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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

Ok, all your LUTs work fine and are very nice indeed.
There must be something wrong in the way i generate LUTs; i'm following cineform.com instructions but i must miss something.
The image shown before was a with a test LUT generated with no effects applyed in it (when i was using curves or a three way the clip was turning blacjk when the LUT was applied)
I'll go back to school and will report here.
Thank you for everything
 
Okay, good to know the issue is just generating LUTs -- that is much more understandable as we didn't make that super easy. The instruction here http://www.cineform.com/products/TechNotes/3DLUTGeneration.htm are pretty good but they don't emphasize enough that resolution of your source AVI, your sequence and your export all have to match. This is in Step 1, but it should be in bold. If you are using 1K Express files you will need to make a preset that is 1024x512 or 1024x540 to match your source. When you select the Export Look File, make sure that the export resolution is the same resolution as the preset and the source AVI. Now it should work fine.

P.S. Anything you create in SpeedGrade OnSet or similar will work fine.
 
Much easier to generate 3D LUTs (look files) in the latest beta. We added support for old (more common) 8-bit filters in addition to the 32-bit we already supported. This means the look generation will work with 8-bit tools like MBLooks and anything already in Premiere. Beta is available here http://tr.im/vk5
 
Cineform RAW 4k & AE Issue

Cineform RAW 4k & AE Issue

Thought I'd let you all know there is an issue if you are using Cineform RAW 4K in AE CS3. When trying to make a movie you get a framebuffer warning and it crashes.

David Newman confirmed this issue on his end and said he will look into it this week.

As you can imagine, this is pretty serious for all of use who hoped to use larger rez clips for effects work, then downsample to 1080 or what have you for the final.

I'm sure David will come up with a solution quickly.

Jay
 
Audio with Cineform - BootCamp

Audio with Cineform - BootCamp

I can't wait for the day Cineform can render .avi's with 4 discreet channels of audio from the R3Ds - for us that would be a dealmaker. I know it's an SDK related thing, so will wait patiently for it (or the Premiere .R3D importer) to happen.

However, during our trial of Prospect I found an audio workaround that may interest Cineformers running BootCamp, or with access to a RedRushes compatible Mac.

1) With RedRushes on the Mac batch a bunch of .R3Ds into ProRes files - the resolution is irrelevant as we only want these files for their audio (choose a low output res. to save render time).
2) Switch to your PC and Cineform batch the same .R3Ds into the Cineform flavour of your choice (RAW, 444, 422 or Express - it's up to you).
3) Set-up a Premiere Cineform project in the mastering resolution you desire
4) Import and drop the ProRes files on your Premiere Pro timeline (only works with Premiere CS3, not CS2 or earlier) - if you've recorded 4 channels of audio, 4 audio tracks should show content
4) Unlink the ProRes video from their audio tracks and delete the video portions, thereby making the ProRes audio clips 'orphans'
5) Select all the orphaned audio clips and go to Clip / Audio Options / Render and Replace
6) Premiere will now make these clips .wav files
7) Drop your Cineform files on a video track over their corresponding audio clips
8) Select all the clips on the timeline, right-click and slect "Link"
9) The Cineform files are now married to their corresponding .wav files and you can move and intercut them with ease

I know a 9-step process isn't ideal for working with audio, but it may help you stick with Premiere and all the plug-ins and features you've come to love.

Peace out ...
 
The limitations at 4K in AE is a Adobe issue with their memory footprint problem, not really a 4K RAW issue, as CineForm 2K and 3K RAW decodes are not an issue. AE doesn't budget for the memory required to decode to a frame buffer when dealing with larger sources. Of we recently dropped the memory footprint for Premiere for 4K finishing work, we might be able to do the same for AE. CS4 for will help, as the memory footprint is spread over separate processes. For AE 4K, use the CF2DPX and DPX2CF tools to batch convert as needed.
 
New updates.

New updates.

Every PC product has been updated (Mac updates also in the works.) These updates are worth while for everyone, but particularly for those with quad core systems or better. All the decoders now have improved threading for 4-8 cores with now support up to 32 cores (see Blog entry CineForm Insider: Even More Decode Speed.) The benefits are noticable even on dual core systems. So while others are waiting on single stream quarter res. at 24p, you can cruise ahead with multi-stream 1080p/2K with RT filters directly out to an HDSDI connected display or deck (we are almost doing full res. 4K playback in RT -- 22fps on a stock 8-core at 3GHz.) May other updates are included.

See the update logs for:
Prospect 4K - Prospect HD Update Log
NEO 4K - Neo HD Update Log
 
R3D2DPX utility

R3D2DPX utility

David,

This quote is still on the Cineform website (http://cineform.com/products/TechNotes/R3DConvert.htm):

"R3D File Conversion
In addition, CineForm has agreed with Red to withhold distribution of the R3D2DPX utility we previously released until such time as Red makes its SDK available to others in the industry. Our understanding is that these "hooks" (as referred to by Red) should be available around the NAB 2008 timeframe."

