So the idea is to take a Raw file, compress it for convenience/work flow, edit it as a proxy, then time-code it back to Raw for color grading. But grading compressed files results in the various artifacts, such as banding, aliasing, etc. so they are compressed into a proxy/smaller file, from which they are edited. Not being an editor/DP/colorist/camera operator myself - the idea is that Raw files are large and take a very long time to transfer, eat a lot of CPU/GPU, etc.
CLIPHOUSE DEMO FREE
I could go on, but these are some major points.įeel free to ask questions, I'll try to monitor this thread.ĭecemat 5:19PM, Edited September 4, 8:21AM We believe for many people this will be the most efficient way to work with raw. Transcode only what you need to transcode.
CLIPHOUSE DEMO SOFTWARE
This software was built on principals / intentions that as far as I can tell no other software has been built to uphold. ClipHouse has a function where you can type in the export resolution you would like, and you get to choose how the image get's there, IE it get's cropped or it get's resized, and how it's resized. Custom Export resolutions and crop / size controls. Very few transcoders allow you to select your debayering algorithm, I think the Sony one is the only one I know of.
ClipHouse let's you select the debayering algorithm that fits your project best! This is a big deal. If you already have a color correction software you are happy with that's great, but there are many people who are just getting into raw for the first time and the software can be a barrier to entry for them. This means if you are looking to create a "one light" or a ProRes file you will be doing final color correction on at a later stage you will probably get there faster using ClipHouse. The color timing is setup to be extremely fast and simple to use. Most color correction solutions are not designed to help you manage your data. It's a robust Data Management as well as a transcoder. I have been using this version of it for a month now and I gotta say I love it. I see a few questions out there about the relevance of this software, so I'll try to address them. Thanks for giving ClipHouse some coverage! Here's what you can accomplish in the four rooms in the software: In ClipHouse, these sections are called rooms. It takes an approach similar to Red Giant's BulletProof, where the software is built into separate sections, with each section being used for a separate process (or set of processes) within your post-production workflow. It's a piece of software that claims to be a one-stop solution for all of your RAW processing needs. Just yesterday, Pomfort's ClipHouse was released to the public.
At that point in time, the foundations for ClipHouse were laid out in these early drawings by Joe: Earlier in the year we covered the inception of the so-called " Digital Bolex Software," the software solution that Joe and Elle were developing with German software company, Pomfort, to accompany the release of their D16 RAW camera. To find the origins of ClipHouse, we have to look back to the fine folks at Digital Bolex. Well not any more, because Pomfort's highly anticipated RAW processing software, simply called ClipHouse, has now hit the market. Even though there are solutions for processing RAW files, many people still feel that RAW is more trouble than it's worth because of the post-production headaches. Despite Premiere Pro's recent addition of native support for Cinema DNG files, more often than not it still makes more sense to create proxies and use an online/offline workflow. However, in the words of Bret Michaels, "Every rose has its thorn." The thorn, in this case, is the fact that RAW files can make your workflow quite a bit more cumbersome than it ever would be with compressed codecs. The flexibility that RAW images provide filmmakers in the post-production process is absolutely astounding.
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