CineForm First Light v1
Contents
1. Sree F Histogram Green Bs Blue 0 001 Rush_23 Nov_2008 11 22 03 avi Rush_23 Nov_2008 11 22 32 avi Rush 23 Nov 2008 11 22 47 avi NILE Sync E Automatic sync File F Rush RS4 SI2K Rush_23_Nov_2008_10_17_48 avi Resolution 1920x1080 Frame Rate 23 976 Look 3D LUT Left The left side of the interface shows e The clip library e Color database controls above the clip bin Right The right side of the interface shows color adjustments including white balance contrast saturation gain gamma lift looks and other parameters Center The center shows the preview window timecode and global controls to turn ON and OFF various Active Metadata parameters First Light User Manual v1 2 First Light Workflow Discussion Database and Clip Library Database At the top of the left panel in First Light are the color database controls The default name is db as shown The color database stores all color parameter changes made in First Light For many projects you will need only the default database and can set this up once at the beginning of your project Note Each clip can have only one set of color parameters associated with it in the database Sa CineForm FirstLight all ctfl Ale Edit View Database Curent db gt More Clip Library 13 items 20486 1024 avi A001 CO01 071215 001 R3D avi A001 CO03 071215 001 R3D avi A013 C001 071215 001 R3D avi Rush 23 Nov 2008 10 11 15 avi Rush 23 Nov 2008 10 112. 4 Find Sync Point It is now important to find corresponding time synchronization points between each eye The best way to do this is to ensure that you use a clapboard during your shoot It is then easy to scrub each clip to the clap point and define or Set the synchronization point What do you do if you didn t use a clapboard You ll need to manually find a synchronization point between the eyes The process is G e EF CineForm FirstLight Per FL cffl Ee CineForm FirstLight Per FL cffl File Edit View 3D Database Current db 3D Display Type ja p 3D Display Type Left Eye on Oe S Left Eye WE Swap Channels Ae E Swap Channels f Clip Library 2 items f Clip Library 2 items La ae L1_00879 avi R1_00879 avi 1 _00879 avi M Orientation M White Bala m 00 00 06 10 E Primaries 00 00 06 10 o P EL M Looks 3DL Sync Frame 154 Set Goa E Framing Sync Frame 154 Set Goa 2D Left Eye Right Eye MI Hist 2D Left Eye Right Eye istogram Left Eye Right Eye a Find a frame in your sequence in which there is a pattern or a time event that can be compared with a second frame In my case I scrubbed my left eye stream until I found the frame shown I chose this frame because it has a mud spatter pattern that is different than frames on either side of it I then hit the Set button which exists below the timecode display When I hit Set the Sync Frame 1
3. 49 avi Rush 23 Nov 2008 10 12 12 avi Rush 23 Nov 2008 10 1 46 avi Rush 23 Nov 2008 10 13 14 avi Rush 23 Nov 2008 10 13 16 avi Rush 23 Nov 2008 11 26 42 avi Rush 23 Nov 2008 11 28 10 avi Rush 23 Nov 2008 11 29 17 avi NLE Sync teeters Sync If you need multiple color parameter settings on a single clip for different projects then you might want to create a second database to manage your second set of color parameters New create new database Branch create new database but copy settings from current database when creating the new database Delete delete the current database Import import a new database The new database might have been moved from a different machine Export Export the database into a convenient format for moving to another machine Clip Library The clip library holds all clips for a particular project You can drag and drop or use File Import to grab clips for the library Save Project Using the File Save command you can save the current project and all clips in the bin and reload them later An example for usage is if you re editing a film you might define each scene as a Project If you desire the same look on all the clips in a scene it is easy to adjust color parameters on one clip then Copy and Paste them to all other clips in the bin NLE Sync Automatic syne This allows First Light to react to what s happening in your NLE or desktop environment When you re using First Light sid
4. Frame L1_00879 avi R1 00879 avi Clear Completed Clear All When the mux process is completed you will need to manually import your newly created 3D file into the First Light bin for adjustment of its 3D parameters Have fun 12
