Cinema DNG plans?

The cinema DNG initiative docs and downloads have been removed from Adobe Labs. What are Adobe's future plans for this format now that multiple cameras are coming to market that use it?

I just updated my post about CinemaDNG with a link to the new home on the Adobe website for the specification, example files, etc.: http://adobe.ly/QwJoMU

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Plans to enable import of Cinema DNG (RAW) files from the Blackmagic POCKET Cinema Camera

Are there plans to enable import of Cinema DNG (RAW) files from the Black Magic POCKET Cinema Camera into Adobe Premiere Pro CS6?

There won't be any new features introduced in CS6, only some bug fixes if ever. All new features go into CC. Rumour has it that Camera RAW will be added into PrPro (sooner or later).
Off topic question: have you tried to convert BMPCC CinemaDNG files into DNG via Adobe DNG Converter? Resulting files are about 15% larger, so I hope that is what constitutes uncompressing them and making possible to import into PrPro CC natively (I'm not on CC, hence can't test, but I'm curious).

How can I import cinema dng files in Premiere Pro CC?

Hi,
I wanna use Blackmagic Cinema DNG 4k RAW files for my productions in Premiere. As specified by Adobe that schould be no problem.
When I import the dng-folder or a list of *.dng files they are displayed in assets view as single photos. How can I create a video track from these "photo batches" in the sequence window?
Much thanks in advance for any help !!!
Cheers Peer

Good Peer, glad that solves the import problem for you. I suspect the next version of Premiere CC might not have its import path split with two different results as such.
Back in CS6 I was importing all media through the Project bin. Then with the first Premiere CC, compressed dng from the bmpcc became supported (I think your 4K just became supported recently). So, with the new CC, I kept importing all files through the project bin, and that resulted in hours of import time, and the same hours of re-conforming the same files every time I re-opened the project. And, the same hours of time direct linking into Speedgrade (by the way I love Resolve also).
Then, months later, I heard of importing through the Media Browser and all that time melted away into instantaneous import and quick direct link to Speedgrade.
If you have any projects with dng sequence files imported through the Project bin, I do not remember the exact procedure, it is simple though, just 'make offline' and almost certain it is 'replace footage' to properly Media Browser imported video.

How to add to a DNG file, the XMP metadata that transforms it into Cinema DNG ?

Hello,
I would like to know how to convert a series of DNG files into Cinema Dng ? What I read is that Cinema DNG has more XMP metadata than DNG. Is there a tool to add this kind of metadata ?

It seems that the thumbnail created by adobe DNG converter is a source of problem for Da Vinci Resolve, to recognize a series of DNG as Cinema DNG. So if we could have a solution to remove this thumbnail, hallelujah !

Speedgrade and the Cinema DNG from Magic Lantern

Hi guys !
I was really thrilled yesterday when i saw that speedgrade CC 2014 can now read the Cinema DNG files from 5D Mark III & Magic Lantern... But i did a few tests today and would like to know what you're thinking of these : I just did a few tests with Speedgrade CC 2014 and i think there is still a decoding problem in it
Here is what i get when i put my DNGs in After Effects :
Before any correction :
After correction :
And here is what i get in Speedgrade :
Before any correction :
After correction :
Any idea why ? The white balance is wrong and i can't correct it... The highlights seems to be wrong too...

That is a regular behaviour in SG, please have a look here: https://forums.adobe.com/message/5291090#5291090#5291090 and BMD Cinema Camera RAW Files Import Issues | Adobe Community
Also you could create a .look which white balance the cDNG, or try the Ikonoskope A-Cam matrix presets. That's into Timeline - Color Space Default.
Thanks,
Fran

Premiere pro CC " Replace With After Effect Composition" Cinema DNG AKA CDNG Issue

I am trying to right click on a cinema dng file and do a "replace" with After Effects Composition. When doing so it only brings in a single frame rather than the entire adjusted video clip. Does anyone know a solution or workaround? Is Adobe aware of this problem? Will they continue to support Cinema DNG files? or should we lean to another NLE? Please advise adobe.

Thanks.
After some testing, it looks to be an After Effects issue. The Replace command did open up AE, create a new project, import the segment of the clip I wanted, and created a proper composition with the correct duration. It even opened up the Camera Raw adjustment panel for me to play around in. The problem was that every frame of that 1 second long clip was identical, it was the first frame of the whole clip.
When I went into the Media Browser and opened up the same clip from the hard drive, it too opened up as the whole clip seeing only that first frame.
When I imported using a right click>Import command (exactly what we shouldn't be doing in PP with tapeless media), the clip came in properly with all frames.
So AE is acting weird with CinemaDNG files, it seems. You may have to start out in AE and DL from there to PP.

How to convert DNG to Cinema DNG ?

