Cineform questions

[Mike N]

Hello,

I'm tryting to understand what would be the best buying option now that the Rocket is out.
First, is Cineform such a brilliant ideea for a workflow and as a codec ? As far as i can understand about the Cineform codec is that it keeps file size to a minimum without altering the quality. But isn't Premiere working directly with Red files doing the same ?
Also after finishing the work with Cineform files and wanting to convert them to some other codec do the file sizes increase the same as if debayering the data from RED ?
Are the Crimson files already debayered ?

Is it better to own a Rocket and not worry anymore about losing to much time with converting or owning Cineform or both ?

Thanks

 

[David Newman]

Both sounds good. Even when the native Premiere workflow support Redrocket you still don't have a suitable render too codec without CineForm. So Neo 4K license would be fine addition.

 

[Patrick Scheller]

But what is the advantage of using Cineform I looked around their website but I still don't get it. Is it only for the editing process? In the end you'll still have to convert ur movie to a specific output format for DVD, Bluray or 4k projectors anyway. No?

 

[David Newman]

You can render intermediates that can travel across platform in all source native pixel formats: RAW, 422, 444 and 4444. Color profiles, including secondaries in 3D LUT can travel independently to the image data, for database driven non-destructive color correction at a distance. Increased performance. Naming a few items. As for exporting for output, CineForm is also used for that also, going to do a film out or a DCI master, much easier to send a CineForm file to FotoKem than a DPX sequence.

 

[Patrick Scheller]

You can render intermediates that can travel across platform in all source native pixel formats: RAW, 422, 444 and 4444. Color profiles, including secondaries in 3D LUT can travel independently to the image data, for database driven non-destructive color correction at a distance.

Que? If I use Adobe Premiere for example then i can also let my files travel through platforms. What is the advantage here? After all everyone in the workflow chain has to have Cineform too, like FCP or AP, etc.

And can you explain in more detail how color profiles and LUTs travel independantly?

 

[David Newman]

Most filmmakers use multiple video tools, and for that matter multiple camera source types, where a intermediate is so clearly needed. Anyone doing effect work also benefits from an intermediate (often DPX, and at 4k that is a lot of data.) If you a single operator using, a single source types within single vendor tools you don't have many of those issues.

The color databasing is very new. Read up on CineForm First Light, to get the idea. Basically you can have multiple color profiles for each clip in all you project independ of the clip and NLE timeline themselves, allowing a colorist to operator remotely (for dialies or sometimes for low budget finishing,) and color profile for entire projects to be sent via email.