5. avi Resolution 1920x1080 Frame Rate 23 976 The process of aligning Left and Right eyes into matching stereo pairs will be easier or more difficult depending on how well aligned your material is at the time of production If your Left Eye camera and Right Eye camera are perfectly synchronized during recording it will be straightforward to take individual eyes and multiplex them into a stereo file If you have different starting frames in time between eyes you will have some synchronization adjustments to perform Either way First Light 3D can align your material Let s walk through the process 1 Convert source material to CineForm files Convert your source material for each eye into separate CineForm Left and Right Eye files This can be performed using the HD Link utility as part of any CineForm Windows product or using ReMaster on Mac File conversion does not require Neo3D 2 Import Footage to First Light Import or drag your Left and Right eye material into First Light 3D Notice in the image above that when creating the original Left Eye and Right Eye material we designated each using an L and R character in the filename 3 Declare Left Eye versus Right Eye In the mid panel notice the selector that defines 2D Left Eye and Right Eye You will need to manually tell First Light which clips are Left Eye versus Right Eye It is important to get this correct for each stereo pair 10 First Light User Manual v1 2
6. information stored inside your CineForm clip which is not active in the sense of color information We have many plans for expansion of passive metadata information including logging information Workspace Curves The Encode Curve is an informational field allowing the user to define the curve applied to the data prior to CineForm encoding Defining the encoder curve as part of the metadata fields provides information to the CineForm decoder engine such that it knows how to apply the inverse curve to restore to linear light This is useful because it is preferred to apply color processing on linear data not data to which a curve is applied The Decode Curve is independent from the Encode Curve and allows the user to specify the curve used for presentation The default setting is to use the Same curve as the encoder curve Shown at left are other available options The Primaries curve gives you two options as to how your color corrections are applied You can choose linear space like in previous First Light versions or in the space of your output curve This will modify how your corrections are interpreted but it is your preference as to how you would rather work White Balance This feature allows you to adjust the white balance point of your images either to correct or to artistically re interpret To specify a new white balance point click the Pick button then select a point in the image that is true white to automatica
7. 54 appears in the box to the left of Set b I then select the right eye sequence in the bin and make sure it is declared as a Right Eye sequence in the selector I manually enter 154 into the Sync Frame box and hit the Go button This automatically selects frame 154 in the Right Eye sequence If my sequences are synchronized from the beginning as they were in my case then frames 154 should be the same frame in each eye Visual observation of the above indicates they are the same I then hit Set on the Right eye clip c If your file sequences are not in synchronization from the beginning you may need to scrub around your right eye to find the corresponding frame When you have found the frame hit Set d Now both Left and Right Eyes have been Set by inserting a synchronization marker as Active Metadata which acts as a guideline for the stereo mux process which happens next ie First Light User Manual v1 2 5 Stereo Mux When both clips have established frame sync points then select both clips in the bin to highlight both clips as shown in the left image below To select multiple clips use the CTRL key when clicking on your desired clips Make sure only two are selected for the muxing process In the 3D drop down select 3D Mux or use the CTRL M shortcut This will bring up the 3D Muxer control panel in the right image below This panel confirms the source names and sync points and allo
