SAN MATEO, CA (June 6, 2014) – GoPro, maker of the Emmy® Award-winning HERO® camera and enabler of some of today’s most engaging professional video content, announced today that the core technology behind the GoPro CineForm Codec has been standardized by the Society of Motion Picture and Television Engineers® (SMPTE®) as the SMPTE ST 2073 VC-5 video compression standard – the new open codec standard for video acquisition and post production.

The GoPro CineForm Codec is a high-performance video codec widely valued in video post-production as the industry’s highest quality compression format. It is well established in the professional filmmaking marketplace and has been extensively used in Hollywood feature films, including Slumdog Millionaire and Need for Speed.

SMPTE standardization of the GoPro CineForm codec as the VC-5 standard now means the professional production and post production community can access SMPTE-standardized codec technology for presenting high resolution imagery with a high speed, low-compute intensive workflow. The new VC-5 standard will provide a more efficient, cost effective and higher-performance workflow, delivering an 8x performance boost over the current JPEG 2000 format with higher resolution.

That's huge - I was hoping for this since quite a while. Looking forward to finally get rid of ProRes. Cineform is so much better.

https://www.smpte.org/news-events/news-releases/gopro®-cineform-codec-standardized-smpte®-vc-5-standard

Does anybody know a batch conversion tool that could do that job?

Best regards, Wolfram

What I envision as a workflow would be the following--use a preset from each cam, not a custom WB, so anyone could use these Look Up Tables, then shoot some scenes with the Macbeth Color chart, using the same chart and lighting for each cam, and then finally just put the numbers online. I suppose an even better solution would be to somehow convert these LUTs into Cineform values so we could bypass Speedgrade altogether.

The result would be that one could open a preset, say "incandescent" in the GH2 and 5D MK2, or pro camcorder, then just apply the LUT. And anyone could use the LUT because it uses the preset WB in the Cams, which presumably are the same for every user.

Anyone in the world could then use these LUTs.

today I´ve tried some different codecs after I downloaded hdcinematics' DSLR Post Prep Utility and here are my findings among Cineform HD (which I normaly convert to), Avid DNxHD and just mts. I usually transcode to CF, because Premiere Pro has a hard time to decode avchd on the fly, when it´s getting serious (multiple streams...).

In Premiere Pro the response time to dragging the time indicator along the timeline was worlds better in both CFHD and DNxHD. Between the latter two I couldn´t really make out great differences here.

So I went into After Effects to check the same thing there. Here I got no mentionable timely difference in response time to my wild dragging of the current time indicator. Even the mts performed equally, compared to CFHD and Avid.

BUT: The adpative resolution came down to 1/4 on both CFHD and mts. On DNxHD it stayed on full and then eventually came down to 1/2 while maintaining a great response time. I didn´t expect that.

Tomorrow I will redo my rendering tests, my preliminary results just don´t make sense right now.