I have my RAW to DNG conversion working.
Next step is to write out Cinema DNG files ?
There is a lack of info about Cinema DNG.
Is it just a cDNG header followed by RAW files concatenated together ?
Is there a custom EOF ?
Is there a tag to indicate size of each frame ?
Cheers!

It seems that the thumbnail created by adobe DNG converter is a source of problem for Da Vinci Resolve, to recognize a series of DNG as Cinema DNG. So if we could have a solution to remove this thumbnail, hallelujah !

Will Premiere Pro CC support Cinema DNG files?

Will Premiere Pro CC support Cinema DNG files?

That would be nice, but my guess is that if support was built in, Adobe would have made mention of it as a new feature.
Given that Blackmagic is releasing a $1000 DC camera that records CinemaDNG to SD cards, it sure would be nice if PP cold work with them natively. People, please keep filing that feature request.
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

How to import 4k cinema dng on premier pro 2014

how to import 4k cinema dng on premier pro 2014 ?

Wow. Thanks Colin.
When I follow your approach, I don't get the same "sequence preset" dialog box popping up.
FU question, though, the motion is frequently jagged. Is there a way to smooth out/increase the quality of the rendering? I have 16gb ram, Mac Pro. which is able to handle iPhone video rending fine in quicktime. (I've tried rendering for "performance" and "memory" but both seem to produce, eh results.).
Michael

Does Final Cut Pro X support RAW Cinema DNG files?

I'm looking at a pro/broadcast project that I'll be shooting in RAW Cinema DNG. Does Final Cut Pro X support this format? I can shoot in ProRes, but I don't want to for this particular project.

http://help.apple.com/finalcutpro/cameras/en/index.html

Green colour cast using Cinema DNGs

Hello
I'm shooting RAW with 5D3 and then convertiing to CDNG.
When viewing the footage in Speedgrade I get a huge green colour cast.
See example image: http://i.imgur.com/zQnziZT.jpg
I get this for every CDNG I shoot and even sample CDNGs obtained from the web.
Everything looks fine in DaVinci Resolve or in ACR, but I would prefer to work with Speedgrade as it fits my workflow better.
Obviously I could correct the green cast and balance the RGB parade but I dont want to do this every time.
Anything I can do?
Many thanks

Thank you for the reply.
OK so reading from those threads its 'normal' behaviour - however it isn't helpful, useful or wanted behaviour.
Both DV Resolve and ACR are able to give a usable 'corrected' starting point using the 'as shot' data - Speedgrade should be able to too.
If anyone from Adobe reads this - please condisder this another hat in the ring for this needed feature request.
Thanks

Workflow Q's (.DNG, DPX, AE, Resolve)

I've done two projects now in Premiere, and think it's a great piece of software. However, I'm finding the finishing stage of the workflow to be super tedious and I'm wondering if I'm doing something wrong, or if there is an easier way to go about it.
1. I work natively in Premiere with cinema .dng's. 2.5K resolution.
2. Edit, and use effects such as comp, stabilization, pan/tilt, blending modes etc. Sometimes I use "Replace with After Effects Comp" (cinema .dngs don't currently work with this function, but supposedly it's being fixed)
3. Lock edit. Prep sequence for Resolve - remove resizing, effects etc. in order to have all of the image in Resolve. Output XML.
4. Color in Resolve. Output 16-bit DPX at full resolution
5. XML does not support DPX, so I manually place footage into sequence. This is doable for minute long videos, but for longer form content it doesn't seem ideal. Conform 2.5K shots to 1920x1080, reapply affects etc.
6. Any shots that were sent to AE via 'replace function' I then separately output from Resolve and manually 'replace footage' in AE.
For step 5, it would be great to use the 'replace footage' option in Premiere but I can't as sometimes a single clip will be used multiple times throughout a sequence and Resolve outputs multiple clips for that one shot.
Obviously this would be easier if I used a compressed format id'd by XML, but I want to retain as much image quality as possible before the effects, panning, resizing etc. are rendered.
The stage going from Resolve back to Premiere (or any other software) is the part that is very time consuming, and sometimes not perfect. I guess I'm looking for advice on how to make this process more manageable, or if this is simply the nature of the beast.
Also, is XML a static operation or will it be updated to support image sequences such as DPX and more effects.
Thanks!