8. 8_10_32_22 avi paai i bi 28 w Gain Rush_23 Nov_2008_10_32_37 avi eae ee Rush_23_Nov_2008_10 33_06 avi ee A eee bE Eyes RS AS i te et Rush_23_Nov_2008 10 48 33 avi Rush_23 Nov_2008_10 48 56 avi Rush_23 Nov_2008 10 49 Ol avi Rush 23 Nov_2008 10 49 24 avi Rush_23 Nov 2008 10 49 37 avi 2008 10 50 02 avi Rush 23 Nov_2008 10 51 27 avi Rush 23 2008 10 51 5i avi Rush 23 Nov_2008 10 51_54 avi Rush_23 Nov_2008 10 52 22 avi Rush 23 Nov 2008 10 55 09 avi Rush 23 Nov 2008 11 14 33 avi ai Primaries T Rush_23 Nov_2008 11 14 52 avi Looks 3DLUTS Rush 23 Nov 2008 11 14 56 avi Da Rush 23 Nov 2008 11 17 43 avi Framing Red Rush_23 Nov_2008 11 18 30 avi Era Rush_23 Nov 2008 11 18 54 avi Histogram Rush_23_Nov_2008_11_19 31 avi Blue Rush 23 Nov 2008 11 19_56 avi Rush_23 Nov_2008 11 22 03 avi Rush 23 Nov 2008 11 22 32 avi Rush 23 Nov 2008 11 22 47 avi NILE SYNC I Automatic sync File F Rush RS4 SI2K Rush_23_Nov_2008_10_17_48 avi Resolution 1920x1080 Frame Rate 23 976 First Light Quick Workflow Overview E A Ekar i N Q lt U Q lt F White Balance l A E EE EA TAE E eel RA CRS ies Ra CaaS a Races CaS ea E Coase Wats A hase eats A Res dats Sigal Seay Roce eS Non Bsc Biel Seay Race 1 File Import Drag your file s to the Clip Library from Windows Explorer or use File Import 2 Adjust Color Parameters Select a clip in the bin Hit Play or Pause as appropriate
9. Adjust color parameters usually beginning at the top of the color adjustment window on the right Make sure the Enable checkboxes are enabled as appropriate 3 Save Color Snapshot If you want to save your color adjustments as a Profile for later use click Save Snapshot and give your color profile a name You can recall the Snapshot anytime later 4 Copy Color Adjustments to Other Clips If you want your adjustment s applied to multiple clips in the Library select Edit Copy or Ctrl C Then select one of more destination clips and select Edit Paste or Ctrl V 5 View Adjustments in Your Editorial Application Click on your editorial or playback application Premiere Pro Vegas WMP etc to bring it into the foreground then hit Play Youll see the adjustments you made in First Light applied immediately Keep First Light Open so you can switch back and forth between applications as necessary 6 Save your project File Save Project for recall later For more detailed discussion of various parameters keep reading First Light User Manual v1 2 First Light Workflow Discussion Getting started Before you begin let s take a tour of the user interface E CineForm FirstLight all cffl BAX Ale Edit View Database Passive Metadata Current db Workspace Curves More White Balance Clip Library 77 items 2048x1024 avi A001_C001_071215_001 R3D avi ie Red 3 A001_C003_071215_001 R3D
10. First Light User Manual v1 2 CineForm First Light v1 2 Introduction to First Light CineForm First Light is a simple yet powerful application that allows you to fully utilize CineForm s Active Metadata technology for non destructive image development on CineForm files including white balance contrast saturation lift gamma gain color matrix 3D LUTs and other parameters Active Metadata stores adjustments as metadata attached to your CineForm files and never flattens adjustments into your base files This allows effortless adjustments to color operations on CineForm AVI or MOV files at any time while preserving the integrity of your source images Changes made in First Light impact your clips instantaneously and globally Any adjustments made in First Light are instantly presented in other applications as well Adobe Premiere and After Effects Sony Vegas Windows Media Player anywhere your clips are decoded If you are a Neo3D or Prospect3D customer First Light also includes controls for adjusting convergence horizontal vertical or rotation plus color adjustments on individual eyes of a CineForm stereo pair First Light also provides the interface for muxing two single stream files into a stereoscopic CineForm file For Prospect 4K users who have used the CineForm metadata controls in Premiere Pro previously the same basic principles apply but with a vastly improved user interface plus the ability to create projec
11. avi A013_C001_071215_001 R3D avi gt ooo Rush_23 Nov_2008 10 11 15 avi Rush_23 Nov_2008 10 11 49 avi Blue oo __ Rush 23 Nov_2008 10 12 12 avi i Rush_23 Nov_2008 10 12 46 avi we Temp Rush_23 Nov_2008 10 13 14 avi i Rush 23 Nov 2008 10 13 16 avi i i i Tint D 50 Rush 23 Nov_2008 10 13 43 avi Rush_23 Nov_2008 10 14 O8 avi Rush 23 Nov 2008 10 14 30 avi Rush_23 Nov_2008 10 14 40 avi Rush 23 Nov 2008 10 14 5l avi Rush_23_Nov_2008_10_17_48 avi Primary Corrections Enable A Base Matrix Neutral iv Rush 23 Nov 2008 10 19 48 avi ra SHH Rush 23 Nov_2008 10 25 38 avi Rush 23 Nov 2008 10 27 48 avi Saturation a fl s Rush_23 Nov_2008 10 30 34 avi Rush_23 Nov_2008 10 32 _22 avi Rush_23 Nov_2008 10 32_37 avi Rush 23 Nov 2008 10 33 06 avi Rush_23 Nov_2008 10 48 33 avi Rush 23 Nov 2008 10 48 5 6 avi Rush _23 Nov_2008 10 49 Ol avi Rush_23_Nov_2008 10 49_24 avi Rush _23 Nov_2008 10 49 37 avi Rush_23 Nov_2008 10 50 02 avi Rush 23 Nov 2008 10 51 _27 avi Rush 23 Nov_2008 10 51 5l avi Rush_23 Nov_2008 10 51 54 avi Rush 23 Nov_2008 10 52 22 avi Rush_23 Nov_2008 10 55 09 avi Rush _23 Nov_2008 11 14 33 avi F White Balance Primaries Rush _23 Nov_2008 11 14 52 avi Looks 3DLUTs Rush 23 Nov_2008 11 14 56 avi Framing Red Rush 23 Nov_2008 11 17 43 avi Rush 23 Nov_2008 11 18 30 avi Rush_23 Nov_2008 11 18 54 avi Rush_23 Nov_2008 11 19 31 avi Rush_23 Nov_2008 11 19 56 avi
