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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:
Thank you for all for the birthday wishes, now 40.006 years of age (allowing for timezone difference.) I'm now back at the office.

Christopher,
I just installed the last Prospect 4K on Vista 64 and all the LUT management is working fine. File a ticket with Jake as it seems to be issue with that setup, not a general software bug.

Igor & RED Los Angeles User group members,
thanks for the promotion for this Saturday's up coming meeting, all be up before dawn to make the San Diego to LA drive. So expect me to be a little sluggish for the first session. :)
Click to expand...

tell them to send a car for ya!!! heheh
 
David,

On attempting to export a .look file from a 4096x2048 CFAVI file I receive an error message which reads "Frame buffer allocation failed in render" followed by "Premiere Pro is running very low on system memory". On occasion I simply get "Error compiling movie"

My system is 2.67 GHz Quad CPU w/ 4 GB of RAM.

Over the past few weeks, I have been able to export and then import .look files with occasional problems. I am not able to export a CFAVI of the same shot either, receiving the same error messages.

Many thanks,
David
 
More a support question. We all know Premiere has memory issues, but you should not be getting these errors for exporting looks or simple sequences. It could be something is wrong with that clip, that is why you should contact support.
 
Thanks, will do. I've tried it with a number of different clips with the same result but I will get in touch with Jake about it.

Thanks again.
 
Hi David,

I just tried to convert some build 16 footage. It converts fine but it appears to be converting to REC709 and appears green, and not the way it looks in REDspace in Redcine or on-camera.

Is there a switch I am missing to rectify this or a camera setting?

Thanks.
 
We do not default to REC709, we also do not default to REDspace as is it important to us to know the applied curve so that linear data can be extracted for Active Metadata and effects work. If you use the switch for Log 100 (-l100) and leave the black level high (-b0) you will get a RedLog equivalent. You don't have any more data than the Log 90 default with the black "setup" partly removed (resulting in a nicer image to work with and that more closely matches other RAW cameras.) It is also unknown whether Redspace is changing the color matrix. We default to a linear color matrix to the most flexibility in post. These are some of the reasons it will look different.

As for looking green, I haven't seen that, but I can speculate that the white balance transfer to Active Metadata may have miscalculated the tint for some images (only in a cometic no destructive way) which could result in move or less green. As it happens, I made a small change to the white-balance math yesterday, please try the new version
http://www.miscdata.com/red/R2CFv157.zip
 
David Newman said:
We do not default to REC709, we also do not default to REDspace as is it important to us to know the applied curve so that linear data can be extracted for Active Metadata and effects work. If you use the switch for Log 100 (-l100) and leave the black level high (-b0) you will get a RedLog equivalent. You don't have any more data than the Log 90 default with the black "setup" partly removed (resulting in a nicer image to work with and that more closely matches other RAW cameras.) It is also unknown whether Redspace is changing the color matrix. We default to a linear color matrix to the most flexibility in post. These are some of the reasons it will look different.

As for looking green, I haven't seen that, but I can speculate that the white balance transfer to Active Metadata may have miscalculated the tint for some images (only in a cometic no destructive way) which could result in move or less green. As it happens, I made a small change to the white-balance math yesterday, please try the new version
http://www.miscdata.com/red/R2CFv157.zip
Click to expand...

Thanks David.

I have emailed you.

When going from R3D to CF444/422 what colorspace is used then? I am a little hazy when it comes to this part of the process ie colorspaces.
 
Colorspace is a deeper question than the problem you are trying to dealing with. The fact that something may look different doesn't necessarily imply there is a colorspace change or issue. REC709 (HD) and 601 (SD) can show the same color image, yet the transforms from RGB or CIE XYZ to the YUV used for transmission are different. Colorspace defines the transform one format to another. In the case of a RAW source, there is no inherent color space, there is no right to wrong starting point to produce your final output. RAW is like film in this way, it doesn't have a true colorspace. What is important is to know is what colorspace you are correcting to. If you are use HDSDI to REC709 calibrated monitor, that is colorspace of you final output. Same if you use a calibration for DCI P3, X'Y'Z' or Cineon curves. All depends you where you project is going.
 
David Newman said:
Thor, I'm ready. Been working on a big project, now I can get back to those audio sync tools.
Click to expand...

David,

This is good news.

Please tell me exactly what you need, and I will have it sent to you.

It may take a few days since I'm on a shoot in New Jersey, instead of in my home state of Utah. I have someone in Utah that can handle it for me, though.

I'm thinking a day's worth of .R3D files, with a corresponding day's worth of audio... what do you think?

-Thor
 
Thor,

Yes, I need a range of R3Ds and corrosponding BWF files. While a complete shot day would be cool, a smaller sample of A/V files from different dates would also be helpful (trying to automate both date and timecode.) Several R3Ds from each shoot day.

Thanks for your help.
 
hey davids.. any tip on conversions from 30p to 24p.. or even to 25p.. is this smoothly possible?.. with no slowmotion route..
 
I was in the crowd watching David N demo the new betas of CineForm at LARUG this morning.

I picked up a number of good tricks just watching David do the demo and I suspect (from the questions asked) that CineForm picked up a number of converts as well.

It was a great event and the hints at things to come make it all sound even better.
 
David, about the scripts. The script always adds another subdirectory .../express to the location inserted by the user. Understand well the reason for this, but could you still make it possible output going precisely to the location specified by the user?
 
Lauri, yes you can output where ever you want. The scripts are designed to be simply altered by the end user. A few like down in the top of each script (edit them in notepad) is:

' default output path switches
defaultoutputpath = "express"

You can set the to nothing
defaultoutputpath = ""

which will place the output in the root of the target path.
 
David Newman said:
Lauri, yes you can output where ever you want. The scripts are designed to be simply altered by the end user. A few like down in the top of each script (edit them in notepad) is:

' default output path switches
defaultoutputpath = "express"

You can set the to nothing
defaultoutputpath = ""

which will place the output in the root of the target path.
Click to expand...


Got it, thanks
 
filmmaker's gang said:
hey davids.. any tip on conversions from 30p to 24p.. or even to 25p.. is this smoothly possible?.. with no slowmotion route..
Click to expand...

I am interested in this as well. I understand the problems of going from 30p to 24p versus 60i to 24p. Is there a hardware solution such as using a HD VTR?

Thanks.

Edgar
 
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