How to use this site: Scroll down to see the latest posts or use the navigational links on the right-hand side of this page to search for topics based on Product, Application and Technology. For example, if you own Neo Scene and want to see all of the related Tech Notes, simply click on the ‘neo scene’ link and then click on the ‘tech notes’ sub-link. That will open a page showing all the Neo Scene related Tech Notes. On the right, there are also links to our technotes, update logs, downloads, and our free CineForm decoder (Neo Player).

We’re often asked which 3D monitors we support with Neo3D, and which monitors we recommend.  The short answer is that we support most 3D monitors, although there are some minor platform-specific differences. 

In terms of which monitor we recommend, the answer really depends on your needs and your budget. Personally we prefer using a larger monitor for post such as a 46″ because it is more immersive than a smaller 24″ monitor.  But 24″ monitors are less expensive, so again it is dependent on your needs and budget.

CineForm supports the following 3D display formats which cover most monitors, but read below for some platform differences.

- Anaglyph: Red-Cyan, Amber-Blue, Green-Magenta
- Frame Compatible (Passive): side-by-side, over-under, field interleave
- Sequential Frame (Active): Windows only using Nvidia 3D mode
- Dual-link stereo: requires AJA Kona3 or Nvidia dual-link HD-SDI card (Nvidia Win only).  Used for driving RealD, Dolby, or XpanD 3D projection systems.

Note about consumer 3D TVs: Most newer consumer 3D TVs use an active display technology (active IR glasses).  But in most cases they accept side-by-side as input.  Internally they convert the side-by-side input into a frame-sequential 3D display.  If you use a consumer 3D TV you will normally drive this using side-by-side.

Dual-stream / dual-link: You can directly drive RealD, Dolby, and XpanD 3D projectors using Neo3D from:
  – Final Cut Pro through a Kona 3 card in dual-link stereo mode when Neo3D is installed.  
  – Premiere Pro (Win only for now) using either Kona 3 card or Nvidia HD-SDI.

MAC-FCP and MAC-Media Composer v5

3D monitoring on Mac using Final Cut Pro and Media Composer v5 occurs via output from FCP or MC respectively.  First Light does not (currently) drive a 3D monitor directly although that will change soon. 

On Mac you select the desired 3D monitoring mode using the upper-right CineForm menu bar icon.  This mode selector defines the way the 3D images are passed through Mac applications by Neo3D.

Note about sequential frame (active): It is not yet possible to drive monitors that require sequential frame input (such as gaming monitors).  This is because FCP “owns” interaction with the graphics card, and FCP doesn’t know anything about generating sequential frame stereo output through the graphcs card.  All other 3D modes mentioned above are supported.  Per the discussion above about consumer 3D TVs, some active monitors will accept side-by-side as input – these monitors are fine.

Graphics card / Kona card (FCP): We have worked closely with AJA on our 3D workflow in FCP.  In the following situations an AJA card is required for Neo3D with FCP: 1) your source material is not 1920×1080 (such as 2K); or 2) you intend to drive a dual-link stereo monitor or projector. 

FCP – Cinema Desktop: If your 3D sources are always 1920×1080 and you do not need to drive a dual-link monitor/projector, you can choose to use the cinema desktop mode (second DVI output) from within FCP to drive your 3D TV. 

WIN-PPro

3D monitoring on Windows can occur as output from First Light and also as output from Premiere Pro.  First Light and Premiere Pro use the same code for driving an external monitor. Both can drive all 3D modes discussed at the top. 

On Win you select the desired 3D monitoring mode using the CineForm system tray icon.  (Alternatively you can select the 3D display mode within First Light).  The mode selector defines the way the 3D images are passed through Win applications by Neo3D. 

HD-SDI monitoring: AJA Kona and Nvidia HD-SDI cards are supported in both First Light and Premiere Pro.  Nvidia HD-SDI supported is provided directly in the CineForm preset.  AJA Kona is supported using an AJA preset.

Sequential frame / Page flip / Active Shutter: Through the Nvidia 3D mode we now support sequential frame monitors.

With Avid’s support of third-party QuickTime codecs in Media Composer 5, more and more filmmakers are choosing CineForm as their online and master codec. The question has come up of how to render CineForm MOVs out of MC5, and here’s a quick tutorial to answer that!

1. File->Export

2. Select “Send to QT Movie” in the Export Setting dropdown at the
bottom of the export window.

3. Select an output location and input output file name.

4. Click “Options” to the right of the Export Setting dropdown

In the “Options” window:

- Export As: “QuickTime Movie”
- Width x Height: match your source or input desired scale size
- Select “601/709″ if you have NOT selected “Enable 4:4:4 encoding”. If
you have, select “RGB”
- Display Aspect Ratio: “Native Dimensions” if you are not scaling,
desired output if you are.

5. Click “Format Options…”

- Sound: Checked, uncompressed, 48kHz, 16-bit, Stereo
6. Click “Settings”

- Compression Type: CineForm HD/4K/3D
- Frame Rate: Current
- Depth: Millions of Colors+
- Quality (Set at user discretion, recommended “High” or “Best”)

7. Quality Options: “Enable 4:4:4 encoding” and “Interlaced video
source” are options to use at your discretion

8. Click “OK” as you navigate back to the original “Export” window, and click “OK” again to start your export.

9. Upon completion, go back to your project bin, right-click and select “Link to AMA File(s)…” and
navigate to your new file.