12. ayer Filters are only applied to Default CineForm RAW files Bilinear Demosaic Matrix 5x5 Adaptive BiLinear Demosaic is a simple fast demosaic filter suitable ral oe Sahin for real time playback but not suitable for final rendered CF Advanced Detail output During editorial it is best to use BiLinear Demosaic CF Advanced Detail 3 because it requires the least CPU resource Think of the progression of Demosaic algorithms between BiLinear and CF Advanced Detail 3 as providing additional sharpening detail in your final output Default When set in Default mode the BiLinear Demosaic is always used for timeline playback during editorial During high precision render the CF Advanced Detail 1 demosaic is used Suggestion For your own experimentation evaluate different demosaic modes during render to see what level of sharpening is best suited to your needs Framing This feature allows you to apply a mask to your clips to create a 2 35 1 aspect ratio The offset slider allows you to move the frame up or down to better position the clip within the mask allowing you to achieve the cinemascope look without complicating your NLE timeline Snapshot Manager At any time you can save the color adjustments applied to any clip as a Snapshot You can name the snapshot for later recall using Load to Snapshot or Load to Multiple which will apply the saved snapshot to any or all clips you select from the project bin First Light User Ma
13. e by side with your favorite NLE when you switch back to First Light click NLE Sync and the last clip you were working with will be selected in your clip bin and the last frame decoded will be displayed With Automatic sync selected First Light will do this automatically as soon as it s brought back in to focus This is independent of the NLE used and will even respond to what clips you are playing in a media player NOTE First Light currently relies on the clip to already exist in your clip bin First Light User Manual v1 2 First Light Workflow Discussion Preview Panel and Global Controls F White Balance Primaries Looks SDLUTS Framing Histogram Clips in the First Light bin are displayed in the preview window Timecode if present 1s displayed as well If not the clip will default to 00 00 00 00 Global Controls White Balance Primaries Curves Looks and Framing are offered as Global Controls in the Preview Window These controls define whether a specific parameter set is ON or OFF for any CineForm clip that is played regardless of the calling application Example usage Using a LUT as an example you ll find that CPU usage increases when a LUT is applied You might choose the proper LUT in First Light but then turn the LUT OFF during editorial in Premiere Pro if you find that you need more CPU resources for editing tasks You can always bring First Light back into focus and change the global parameter at a
14. isplay Type When playing a CineForm stereo stream the CineForm Active Metadata processor formats the stereo stream Left Eye into the 3D presentation format you prefer for your 3D display Right Eye device As shown on the right the following options are available elit igloo fk Anaglyph Amber Blue l Interlaced 2D Left Eye or Right Eye a Ai Anaglyph Display Red Cyan or Amber Blue Over Under Polarized Display Interlaced Over Under Side by Side Convergence Adjustment Assist Onion Skin or Difference You may dynamically change the 3D Display Type depending on your 3D monitor type or what you are doing in your workflow at any point in time Note The 3D Display Type selector defines the 3D Display mode for all applications that are playing CineForm stereo files so 8 First Light User Manual v1 2 sometimes it is helpful to keep First Light 3D running in the background during your editing work if you need to change the 3D Display Type Upper right of First Light 3D Interface The Upper Right side of the First Light 3D interface shows Orientation controls that allow you to define 3D adjustments on your CineForm stereo files This is only applicable to stereoscopic files If you have separate files for your left and right eyes you must mux them together first Notel You MUST enable the global Orientation control in the mid panel next to the timecode display in order to view adjustments you make in the Orienta
