So what you are saying is that with Prospect HD and the proper computer hardware I can capture from the JVC HD component outputs the full p60 signal, have it encoded in real time at a selectible bit rate such as 35 megabits per secound using MPEG-2 encoding software which may or may not be included with Prospect HD and then I can burn 30 minutes of this footage to a dual layer Data DVD for mass distribution playable on Windows XP computers with the appropriate minimum system requirements with a choice of playback at full p60 quality for the high end computers and p30 quality for the entry level computers?
And I am assuming that m2t files encoded at any selectable bit rate will play on the VLC player from videolan. November 15th, , PM David Newman. November 15th, , PM Luis Otero. David, For us that bet on your software since day one Premiere 6. Taylor seems to me way off of what Cineform should be ofering to the client base that supported you since the beginning.
I am really disappointed I love Cineform and will not change it for anithing else, but those type of "corporate" decisions are the ones that separate the good companies from the excellent companies. Hopefully your growth is not changing the great company culture that has permeated through your customer service and your interaction with the users in this kind of forums. Respectfully, Luis Otero. I don't think you are being quite fair. We I hope that users of our products gain much value from that use; and it sounds like you have.
We have continue to offer free upgrades for which the early users have gain the most benefit. I think the deal offered was really good, like upgrading a 5 year old Toyota for a Lexus, but your trade-in is valued as if were the model. I hope you will consider it. David, You are presenting a different perspective that is making me think that it was a good deal. My appologies if in any way you felt offended; that was not my intention.
Rather, I was expressing my point of view as a loyal customer. Again, accept my appologies. Regards, Luis. Leggi l'informativa privacy. Autorizzo il trattamento dei dati inseriti. Ultimi Argomenti Dal Forum. Aspect HD 3. Here is a happy new user of a new Canon editing with a beta of Aspect HD 3. I hope to post the new feature list shortly. Lots of new support is coming for the new Canon XL H1.
The full CineForm product line-up will be upgraded free to support direct capture and editing of the 24F mode of the new Canon HDV camera along with the 30F and 60i modes. Support for HDV capture of 24F was straight forward, as the CineForm Intermediate approach bypasses all the ugly messing around with native MPEG, we had that running a couple of days after our first prototype arrived. Note to camera manufactures, it is very helpful to get prototypes for timely software releases -- are you listening Panasonic?
The challenge was to extract the pulldown on the fly and only capture the 24 progressive frames all in software of course. This is what we achieved today, such that a pure 24p stream could be recorded directly to the disk in bit CineForm Intermediate, ready for 24p editing. Opteron s or better. Not very exciting -- just me waving for a few seconds.
I will post a full x p24 image when I have something more interesting to show. As a result this feature will also appear in the Wafian HR Capturing this way is great for any project where quality needs to be at a premium. The 24p extraction greatly simplifies the post workflow. So again we have a first. In the last few weeks we a started a blog together with team of filmmakers in South Africa. This new blog located here indiefilmlive.
This is an effects heavy independent project that is really pushing the envelope; shooting multicam HDs with 35mm lenses to Wafian disk recorders. This is all real, not a marketing exercise, if the filmmakers find bugs they will report them there. In a recent thread on indiefilmlive. The Atomic VFX team was attempting to create a difference matte between 8 and bit files, yet is turns out the compositing tools have some difficulty doing this.
Read all the details at indiefilmlive. This was my first trip to Austin unfortunately only for a 20 hour visit but I will definitely return. I was attending as the sole demo artist, showcasing what CineForm products can do for the indie filmmaker. Now this was not a tradeshow, this is a party with an open bar in a 6th St. Yet many brave filmmakers did choose to approach the long haired geek myself amongst the glowing computer gear. There is now no longer that great divide between the feature sets of the competing low cost pro NLEs on either platform.
The market potential that created the FCP phenomena doesn't exist today, yet the illusion still exists. It's not what I was showing couldn't be done under FCP in the future, but some of the same forces that have PC dominating the desktop are again at work against Apple.
Compared to Premiere Pro, Final Cut Pro is a closed architecture, all major new features must come for Apple alone, third party vendors can only really enhance existing features within the product. Premiere Pro, on the other hand, is open, with a hardware abstraction layer HAL that allows thirds to add and extend beyond the core feature set. Not that Adobe alone has great HDV either, yet it is greatly supplemented by third party integration. Apple has plenty of compelling reasons to create a good HDV implementation, as this prosumer format is heading to become the new DV, which equates to lots of platform and software sales.
However, the many smaller niche markets can't be served by Apple engineering, creating opportunity for companies like CineForm but unfortunately for Apple this is easier to do on another platform. The niche market that has opened up though FCP's closed archecture are tools and workflows for independent filmmakers, the market that used to be FCP's turf excusively. The independent filmmaker is looking for the most cost effective solution to post his or her project, without compromising the final product.
A simple enough desire, yet the allure of HD has complicated matters greatly for these filmmakers. It is very expensive to post and online HD production, forcing most into an offline workflow an alien experience for DV shooters. The offline then online approach is the typical FCP workflow, as it is for Avid, really it is the traditional workflow.
Yet the indie filmmaker is not concerned with tradition -- neither Mike McCoy nor Robert Rodriguez were speaking at this event because they followed tradition. So what did I demo at this event and how does it differ from the traditional workflow? This project was playing on a dual opteron workstation, with the 2K media running from two drives in a simple striped RAID 0 configuration inexpensive and standard.
On this system I showed that I could playback and mix three of these 2K sequences all in real-time. Three streams of 2K is simply not possible in any other practical workflow. What this all means is the tranditional off-line workflow can be entirely skipped. With a compressed online workflow, steps can be performed in any order, and as you have the resolution image available at all times, HD dubs are ready available for marketing your project, all on much lower hardware costs.
For Apple to compete they need to open up FCP's achitecture to allow third parties to keep their product moving forward. In the end, the idea of a compressed digital intermediate is not new; it has been around for may years as real-time DV editing. An old workflow re-invented for a new filmmaker. I've done this show before when the JY-HD10 was first launched two years ago. This time around the gear was for more suitable for the filmmakers that were in attendance.
This seemed a crowd pleaser. Although CineForm products fully support all the JVC's modes over FireWire, capturing directly from the analog feed has several quality benefits. As that will mean very little to most, the WaveletDemo has been included to help learn the principles. If you look up wavelets on Wikipedia, prepare to get confused fast.
The wavelet is a one dimensional filter that separates low frequency data from high frequency data, and the math is simple. For each two pixels in an image simply add them low frequency :. To wavelet compress a monochrome frame color can be compressed as separate monochrome channels , we start with a 2D array of pixels a. If you store data with low frequencies low pass on the left and the high frequencies high pass on the right you get the image below.
A low pass image is basically the average, and high pass image is like an edge enhance. For a two level wavelet, you repeat the same horizontal and vertical wavelet operations of the top left quadrant to provide:. All that grey is easy to compress. The reason there is very little information seen in these high frequency regions of the image generated from WaveletDemo is the high frequency data has been quantized.
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