CineForm

Hi David (Taylor)

Welcome to the forums !
Yes, the conversion utility contains both, but I was talking about the 1280X720 24p Aspect HD preset in PremierePro2. There we have 24p but it reads 23.976 in timebase and 23.976 on frame rate.
With the utility I converted my footage to 24p. Editing in 24p preset is what I should do ?

I already mentioned that I used it and finaly exported to 24p "HD optimized" without a problem, but I am still wondering wich is the corect way of doing this.


Best
Andreas
 
All you need to do is create the 24p preset. You should do this to prevent frame blending (it will make your exports faster also.) Select the current 23.976 preset, that select the custom tab, change to the frame rate and save the new present.

We did have both 24p and 23.976p as default presets, as that would lead to more confusion as most customers will be using the current preset only.
 
I was trying the CineForm HDV 720p editing mode and it seems that doesn't suport 24 but only 23.976 timebase. You say I have to use the CineForm HD editing mode that gives the option of 24p timebase on custom settings ? Am I right ? If not I realy don't see how I can create a preset from nothing :(

Thanks
Andreas
 
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Sorry, one more small (but key) piece of information. Switch the "Edit mode" from "CineForm HDV 720p" to "CineForm HD". This edit mode should allow exactly 24p.
 
Yes, everything OK now. My rendering time and export time reduced to 1/4 ! Plus that some transitions that didn't work properly now do.

Thanks
Andreas
 
We just did a shoot with the Silicon Imaging camera (will be soon written up on my blog), and due setup inexperience of mine we shot at 1080p24 not 23.976. The frame blending and weirdness that can happen when placing 24p on a 23.976p timeline is something I know very well. Once you footage and timeline match in frame rate everything works so much better.
 
I've been using Cineform Aspect HD w/ PPro 1.5 for a while now, generally I'm very pleased. The image quality is superb, and on an older P4 3ghz machine it still works fast for a single stream.

I am running into a problem, when I change the speed of a clip, or reverse it's speed in premiere, CFHD only plays it back properly after rendering. Whereas with DV, ppro would at least try to play a rough draft version w/ effects, CFHD just plays the original clip speed. It's a bit of a pain.

Any ideas? Is it because my PC is too slow?


-Tom
 
It should playback for speeds between 0% and 200% with frame blending off. With frame blending on you will need to render to see the blend. Reverse playback does need rendering.
 
CineForm team with SI camera wins best Cinematography award.

CineForm team with SI camera wins best Cinematography award.

Slighty off topic, yet very CineForm related.

A bunch CineForm Engineers, with family and friends just used a Silicon Imaging "mini" during last weekend's 48 Hour Film Project (http://48hourfilm.com/) in San Diego, and last night we were awarded the prize for Best Cinematography out of a pool of 44 films. And the judges only saw the SD version, so shooting D-Cinema for a DVD deliverable pays off!

See the full write-up on the shoot and download the movie from here : http://cineform.blogspot.com/2006/07/silicon-imaging-in-48-hours-success.html
 
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The link isn't working. Don't tease us like that... ;)

** EDIT **

nevermind, i found the link on another thread.
 
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David, I'm a FCP user. Can Prospect HD improve my workflow in a Powermac dual 2.7, Shooting DVCPRO50 or DVCPRO HD?

What I mean is: Will I get any advantage of working with Cineform 10 bit codec vs working with native dvcpro? I assume that yes, one would get a quality gain, but how? Please explain this. I'm sure many FCP and Mac users would like to know the Cineform advantage on Mac. Thanks
 
The DVCPRO-HD workflow is 8-bit, that is a major limitation of all native solutions. Issue with 8-bit are shown here : http://www.cineform.com/products/ProspectHD.htm#10bit For the better color correction you either need to go to uncompressed 10-bit (slow and expensive on disk space) or go with a compressed 10-bit solution like CineForm. What we going to do for FCP users we can't say yet, however we are aiming for the upcoming Intel based Mac workstations, we don't expect to be offering performance solutions for G5 systems (although we will likely provide G5 compatiblity at some point.)
 
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David Newman said:
The DVCPRO-HD workflow is 8-bit, that is a major limitation of all native solutions. Issue with 8-bit are shown here : http://www.cineform.com/products/ProspectHD.htm#10bit For the better color correction you either need to go to uncompressed 10-bit (slow and expensive on disk space) or go with a compressed 10-bit solution like CineForm. What we going to do for FCP users we can't say yet, however we are aiming for the upcoming Intel based Mac workstations, we don't expect to be offering performance solutions for G5 systems (although we will likely provide G5 compatiblity at some point.)
Click to expand...

That's a bummer... Since I just bought my G5 last year, and invested quite a lot on g5 architecture, its a big disappointment to see such a wunderfull product only available for Intel Macs...
 
SPZ, we don't have anything against G5s, but we've spent man-years optimizing our software for Intel processors, extensively leveraging the SSE2 instructions and threading architecture. None of those performance optimizations will port to the G5. We look at it from the other direction ... until Apple embraced the Intel architecture we didn't have any practical way of getting to MacOS/FCP. Now we do.
 
David and David,

Amazing thread, mostly apprised now of the advantages of the CF products with the HVX.

A few questions:

1. Short of using a Xena to HD-SDI monitor, what are the alternate options for monitoring without additional hardware, considering ability to CC with some accuracy, via DVI output, or other, for HD? What about 10 bit monitoring, Xena only option?
2. In respect of item 1, similarly, what type of PC laptops/GFX cards do you recommend for the best known monitoring options available? (I am running Dell 9300 Inspirons and looking for the next generation of PC laptop and monitoring options for CF. You mention new CPU development in the earlier threads)
3. DV Rack looks like an amazing product and great value for HVX monitoring and HD video/audio recording to a laptop. Is CF's encode compatible with the DV Rack HVX encoded DVCProHD files recorded to the laptop's hard drive?

This CF paradigm shift appears amazing and developing at great pace. :thumbsup:
 
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1) You can calibrate a DVI monitor for the purpose of color correction, the bigger issue is not HDSDI vs DVI, is it the color response of many LCDs. This is getting better and better, but do be careful with you monitor selection (related I just saw this monitor -- http://www.newlaunches.com/archives/samsung_syncmaster_cx930b_the_most_colorful_lcd_monitor.php)

10-bit for monitoring is not necessary, but it is high valuable for processing. When we scrub a 10-bit frame at to 8-bit DVI we dither the 10-bit into 8-bit, so it looks like 10-bit (i.e. no banding.)

2) Sorry I don;t know much about laptop gfx chips.

3) If DV Rack produces MXF files like the P2 media, then yes it will work fine. We haven't tested this yet. Any out there with DV Rack and CineForm tools, please jump in?
 
Yes, wavelet is the way to go. Although optimizing wavelets for a bayer sensor is not as straight forward as it seems, we have been work on for over 2 years, based on a codec with 5 years of development.
 
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