Cineform RAW Workflow

Most RAW format cameras are single- sensor and use Bayer color filter arrays to create color Bayer data cannot be viewed natively – must be processed into color information. There is a key process as debayer/demosaicing to produces color images and details.

Active Metadata: non-destructive, real-time primary color correction application for GoPro-CineForm media plus text, graphics, and tools overlays. Cineform Studio/Cineform Studio Premium works in parallel with your editing and effects software, and maintains color adjustments and image framing as Active Metadata with your media – all processed in real time so you never need to render, and consequently you never clip highlights. Cineform Studio/Cineform Studio Premium color adjustments are immediately visible in any application that calls a GoPro-CineForm file.

KineRAW ™ cameras automatically convert the in camera monitoring LUT into a 3D-LUT in each shot folder for color matching in various post production tools so that the ‘look’ you experienced when shooting and looking at the camera’s monitor can be well duplicated in the processed footage you convert from the camera’s raw data to your end use format.  The color matching using the 3D-LUT works best with the Cineform ™ codec maybe and that makes the Cineform ™ workflow a good choice for fast throughput for applications like ENG and Sports type film-making where there is no time for grading the footage, in that case Kine709 would be the preferred in camera LUT and the 3D-LUT made from the Kine709 would automatically ‘grade’ the footage with a ‘one light’ processing to end use contrast and saturation.

KineRAW-S35™ records following contents if choosing Cineform codec.

1. Cineform RAW encapsulated as quicktime mov embedded with audio and timecode; there is a mark in the meta data of the Cineform RAW to LUT when recording.
2. LUT when recording;
3. Uncompressed audio files;

KineRAW-S35™ if choosing CinemaDNG codec and KineRAW-MINI™ records following contents:

1. CinemaDNG/KNG sequence with timecode;
2. LUT when recording;
3. Uncompressed audio files;

Using KineStation can turn the RAW sequence into Cineform RAW mov, so that workflow can be Cineform quick workflow.

The great feature of Cineform RAW when playback the cineform RAW clip, it will load the LUT when recording. That means you can easily get What you playback is the same with What you saw on the monitor when recording. If you did right white balance and got right exposure, you did not need to grade the clips for quick workflow. And you could also set the playback option without the LUT, then the clips comes back to clips with latitude much better than Clips with LUT.

In short, you do record RAW clips with max grading room, and but also the video you can use right now.

As said before, In short, you do record RAW clips with max grading room, and but also the video you can use right now. Here we suggest six workflow for you, based on your platforms and the needs on the final outputs.

1. Import clips into NLE software like FCP;
2. Export XML netlist after editing job is done. XML links the original clips according to timecode in the same media pool for grading software;
3. Import XML netlist generated from NLE software into DI software, then grade the RAW clips from the same media;
4. Rendering out to get final output.

Platform: Windows + MAC.

Notes: Davinci Resolve 9.0 does not support the active metada of Cineform RAW, while most other DI softwares do support the active metadata of Cineform RAW, like Speedgrade, AfterEffects, etc.

1. Import Clips into Premere Pro of CS6 or CC directly;
2. Using AE or Speedgrade of CS6 or CC to grade these edited clips, no need to generate an XML netlist as swap list.

Platform: Windows + MAC.

Notes: Adobe grading softwares support Active metadata of Cineform, and so support the debayer options too.  And there is powerful de-noise plug-in as AE Darkenergy in Windows, so that you could get sharper (by Debayer option) and cleaner (by DarkEnergy) images easily.

1. Import Clips into NLE software like FCP to edit clips; (All NLE softwares support Active metadata)
2. Export ProRes444 and ProRes422HQ after editing job is done.
3. Import the ProRes video into DI software, and grade it.

Actually, it is same with other ProRes workflow after it is converted into ProRes file. You need to choose debayer option advanced details when exporting to ProRes to get sharp images.

Platform: MAC.

1. Import Clips into Premere Pro of CS6 or CC directly;
2. Use DE plug-in in AE to do de-noise and output Cineform RGB444. (At same time, set debayer option advanced details when rendering by DE), so that you get sharper and cleaner RGB444 video;
3. Grade the RGB444 video in DI software.

This workflow is intended to TVC with high requirements on image quality, but with low budget for front-end shooting. RGB444 is very close to RAW.

Platform: Windows + MAC. It demands Windows if using DE Plug-in, else both platform can work with CF RGB 444.

Notes: you need to purchase Cineform Studio Premium to output RGB444.

1. Import Clips into NLE software like FCP to edit clips; (All NLE softwares support Active metadata)
2. Export CF YUV422 from NLE software after editing job is done;
3. Grade the CF YUV422 video in DI software.

Platform: Windows + MAC.

Notes: you don’t need to buy Cineform Studio Premium, and the free Cineform Studio is enough.

1. Do first level grading or load different LUT from shot in Cineform Stuido or Firstlight;
2. Import the adjusted clips into NLE software to edit.

Platform: Windows + MAC.

If you did right white balance and got right exposure, you may just do first-level grading in Cineform Studio or Firstlight.

Though these tutorials were made in Windows, they works in MAC platform.

This tutorial explains how to playback Cineform RAW clips, need what kind of codecs, and what is LUT recorded by KineRAW.

The tutorial talks about how to use free Cineform Studio to do white balance, adjust exposure, and load LUT quickly, etc. It means a lot for quick output and grading