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Adobe Announces updates to CC Video applications
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[Bill Davis] “Is cDNG open source? Or is it patented property? If the latter, then if Apple includes it in their output mix, don’t they have to license it? And if so, doesn’t that give the licensing body the ability to pull it if things go sour?”
CinemaDNG is an open format.
https://download.macromedia.com/pub/labs/cinemadng/cinemadng_p1_spec_091009.pdf
“There are no known intellectual property encumbrances or license requirements for CinemaDNG or its underlying formats DNG, TIFF, XMP, or MXF”
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Great update packed with things that every editor should find useful and time saving. It’s a huge shame it’s CC because we would happily pay £2k for this, but as long as it was a purchase.
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[Shawn Miller] “For most recording situations, that’s probably true. But the increased spacial and color resolution (12bit @ 2400×1350 vs 10bit @ 1920×1080) can be a big help with tracking and chromakey shots. Also, the BM cameras don’t shoot ProRes 4444, only HQ. :-)”
While technically that’s absolutely right, there are now a number of features out in theaters that were shot Alexa ProRes4444 or HQ instead of raw. Not much difference to the DP or most viewers. At some point it becomes an esoteric argument.
I work all the time with Alexa footage in ProRes flavors as well as RED shot raw. Most of the work I do with the raw is fixing production issues, like mismatched cameras and wrong color temps. I tend not to see these on comparable Alexa shoots. Maybe better DPs? I don’t know. So yes technical is important, but in the real world it’s usually secondary.
FWIW – John Brawley originally posted BMCC shots from the exact same set-ups in both CinemaDNG and ProResHQ with the BMD Film profile. Hard to see any difference after grading.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Craig Seeman] “Cinema DNG support caught my eye. It makes sense of course, being Adobe.
At the NYC Blackmagic Show, Marco Solorio played a clip from NAB in which Grant Petty mentions cDNG wrapped in .mov. I asked a couple of BMD reps (don’t think it was Dan May though) and they seemed dismissive about they’re doing it. I did speak to Apple’s Steve Bayes (FCPX Product Manager) about this and he said, transcode to ProRes4444. He also said most wouldn’t see a difference between ProResHQ and cDNG. That got me peeved. Granted it’s my interpretation of what he said but with cDNG now in cameras at pedestrian prices, I hope Apple reconsiders. PPro is going can win this niche if able is intransigent.”
Cinema DNG’s already work in FCPX, but they come in as stills. You have to compound them to create your own “clips”. If FCPX just supported image sequences, wouldn’t that solve the problem? Or are we talking about some deeper RAW processing issue?
Jason Jenkins
Flowmotion Media
Video production… with style!Check out my Mormon.org profile.
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[Jason Jenkins] “Cinema DNG’s already work in FCPX, but they come in as stills. You have to compound them to create your own “clips”. If FCPX just supported image sequences, wouldn’t that solve the problem? Or are we talking about some deeper RAW processing issue?”
In effect CinemaDNG is an image sequence. If FCPX supported image sequences that could help. I’m not sure if there’d be any pitfalls but I’d guess that FCPX would be using a “virtual” mov wrapper of sorts.
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if PPro7 was purchase, at its current rate of advancement, including the heavy iron anywhere, it would slaughter the market.
Literally any kind of 4-5yr payout subscription software archive option that the CS market could understand. Anything.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Oliver Peters] “While technically that’s absolutely right, there are now a number of features out in theaters that were shot Alexa ProRes4444 or HQ instead of raw.
Absolutely, not saying that Prores or DNxHD aren’t great and appropriate choices for many or most shots. But for some tasks, higher spacial resolution and more color are a definite advantage. I think it might also be worth noting that most films are shot and posted in a variety of formats, so I don’t think it’s an either or proposition. My guess is that raw and compressed are used where appropriate.
[Oliver Peters] “Not much difference to the DP or most viewers. At some point it becomes an esoteric argument.”
I have to respectfully disagree here. 🙂 Tracking and stabilization tasks can certainly be made easier with higher resolution footage. Maybe there’s an argument to be made regarding compositing and keying 10bit vs 12bit footage… but I’d have to work with more 12bit footage to know. We’ll see. 🙂
Shawn
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[Jason Jenkins] “Cinema DNG’s already work in FCPX, but they come in as stills.”
They do, but are interpreted as a flat, encoded images via Core Image or ColorSync or whatever the OS taps into to do this. There is no access to the raw information in FCP X. If the ISO metadata is too hot, the peaks will be clipped and not recoverable, like they are in software that can interpret CinemaDNG raw, like Aperture, Photoshop, etc.
I did some testing back when the BMCC first came out:
https://digitalfilms.wordpress.com/2012/11/11/blackmagic-cinema-camera-post-workflows/
Here is some newer “playing around” using the Philip Bloom “Hiding Place” clips shot with a the Pocket Camera in ProResHQ with a flat profile:
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Shawn Miller] “Maybe there’s an argument to be made regarding compositing and keying 10bit vs 12bit footage… but I’d have to work with more 12bit footage to know.”
True, but then you wouldn’t be working in FCP X anyway 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “[Shawn Miller] “Maybe there’s an argument to be made regarding compositing and keying 10bit vs 12bit footage… but I’d have to work with more 12bit footage to know.”
True, but then you wouldn’t be working in FCP X anyway ;-)”
Ha ha, touche’. 🙂
Shawn
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