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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

David Newman said:
I could add a pause option, if I can work out how. Currently doing a Cntrl-C works fine, it will delete the current job in a few second, then restart the script will pick up where is left off. That is a pretty good pause.
Click to expand...

I suppose that will work. :biggrin:
 
David,

You amaze!

-Thor
 
Hi David I am new to this whole red and cineform thing I edit in Premier Pro 2.0 on a quad core 64 bit 4 gig ram lots of hard drive system. The problem that I am encountering is when I go to make a 1080p 4 22 file from our 4 k footage we shot over the weekend it stops converting around file 61 or so. can you tell me what in the heck is going on with that so I can get to work? thanks
 
G'day Adobe afficionados

Have been testing Prospect 4K for a week and so far like what I see. Cineform Express files get spat out fast from the R3Ds and Cineform filters are a big plus. Curious to see how the post-SDK version will handle 4 channels of audio in the conversion to Cineform files and on the Premiere import. The wishlist for us would be Prospect 'New Project' presets (4K, 2K) at 25 progressive frames-per-second as well as the currently available pre-sets of 24p and 23.976p. Otherwise Cineform makes life in Adobiverse far more user-friendly and quicker than having to render out of RedCine. Looking forward to watching it evolve.
 
G'day David

My bad .. missed the 'Custom' tab when setting up the Premiere Pro test project. We have always played it safe and used pre-sets to ensure conformity - time for us to be more adventurous on the RAW coalface. The 25fps thing is just a hangover from editing in a PAL world all these years and it makes migration to DVD simpler in PAL-land. Looking forward (like most people in this thread) to your take on the R3D audio integration. Cheers ...
 
David,

Two things:

I'd like to add my voice to Thor's about being able to match multiple external audio files to a cineform file when transcoding. This could save an amazing amount of time.. BTW How many audio files can you attach? Can a script be made for this sort of thing?

Also I'd like to know where you are with AJA support? I know it's moving along.

Jay
 
We have AJA Xena HS, LH, LHe support, have done for years. AJA Xena 2K will likely hit beta in a couple of weeks.

AVIs and attaching audio. Embedded stereo is the easiest, as most AVI tools are expecting that, yet we do support up to 8 channels into an AVI within the Premiere importer. The problem is Premiere only support stereo or 5.1 tracks, is it is annoying to map. In other camera systems that have four channels we find it is best to place the back stereo pair into a separate WAV file (with front channels in the AVI) -- we will likely do the same of R3D embedded audio. For dual system system audio we do need to sync them. Jay (or anyone), can you provide sample of R3D with companion BWF or simple timecoded audio.
 
David, I will attempt to do what you are asking for today. I'll use the RED AND the Cantar for a test. to keep it small, I'll shoot at 2k so things do not get out of hand.

Personally I would go for the 4 channels of audio as this would be the best solution. However, the Standard is to provide a two channel mix down. Even today this is true, and the ISO tracks are meant to be for later use.

In a perfect world (And since we all know Cineform IS perfect :umm: ) it would be cool to CHOOSE either 2 channel or 4 channel. This way those working with an editing system that can support it will go with 4, and those that can only do two will do so.

Ok this will be a HUGE deal to put together, but I'm going to get started now (Not much going on today).

Thor if I pull this off you OWE ME LUNCH...

Off to work.... Later...

Jay
 
Jay,

If you pull this off, I owe you breakfast, lunch, dinner, and a 2 night stay at the Wixom Luxor.

-Thor
 
Well it was educational. In doing this "little project" (3 hours) I found out that while RED did engauge the TimeCode out, the failed to allow you to select EDGECode out. This is important since EDGECode is like Record Run. Many recorders (Like the Cantar) will pick up the timecode running from a camera, and automatically start recording themselves. And, when you stop the RED the Cantar senses that and stops with it.

Without this ability, the recorders lose this feature. I've written Stuart and hopefully he'll be able to get the running.

This did not stop me from doing my test though. For now I have just sent two audio files with matching timecode.

It is my hope that David will be able to do the following:
An R3D file is selected.
Program scans directory containing Audio files and looks for any with matching timecode. These files (With Audio Metadata still in tact? or at least the filenames) are then attached to the r3d file in the order they were found.

Then R3D file is transcoded with Audio files matching the timecode.

You know, if this works, this will be a utility that is going to drive a lot of post folks out of their minds. This has always been a HUGE deal in getting audio files synced up with picture.

This SEEMS like a straightforward procedure, but I have one thing I cannot get my head around:

David, because these are two different sources sharing the same timecode, the order that things are done it is important.

First the record on camera is hit (This is generating time of day timecode)
THEN the Cantar is hit (Getting timecode jammed from RED)
THEN cut RED
THEN cut Cantar

This means that the video starts at a different time than the audio file, and the RED stops at a different time as well.. So you have different start and end points. The Middle of the files will match, but... Well you see the problem.

IF the Edgecode on the RED was egaged then I think the two sources would share the STARTING timecode. But the truth is that a lot of sound people would not want this feature cause it would mean they are tied to the camera.

I'm looking forward to seeing how this all works out.

David you will have what you need in 30min. I sent it the usual way.. I will hang out here for an hour so if you need something different let me know

Jay
 
Thanks Jay,

What I got was 14 seconds of 2K video 23.976p starting at 03:38:13:20 and two mono WAVs starting just before at 03:38:12:00 that goes for 19 seconds. Does that seem correct? When I manually sync it the time difference from the start points is 78 frames not 44 frame suggested by the timecode. Our first issue, there don't seem to be sharing the same timecode.

The audio was running at 48048Hz, is that correct? If recompute the timecode from samples since midnight, I get 03:38:11:00, sync offset 68 frame (now only 10 frames out.) Are you sure the camera and audio sampler are synced? It is disturbing the frames field is 0, can you please do one more capture, I want see that audio device is reading the frames field.

The 48048 maybe an issue if mixed with camera audio which I believe is 48000Hz. 48048 is the number samples for 24 frames, not 1 second record time. Audio is more confusing to me than video. :)
 
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