AFAIK Red has now released the SDK, so why is the R3D2DPX utility still not available?
 
Anthony, I'll pull down that old Tech Note today. I didn't think there were any links still pointing to it. As you're aware we've been supporting Red for almost three months with the "R2CF" utility (through the SDK) which replaced the old "R3D2DPX" utility.
 
David Taylor said:
Anthony, I'll pull down that old Tech Note today. I didn't think there were any links still pointing to it. As you're aware we've been supporting Red for almost three months with the "R2CF" utility (through the SDK) which replaced the old "R3D2DPX" utility.
Click to expand...

OK, thanks for clarifying.

I will amend my Red PC Workflow wiki to remove R3D2DPX as an option.
http://red-workflow.wikispot.org/PC_Workflow

If you are updating your website, you might also want to know that http://cineform.com/products/Downloads/Downloads.htm#DL1 still refers to it (labelled as "Temporarily Unavailable").
 
David Newman said:
Paolo, Your post disappeared.
Click to expand...

Well... i wrote something stupid.
Was related to some difficulties on having different resolutions in timeline and making looks in Premiere.
When you make express no matter what your resolution is they come out as 1024x512. But when you choose to make Raw at their native resolution and then you relink your files and you want to make a new look, there there may come a problem. But is easily workaroundable. One way is to batch all the footage RAW 2k.

That said, i'm now easily making LUTs in Premiere and in Speedgrade on Set too with an amazing easiness. My outputs are stunning and easy.
Just need the ins and outs in the edl, if you could use your magic one more time...
 
Paolo Tinari said:
Well... i wrote something stupid.
Was related to some difficulties on having different resolutions in timeline and making looks in Premiere.
When you make express no matter what your resolution is they come out as 1024x512. But when you choose to make Raw at their native resolution and then you relink your files and you want to make a new look, there there may come a problem. But is easily workaroundable. One way is to batch all the footage RAW 2k.

That said, i'm now easily making LUTs in Premiere and in Speedgrade on Set too with an amazing easiness. My outputs are stunning and easy.
Just need the ins and outs in the edl, if you could use your magic one more time...
Click to expand...

Only one more time? What, then retire? What would Red do without me fixing their workflows? It is on the list, but damn I'm busy working on CS4.

Creating LUT is fun, faster and very flexible, plus the latest release of Prospect 4K make it more flexible by supporting 8-bit and 32-bit float filters types. Cool thing about converting a 8-bit filter into a 32-bit 3D LUT, is it gets rid of banding associated with 8-bit filters. Odd, but true, it is very cool.
 
Creating LUT is fun, faster and very flexible, plus the latest release of Prospect 4K make it more flexible by supporting 8-bit and 32-bit float filters types. Cool thing about converting a 8-bit filter into a 32-bit 3D LUT, is it gets rid of banding associated with 8-bit filters. Odd, but true, it is very cool.
Click to expand...

so apply 8bit filter.....make LUT....remove filter....apply LUT...voila...32bit filter results!

I get it....

not to get too demanding...but a LUT filter....one you drag and drop onto a clip,with effect controls(presets) would be more convenient then going into the playback preferences....
just a thought....
we know your busy....
 
mdharrington said:
so apply 8bit filter.....make LUT....remove filter....apply LUT...voila...32bit filter results!

I get it....

not to get too demanding...but a LUT filter....one you drag and drop onto a clip,with effect controls(presets) would be more convenient then going into the playback preferences....
just a thought....
we know your busy....
Click to expand...

Yes doable, but breaks more of Adobe API conventions, need to get CS4 fully working before breaking some more.
 
Hi Jay, (it seems if I've posted to a post you have since removed, no worries, you still might find this interesting)

Are you getting the error on export or while you are creating the composite? I have been working on the decoder memory impact, which was already reasonably efficient, and pretty much discovered even if we use zero memory, 2:1 4K is unstable in CS3, i.e. not us (even tested exporting to DPX which failed.) NOTE: why is 4K not an issue now in Premiere under P4K, when did AE become WORSE at memory handling? All the 4K work I've done in the past in CS3 was 4096x1714 StEM footage, I guess the wide screen format reduces the memory enough for CS2/3 -- this is why 3K shouldn't be an issue.

At 3K (3072x1536) I was able to do a 4 layer 16-bit composite on my laptop, exporting to both DPX and to CineForm 444 AVI, using 444 CineForm 3K sources. You should be seeing the same thing. I have my memory cache settings are follows.

Maximum Memory Usage : 80%
Maximum RAM Cache : 10%
And disk cache on.

I did complete some more importer optimizations, in attempt to fix 4K in CS3 AE. Now a 4 layer 3K decode uses less than 100MB (only 5% of the AE pool.) This is not changed much from the release build, but you should give it a try. http://www.miscdata.com/cineform/CFHDImport081116.zip Unzip and install this component over the same component in C:\Program Files\Adobe\Common\plug-ins\CS3\MediaCore. Let me know if it does the trick.
 
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