15. lly correct If you select a blown out point of the image this feature will not work correctly e First Light User Manual v1 2 Primary Corrections Most of these controls contrast saturation should be self explanatory Base Matrix specifies the base color matrix upon which to apply the corrections Most sources will use Neutral but if your source has an existing matrix like with the Silicon Imaging SI 2K Camera should be used If you have previously defined a custom color matrix using an older version of Prospect 4K select Custom to preserve it Gain Gamma and Lift can be regarded as Highlights Midtones and Shadows respectively First Light allows for independent adjustment of each color channel in each category None Look 3D LUT Valid Look files match the Iridas Look None format and support up to 64x64x64 resolution Look files ColorMatrix_WideDynamic_9 can be created on any PC or Mac using Iridas Speedgrade Kodak_250D_Print OnSet and copied to your system with First Light installed ah e a i Double clicking on a Look file within Windows Explorer Kodak 2500 2383 will register it for use on the system BleachBypass SimpleLUT The Window at left shows the Looks that are installed on High Contrast Bleach Bypass this particular system First Light ships with two Look files aa look for your experimentation but other Looks will have to be created and registered by the user BiLinear Demosaic DeBayer Filter DeB
16. nual v1 2 First Light 3D Workflow Discussion Preview Panel and Global Controls CineForm FirstLight Per FL cffl Hle Edt View 3D Database Current db J More Active Metadata Pacey am etadata 3D Control Both Eyes Right Eye A Onentation Fi Enable 3D Display Type i 7 Flip Eye Horizontal Vertical Side by Side Left ad a H Swap Channels Right a a f Clip Library 3 items au p E Auto Zoon Oe Li 00879 avi Zoom ls LR1_00879 001L avi os fy R1_00879 avi y Senises z i Vetical e Skew es Keystone ee Ct Workspace Curves White Balance Bi Enable E Orientation licin Ei White Balang Red o ________ _ Bi Primaries 2 pp eo _ _ _ 3 E Looks gpLu Sen Sk S E E Loop Fra ming Blue Fi Histogram Temp NILE Sune E Automatic sync Tint File C Users David Videos CineForm Related 3D LR1_00879 00Lavi Resolution 1920x1080 Frame Rate 73 976 E ee ee E The image above is the First Light 3D interface For purposes of saving space we have cropped the controls on the lower right We ll be focusing on the controls in the upper part of the image Upper Left of First Light 3D Interface e 3D drop down menu Notice on the upper left there is a 3D drop down menu Its function is to assist multiplexing muxing separate left eye and right eye CineForm files into a new CineForm stereo file More about that below 3D Display Type e 3D D
17. ny time Histogram With the power you have in First Light to radically alter the appearance of your clips it s important to have a visual representation of your colors and levels You can now enable a histogram overlay for all of your CineForm clips using the Histogram checkbox Since this is a global control make sure that this is turned OFF before you do any renders or exports otherwise it will be baked in to your resulting files and previews First Light User Manual v1 2 First Light Workflow Discussion Preview Panel and Global Controls A Workspace Curves Input Encode SI Log Power 90 0 Output Decode SI Log Power 90 0 Primaries White Balance F Enable Green Blue Temp J Tint a Primary Corrections P Enable Base Matrix Neutral ee Saturation Contrast Gain Red Red Green Blue C Look 3D LUT F Enable Preset None i Debayer Filter Preset HiLinear Demosaic Framing F Enable F Cinemascope 2 35 1 Offset S 1 Snapshot Manager qq daii Lica bo LES i id LL Ue Note that each color adjustment field has an Enable check box If you disable any particular color control its effect will not be applied to the clip in the bin Active Metadata tab All color adjustments made in the Active Metadata tab are stored as metadata attached to your CineForm file in the database selected Passive Metadata tab Passive Metadata refers to
18. tion control area Similarly notice that the Histogram global control is enabled hence the Histogram showing in the lower left of the displayed image in the Preview Window Note2 Remember that the following controls adjust Active Metadata parameters associated with each stereo file Any adjustments applied will also be viewable in other calling applications that can play CineForm files Both Eyes Right Eye At the top of the right panel observe the selector button for Both Eyes and Right Eye When Both Eyes is selected the controls underneath are applied to both eyes You will generally want to select Both Eyes when making convergence adjustments However when making color adjustments on a single eye for instance when you shot through a beam splitter rig and you have slightly different colors recorded for each eye you ll select Right Eye to make color adjustments to the right eye using the image development controls below After you have matched colors with the Left Eye you can return the selector to Both Eyes Flip Eye Flip eye is useful for 3D material shot through a beam splitter rig which will invert one of the eyes relative to another You can flip either eye as horizontal vertical or both Auto Zoom The auto Zoom check box instructs the Active Metadata processing engine to automatically zoom to correct for out of bounds image regions created by adjusting convergence controls Zoom Zoom is most
