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Commonly Used Pro Video Render Settings In Adobe Media Encoder

For many Apple FCP/Compressor users who already made the switch to Premiere Pro CC/Media Encoder getting the optimal render settings out of the Adobe software can still be a challenge. The overall workflow in Compressor seems to be more intuitive and straightforward. The Adobe Media Encoder, on the other

Avid Releases DNxHR Codec For 2K, UHD And 4K Workflow

It was just a matter of time before Avid releases an upgrade to Media Composer and their existing intermediate codec DNxHD. Recently, during a stage presentation at Avid Connect Europe 2014, the company introduced the brand new DNxHR. The new capabilities of the codec are based on an architecture called Avid

KineMINI 4K CinemaDNG Raw vs. Cineform vs. KRW Test

The Kinefinity KineMINI 4K has proved that it can compete successfully even with high end 4K+ cameras such as RED Epic/Dragon in terms of colour rendition and hi-resolution imagery. If you haven’t already done so, make sure you check out the series of posts we did related to

Which Codec Is Most Suitable for Your 4K Workflow?

Before answering this question we should take a more in-depth look at the definition and structure of video codecs. There is a lot of confusion and misunderstanding about how codecs work, what are the differences among them, which one is better than the other, which codec should be used in a

New Raw Footage from the New Kinefinity KineMINI 4K Released

You might have heard about Kinefinity before, they are a Chinese camera manufacturer that popped up on the radar a couple of years back with their KineRAW S35 digital cinema camera. The camera featured some impressive specs (S35mm sensor/2K/Cineraw/Raw Cinema DNG/Slow-motion) at an equally impressive sub-$10,000 price-point. Fast-forward to