any thoughts on this...?

Is this right ?


Mike
 
"-dR -b0 -q4 -w3072 -h1536 -p1 +COLM=1.4,0,0,0,0,1.4,0,0,0,0,1.4,0"

Try this. You didn't have the black offset set to zero, and had a typo in the activate metadata control (using '+' only not '-+'.) If this works out like you want, I'll roll that entire line into the -dR switch (minus the resize and quality controls.)
 
Hi David,
And thanks for the quick reply !!!
Trying that right now, will let you know..!
Wondering also If Q5 makes a real difference, not doing any keying there, whatcha think..?
 
Hi David,
the "-dR -+COLM=1.4,0,0,0,0,1.4,0,0,0,0,1.4,0 -q4 -w3072 -h1536 -p1" switch does the trick, I'd say the redspace is a tiny bit darker (or more contrasty) and maybe slightly more saturated too?? but it's probablty a good thing actually. it's definitely close to redspace anyway .

Thanks very much for this..! very much appreciated..!
 
Hi David,
I am back in my workflow research and cineform is still on top of the possibilities but i need more info...

About Xena and prospect 4k , i read that cineform have his own Xena driver , so,
How does it works the realtime hardware downconversion setup?..I know that in OSX there is the Aja control panel that allow to setup input and output of the card while you are using the kona with final cut...is that possible (configure output resolution for SDI and analog ) using xena and prospect?

thanks

G
 
We don't have our own Xena driver, but AJA does required third parties like CineForm to use the OEM driver, not the retail drives that ship with the card. AJA is protecting market segments or something, not really sure, but both driver sets seem to behave the same for us. We directly enable the downscale controls, only every had one other request for it, what is the application that you need is feature?
 
Mmm so my english is not that bad...

Just wondering if we can select HD or SD output from Both SDI and Analog ,
for example during the playback have 1 SDI HD signal, The other one SD signal, the component analog HD signal etc...
Just select the outputs Like the aja panel in OSX does..

Thanks

G
 
That utility that I mentioned on DVInfo allows you to control the downconversion characteristics of the two SDI and single analog component outputs from the Xena LH/LHe independently. With the Xena HS cards, the SDI2 and analog boxes are greyed out, since there is only a single SDI output on the card. I believe the Xena HD card has no downconverter and the SDI output is HD only. (That is what the upgrade to the Xena HS adds.)
 
Tanks McCarthy!
(actually the same features in that utily are in Machina (control pane for xena)

Even if i am waiting Cineform Fast an fully working on Mac, Finally i am testing the Kona LHe on windows (using Bootcamp)and Prospect 4K...
I have to say it works great with Kona /Xena !
I have Component HDSDI HD out ,Component HD, Component SD realtime downconversion etc...
beautiful...

I wish would be the same on Mac right now...

The only thing that it really doesn't work is the Live capture from RED HDSDI...

Under Premiere the live capture it does not work using Cineform HDSDI capture format , but if i switch the capture format to Aja AVI Capture or Quicktime Aja Capture and Aja Image sequence capture...It works ...

Setting Cineform HDSDI no signal at all....

Off course i have set 720p 59.94 in the Cineform HDSDI capture settings...but nothing

Any Idea?

Maybe because it is a trial?

Does anyone have experience to record Cineform in realtime from the HDSDI out from RED

Thanks

G
 
You must log in or register to reply here.
Back
Top