This is only really part of the workflow, but I just tested it on a small project tonight and it works! Cineform put up this post a couple days ago about conforming selects from FCP via XML using ReMaster. I saw it and thought, well, Premiere exports an FCP XML…

I’m VERY excited to say that it works! I had a 5 minute nested project that I edited in its native HDV .M2T form. I exported the project to an FCP XML then using the instructions on Cineform’s site, imported the XML into ReMaster.

What does this mean?

The currently accepted professional format for VFX (so I’ve read) is .DPX. This is also the preferred format for Davinci’s upcoming Resolve (so they told me at NAB). This now means you can edit in FCP, Avid, and Premiere and conform your files directly from your timeline to Cineform .DPX files for use in your VFX application or Resolve. A side benefit is being able to utilize First Light to adjust any bad white balances or lighting issues and during the process apply any looks as desired.

It also means you have Cineform’s damn good telecine and pulldown removal for your multi-format/frame rate files. Those nasty little projects you take on that make you pull your hair out. I’ve talked with many editors that have said, “yeah, I can edit this 60 stuff in my 24 timeline. But now what?” Well, this is your answer.

It also means you’ll save transcoding time of ALL clips prior to onlining by allowing only the files used only in the edit to be conformed and also saves time by being able to edit natively in your NLE (take note Premiere DSLR users).

Avid users I suspect will skip the pre-Resolve conform step as Resolve will more than likely take the .MXF files straight from Avid. But there are a whole crop or Premiere and FCP users that can really benefit from this. The caveat is that you need at least Neo4K for .DPX output. But I can do it for you as well And even grade it if you want.

Now, I’m surmising this will work based on how Cineform files already interact with every application and how Resolve specs out. Once I get a copy, I’ll test forthwith.

Tags: cineform, color correction, resolve, tech, workflow

Well, since I’m halfway around the world working from where I usually blog from and just straight busy, I thought I’d post up a couple links to some really good info. I don’t have the time to blog right now and these guys say it way better than I ever could. For what it’s worth (not much if you ask me), I agree with the their assessments:

Mike McCarthy on Premiere CS5

Shane Ross on Media Composer 5

Tags: after effects, avid, premiere, tech, tools

Let’s talk workflow for a second on using this Cindeck. The entire system runs on Windows and the Cineform .MOV files record to NTFS formatted SSD drives. I work on a Mac. So here’s what I do:

Drag files from SSD to CalDigit VR Mini via e-SATA.
Plug the CalDigit into my Mac and start editing.

Yes, that easy. When I get home, I’ll transfer the files to a Mac-writable drive, but for now that’s it. I run Parallels on my machine as well so when I offload the SDHC cards from the T2i, I just pull them from my OS finder over to the appropriate folder open in Windows Explorer.

Parallels will only boot from USB, so I use FW to power the drive, and USB to boot the drive. When I’m done in Windows, I unplug the USB and the drive loads in OSX.

Now this next point is probably for all of us using this combo like, ah, me and Danny Boyle. The overheating issue I had was due to the fan dropping RPMs when I hit record (and hot stinkin’ Cairo temps mid day in the sun). The fan is controlled by the SI software and will override any existing fan control software (like Speed Fan)- at least this is what I discovered. The remedy:

The SI software includes a prefs.xml file. In there about 1/3 of the way down, you’ll find a FanSpeed preference with a value set to either 0, 1, or 2.

0 = high RPM all the time
1= high RPM when not recording, low RPM when recording
2= low RPM all the time

So simply reset the value to what you desire and save the file. Incidentally, this little snafu helped the guys at Cinedeck discover a problem with one of the inputs on the power board (there are 2 which is how I got mine working- I swapped inputs) so they’re remedying that in all models that go out from this point forward. (This is a good time to plug issue/error reporting even if you’re not on any Betas and if you are, then you should be smacked if you’re not reporting regularly).

The second problem I had was the SI software not recognizing the 2K Mini sensor when I received it. If, for some random reason, you happen to receive this set up in a way other than HD Camera Rentals and it doesn’t connect up right away, it’s your NIC settings. To fix this you’ll want to access the Binaries folder in the main SI software folder. Inside you’ll see find the EBDriverTool.exe file (or something like that). Run that and change the settings to GigE on the appropriate port. This information is also on the bottom of page 12 of the installation manual (section 2.4.2).

One final tip to controlling temps: if you carry yours in a bag or pack while using it, like I’ve been doing and it’s wicked warm out, throw in some frozen water bottles. It’ll keep the box much cooler and if it’s that hot, you can drink ‘em when they start melting away.

How do I feel about this combo? Well, the camera’s the size of a lunch pail juice box, the Cinedeck replaces 4 different things and I can stand out of the way in a hall, stick the camera through the window and grab all sorts of funky angles while monitoring without contorting myself into all sorts of painful positions. I can’t do that on even on the DLSR. This combo rocks.

How do I feel about the Cinedeck? I love it. I was running around all day in villages, rooms, stairs, buildings, hallways, around corners, inside windows, cars and churches and about everywhere else you could think of. It held up and it held up well (like it should). I would shoot an entire doc solo on this box any day- camera of choice. A studio situation would be an even greater no-brainer. The monitor, histograms, focus checks, color previews and guide overlays at the touch of a button (literally) are about as nice as it gets. All in one sweet little package.

www.cinedeck.com

Tags: cameras, cinedeck, SI2K, tech