19. ts manage databases and save presets spanning multiple sessions We ll get into these details a bit later Notel Please also check CineForm s Tech Blog http techblog cineform com for additional and sometimes more up to date technical information that might be posted First Light User Manual v1 2 OC n n n n n n n n SS S S aww er _ SS ____ a E CineForm FirstLight all cffl aA File Edit View Database Passive Metadata Current db Workspace Curves More White Balance Clip Library 77 items 2048x1024 avi aoe A001 _CO001_071215 001 R3D avi X P Red A001_C003_071215 001 R3D avi i i pra A013_C001_071215_001 R3D avi Sa gt Green Rush 23 Nov_2008 10 11 15 avi Rush 23 Nov 2008 10 11 49 avi Blue OO Rush_23 Nov_2008 10 12 12 avi P Rush_23_Nov_2008 10 12 46 avi Temp a _ 2008_10 13 14 avi i 2008_10_13_16 avi n gt Tint E 13_43 avi 14_08 avi I i x zZ e lt l Rush_23_Nov G N e lt 2008 _10 Rush_23_Nov_2008_10 Primary Corrections Enable Rush 23 Nov Rush_23_Nov Base Matrix Neutral Rush 23 Nov 2008 10 14 51 avi A aa j Rush_23_Nov_2008_10_17_48 avi B54 aS Th G Rush_23 Nov_2008 10 19 48 avi ne eee asaya gt a Rush_23_Nov sett 2008_10 14 30 avi 2008 10 14 40 avi 2008_10 25 38 avi Saree i j z Rush 23 Nov 2008 10 27 48 avi aii a Saturation Rush 23 Nov_2008_10 30 34 avi A A FAT a i l Rush_23_Nov_200
20. useful for equalizing zoom mismatches for stereo rigs in which lenses are zoomed at slightly magnifications You will normally select Right Eye to adjust the zoom for the Right Eye to match that of the Left Eye after which you can return the selector to Both Eyes The next four controls allow adjustment of convergence parameters relative offsets between images Horizontal Adjusts horizontal offset Vertical Adjusts vertical offset Skew Adjusts rotational offset Keystone Corrects for toe in toe out alignment problems with cameras First Light User Manual v1 2 Multiplexing Separate Left and Right Eyes into a CineForm Stereo File EE CineForm FirstLight Per FL cffl Hle Edt View 3D Database ___ Active Metadata ee ria Current la b More Onentation E Enable Horizontal Vertical 3D Display Type 3 Flip a a lae oo W Auto Zoon MEPE Pa Zoom amp l Swap Channels Clip Library 2 items i zi Horzontal es Loo rr o Ri_O00879 avi Shew o Keystone E Workspace Curves E EE EE LB E PE E E IB Ca White Balance Fi Enable Red eo Fi Orientation NN 2 Fi White Balarj 00 00 00 00 Hi Primaries J ve Milcop ick GOLE imp E 9 o en Gon E Framing Tint C Fi Histogram sync Frame 2D Left Eye Right Eye gt Primary Corrections 7 Enable NILE Sync W Automatic sync File C Users David Videos CineForm Related 3D L1 00879
21. ws you to specify the name and destination of the multiplexed destination file When the parameters are correct click Add to Queue When you are ready to begin the Mux process simply select Start Queue If you have multiple stereo clips to synchronize and multiplex together the actual mux process can work in the background allowing you to queue up additional mux operations while processing existing items in the queue You can also select source and destination files in the 3D Muxer window by using the Browse buttons but sync information will need to be entered manually for source files selected in this manner The Swap Eyes button will allow you to quickly swap the left and right eye files and sync frames in the case that one or both were not properly flagged in the main window Left Eye File CAUsers David Videos CineForm Related 3D L1_00879 avi TJ CineForm FirstLight Per FL cffl_ File Edit View 3D Database 5 7 1 ar a ee ee ee ee D t AIDI ANOTA oc i Database 3D Mux Ctrl M Right Eye File 9 CAUsers David Videos CineForm Related 3D R1_00879 aw i Curent db Sync Frame 154 Sync Frame rm Destination CA Users David Videos CineForm Related 3D L1_ 00879 3D awi an Dieas Time oe i Fos ued Use last path as default Use left eye path as default _ _ _ agi Left Eye r SSS i Swap Eyes Add to Queue Swap Channels F Clip Library 2 items j File Name Sync
Download Pdf Manuals
Related Search