the best way to get footage back into premiere is to have it replace the original footage in the sequence timeline. this is normally done with "make offline" and "relink". doing this transfers any effects and transitions to the new clips. the breakdown in this workflow is the relink in premiere. even with the update to the relink options adding the ignore file extension option in premiere, it doesn't automatically link others when relinking. when i use cinemadng's in premiere it uses the image sequence as part of the file name, this breaks any chance of an automatic relink.
the only easy option i know to get this relink to work is to use proxy files generated in resolve for the edit. then after color grading render out individual clips again, just like when making the proxies. the difference is instead of using dpx, this requires using a format such as the quicktime uncompressed, cineform, or dnxhr that will be a single file. then premiere will be able to relink to these color graded clips, and will keep all your effects in place. you can even swap out proxies for the color graded by renaming the folders they are in, instead of the relink option in premiere. if you aren't satisfied with one of those codecs vs dpx, this wont be a solution. since its being rendered after the color grading, the quicktime uncompressed 10-bit might be good enough for you? you can still render separately the AE clips in dpx or tiff if desired... to use cineform in resolve i believe you have to purchase it, and adobe doesn't yet support dnxhr so thats not an option at this time.
another option, if you use the majority of you footage is to do primary correction in resolve first and export to dpx. then use the dpx to edit in premiere, do your AE comps, and speedgrade to polish off corrections and apply a grade. never to return to resolve... this will keep you from fighting premiere's relink with the resolve roundtrip. as neil points out, speedgrade with dynamic link saves much of the headaches. for the best performance, don't apply any effects until after done with speedgrade. speedgrade is a decent program, but if you are use to resolve you may find it lacking.

Importing Arri DNG raw files into Premiere Pro CC

Any suggestions on how to do this?

Hi MarkU,
What are you having trouble with? I assume you mean ARRI Raw. Check out this video, perhaps it will help you:
If you mean Cinema DNG, support for that is coming in the next release.
Thanks,
Kevin

HVX200 Won't Print To Tape

I'm running FCP 5.1.3 on a MacBook Pro 17" with 2GB memory - my camera is HVX200. All went perfectly during shoot & edit. Now I can't print to tape.
I followed the helpful posts on hooking up cameras via firewire and got the camera to go as far as showing a still-image (from the canvas) on the LCD. This image changes whenever I stop the timeline (shows whatever frame I've got the timeline on but it doesn't move - the images are still-images only) The audio comes through - and records - perfectly. Camera won't record any images but records audio. The camera is set to MCR/VCR setting, using tape as media.
I removed the FCP preferences. I have Quicktime 7 installed. (Removed all receipts from QT.) I used disk utility to repair permissions.
My reason for print to tape: I have cinema screenings planned and want to project the film from a miniDV source instead of DVD because I think the quality (and reliability) would be better. [Any notes on this concept of mine would also be appreciated.]
By the way, as a test, I hooked the camera up to my PowerBook G4 with FC Express HD and the camera works perfectly as output device. I can print to tape there no problem. But the old computer can't run FCP 5.1.3 which is what I cut my movie on.
I cut the movie without the use of output device just the hard drives, my computer, and an Apple Cinema HD display. I have output successfully to DVD Studio Pro using Compressor.
MacBook Pro 17" Mac OS X (10.4.8) 2 GB Memory

Your cam settings HAVE to match your sequence
settings.
If you have the cam set to anything native, as in
24pn or 30pn, nothing will stream over firewire.
You haven't indicated either settings: cam or FCP
Need to know that.
Thanks for your reply... I'm getting closer to figuring it out. (I'm experimenting with camera settings now...)
I recorded the movie in 720 24pn. Does this mean I can't stream over DV - can't use the hvx200 as print-to-tape device?
My objective is to get image quality that will hold up when it's blown up to movie cinema screen size - the DVDs seem to show their compression when the image is big. Any suggestions on getting movie-house quality?
Thanks!

What kind of memory ?

Hello to all
After months, yes, months on reading I finally going with a new rig. I read the tweakers pages, and other forums.
So I will be using this for premiere, AE, and resolve.
I would like to work with 2,5 dpx, 2K prores and dnxhd, UHD prores and (hoppefully) UHD cinema DNG RAW when available (and probably at half res in premiere)
4930K (auto overclocked, so it should be around 4Ghz)
Coolermaster hyper 412S or noctua d14 if I must (very big beast it seems)
P9X79-E WS
GTX 770 4GB (gigabytes ?)
decklink monitor (hdsdi)
system : ssd vertex 3 256GB (intel sata III)
cache : ssd samsung 840 pro 512 GB (intel sata III)
media : maybe 3 ssd raid 0 (marvell sata III ?)
export : ssd intel 520 240GB
My main question concerns RAM. I absolutely don't know what to get.
I read very confusing things about speeds, and CAS. And manufacturer.
I know asus has a recommanded list, but there is still a bunch of solutions... I also read something saying 1.35V was better, but there is not one in the asus recommended list...
I'd like to start with 4x8GB. I'll put 4 more in a few months....
Lastly, I can have a good deal on these, but 1333MHz seems ... poor ?
http://www.corsair.com/fr-fr/xms3-16gb-dual-channel-ddr3-memory-kit-cmx16gx3m2a1333c9
Thank you for your input.

I went to the gskill configurator. http://www.gskill.com/en/configurator?manu=29&chip=28&model=1487
It seems every RAM cleared for P9X79E WS is 1.5V. There are ripjaws Z and X. Cannot tell the difference to save my life !

Cinema DNG plans?

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