Wayne Steven wrote:Ah, I forgot. Good to say things for a reason.
Maybe with modern ProRes and the Bayer compression used here, cineform might not be better enough to justify changing to it. Also, wavelet based compression uses a different hardware set to normal compression, and I don't know if the cameras or VA are set up to be able to use it.
i use cineform from 2003, and i can tell you that during these years grow a lots, i used it to edit and produce DI from Viper, arriflex, red, dng of BMD cameras, and the ability to encode raw and mangare with active metadata raw value in a simple .mov clip, with scalability of data rate without produce newer files give me the winner solution to edit raw with less power.
During years codec grow, like Newman explain in cf paper, and raw encoding is quite good, with the full wavelet ability of cf, i did many visual experiment, with difference blending mode from original to CF files in FS2 compression, and from raw, from uncompressed media to CF FilmaScan2 version i not found big limits of editing color or other.
Now like Davinci user i need to access to raw file, to edit like raw, actually is possible on old davinci windows version thanks to free plugin that allow you to bypass edit by an ofx and allow to manage raw editing with metadata active, without it davinci manage cineform raw like a common video be cause is a CF engine that debayer and process files, not davinci.
Kineinfinity, Si2k use in past and today cineform raw like main codec to encode files in camera, Cinerecorder was in past a very expansive way to encode directly cineform from cameras, but today that is simplier to implement cineform license, i hope to see cineform in as many tool as possible.