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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

We fixed a couple of things today in the conversion tool:
* Correcting letterboxing at sub-resolutions (using switch -pX.)
* hang fix for requesting -p2 and specifying size at extractly half (the redundant request clashed.)
* new you can specify just width or height (the other is automatically calc'd)

We did the last so the DPX thumbnail script and Express can specify a 1K horizontal (-w1024) and let the vertical be what it is to match the source aspect. Basically simplifies all sources 2K,3K,3.8K,4K can now have 1K express files.

If you have download Prospect 4K or NEO 4K, the new downloads have these changes. Otherwise the patches are available here:
http://www.miscdata.com/red/R2CFv138.zip (requires Build 179 P4K/N4K installed)

Unzip can copy the contents into :
C:\Program Files\CineForm\Tools

P.S. Yes a GUI version is very near.
 
It's quiet in here... Too quiet.. Are all of you out there using this stuff or what? What are your thoughts? What do you like, what do you (God forbid) not like?

We've been hammering, bitching, screaming and begging for a solid post workflow for RED for a year... It's here and all I see is SILENCE?!?!?!


What gives?

Jay
 
I've spent every available hour since the release coming to understand and working with this (for me) splendid new work flow.

Jay, I have a question for you. Are you being able to see color correction changes you make in the CineForm Raw File Metada screen as you make them or do you have to save out of that series of screens to see the effects of your change?

And similarly, are the forward/back/fastforward/etc. buttons in the Fime Metadata screen functioning for you? The re not for me. I keep feeling there should be a preview toggle switch somewhere I should check.

Those questions aside, this way of renderless cutting and previewing is like a dream come true.
 
I have to make the changes in Color Finesse first.. And I see them in Premiere when playback is paused.. To get them into realtime playback, I need to export the correction out and then load the look file back in the file metadata section.

Glad you are enjoying it.. I figured everyone was quiet cause they were busy editing.

Newman may chime in here and give a more Techie/Programmer Geek answer.

(I say that with love david!) :)

Jay
 
We've seen a large number of downloads until our server went out, sometime last night. Back up again now.

Here is an update : http://www.miscdata.com/red/R2CFv140.zip

Unzip can copy the contents into :
C:\Program Files\CineForm\Tools

This is version has been bullet proofed. If you kill a task or do something bad on you system it will redo impacted conversions. Great for 4K batching over night, no nurse-maiding required. I've been converting the OpenCut footage without issue while doing everything else on the same system (including this post.)
 
David, Jay or actually anyone whose working with this new workflow..,

Every aspect of the software is working well for me with one exception having to do with LUTs:

I color correct a shot with Adobe Fast Color, Synthetic Aperture or CineForm Color Corrector. Color correction works fine. I export the correction as a CineForm Look file - seems fine. I then turn off any color correction on my clip.

When I attempt to load the presents in the cineForm RAW File Metadata screen, however, I get unpredictable results: CineForm color corrector returns a black screen, Color Finesse and Adobe Fast Color returns a lovely psychedelic version of my shot (negative, solarized... but with the correct color cast)

I am running the most recent P4K and the R2CF David just uploaded, CS3.

I am extremely happy to have the Kelvin color temperature slider by the way

All else is working splendidly - Many thanks for all of this.
 
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.
 
David I have seen this happen in Finesse.. But I cannot tell you why. My complaint at this point is that the look files cannot be made to have the same name as the file it's applied too. This means I am always guessing which look file applies to which clip.

We need some way to know which look file applies to which clip. Otherwise it get's a little difficult.

I have music videos where i only made one chance on one file, but I still get 20 or 30 look files when I export them.

I have asked for help on this.. Not sure of the status. Or is this was a reasonable request

Jay
 
Many thanks, I'll go back and try again, this time I'll try to do it right.

Ecstatic about all of this, thanks again.
 
Thank you - if you do it right, it works beautifully - like magic - 4K color corrected real time without rendering. How'd you do that?
 
You know what.. I think you told me this once and it went completely by me..

Thanks for the info, and sorry I missed it the first time.

Now I get it... Pick the clip I wish, color correct it.. Save it with the name I wish like "White balance warm with extra push" then I have a Lut I can identify and apply to whatever files I wisih... This is a MAJOR cool thiing

Jay

Jay
 
I wish Avid were Jaws and Cineform were chum!

Yum Yum

Of course if that happened Cineform would not be quite so innovative would they, or responsive.

If Avid knew what was good for them a Cineform acquisition would have already been done.

We can dream can't we?

Chris

BTW to answer your question, No Cineform doesn't work for Avid, but I have been able to convert Cineform files to DNxHD files using MpegStreamClip. They look really good too.
 
angeleye said:
I wish Avid were Jaws and Cineform were chum!

Yum Yum

Of course if that happened Cineform would be quite so innovative would they, or responsive.

If Avid knew what was good for them a Cineform acquisition would have already been done.

We can dream can't we?
Click to expand...
Why would we like to be happy with such happening or stupidity?
 
David Newman said:
This is version has been bullet proofed. If you kill a task or do something bad on you system it will redo impacted conversions. Great for 4K batching over night, no nurse-maiding required. I've been converting the OpenCut footage without issue while doing everything else on the same system (including this post.)
Click to expand...

So if I batch process files on a PC can I then work with them under OSX and edit in Final Cut? Or is this whole thing really meant to work in Premiere on a PC?
 
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