For 3D projects, you will want to do one of these renders for each eye, then mux the outputs back together for a 3D master, as described here: http://techblog.cineform.com/?p=3071

1. File->Export
2. Select "Send to QT Movie" in the Export Setting dropdown at the
bottom of the export window.
3. Click "Options" to the right of the Export Setting dropdown
4. In the "Options" window:
A. Export As: "QuickTime Movie"
B. Select "Custom" and click "Format Options..."
C. In the "Format Options..." window:
i. Click "Settings"
a. Compression Type: CineForm HD/4K/3D
b. Frame Rate: Current
c. Depth: Millions of Colors+
d. Quality (Set at user discretion, recommended "High" or "Best")
e. Quality Options: "Enable 4:4:4 encoding" and "Interlaced video
source" are user options
ii. Sound: Checked, uncompressed, 48kHz, 16-bit, Stereo
D. Width x Height: match your source or input desired scale size
E. Select "601/709" if you have NOT selected "Enable 4:4:4 encoding". If
you have, select "RGB"
F. Display Aspect Ratio: "Native Dimensions" if you are not scaling,
desired output if you are.
5. Select an output location and input output file name.
6. Go back to bin, right-click and select "Link to AMA File(s)..." and
navigate to your new file.
(Repeat if necessary for other eye)

The Panasonic AG-3DA1 3D camcorder records Left and Right eye information on separate SD cards.  In this Tech Note we discuss how to convert separate Left and Right eye files into a CineForm stereo file in one step on Windows.  The one-step converter for Mac will be coming soon. 

Step 1 – Copy Files: Create a folder on your PC into which you will copy both the Left eye and Right eye SD cards from the 3DA1.  In my case I created a folder called Panasonic 3DA1, inside which I created both a Left and a Right folder.  I copied the entire contents of the Left SD card into the Left folder and the Right SD card into the Right folder on my PC. 

Figure 1. 3D Muxer Panels (click to enlarge).

Step 2 – Select Files for Conversion: Launch First Light.  In the 3D menu across the top , select 3D Muxer (ctl-M).  On the 3D Muxer panel (Figure 1) you will notice selectors to tell First Light the location of the Left Eye Files and Right Eye Files you copied from the SD cards, and the Destination where you want the multiplexed CineForm stereo files written.  You need to choose a name for the first converted 3D file to be written into the destination directory.  Remaining files will use the same filename plus will append a sequential number to the end of the name.

Locate the MTS Files you just copied: To locate the MTS files for conversion in First Light, you need to browse down the file directory structure to the STREAM folder (Figure 2).  Then highlight the first (alphabetical) MTS file in the folder, ignoring the other MTS files.  Do this for both the Left Eye Files and the Right Eye Files location in the First Light 3D Muxer panel.

Figure 2. Location of MTS Files (click to enlarge).

 

Step 3 – Auto Mux: Click Auto Mux in the 3D Muxer panel (Figure 3) to automatically add all of the Left and Right eye files in the respective folders into the queue for one-step conversion and multiplexing as shown in Figure 3.

Step 4 – Start Queue: When you click Start Queue all of theLeft and Right eye  files in the queue will be converted and muxed together.  The muxed files will be stored in the Destination location you chose earlier.  Queue progress is shown in Figure 3.

When complete your files are ready to edit using NeoHD, Neo4K, or Neo3D.

Figure 3. Processing Queue on 3D Muxer Panel.

This Tech Note provides instructions on using ReMaster to pull selects from Silicon Imaging or Red source files after completing an offline edit using Final Cut Pro with CineForm Neo3D/4K/HD.  The destination format is any format that ReMaster normally supports for file conversion.  Often the destination format for a conform will be DPX files or CineForm files.

1.  Export the sequence to an XML file.  After you have completed your Final Cut Pro edit, you will export the sequence to an XML file.    Select “Export/XML..” from the Final Cut Pro  File menu.  Make sure only the sequence is selected.  Do not include clips outside of selection. 

 2.  Launch ReMaster.  When the first “Open” file dialog is displayed, click “cancel” to close it. 

 3.  Select  “Import XML…” from the ReMaster File Menu 

 4.  Set the desired IN and OUT handle sizes. 

5.  If your CineForm offline files were originally created from RED files, you can select “Dereference Red Source” to have ReMaster search for the original files.

6.  If ReMaster does not find a file, it will ask for a hint on where to find the file.

In this example we have selected the .RDC folders that were used to create all the clips in the project.  We could have just selected the “RIGHT” folder, or any other folder in the directory path.  ReMaster will search a full directory tree.  If you have all your original files on a SAN, you only need to select the root directory for the SAN for ReMaster to find all the files.

7.   If any file is not found, ReMaster will again prompt for a location to search for the file.  Any files not found will be reported in a message box.

8.  Once the files are loaded into ReMaster, you can see the IN and OUT points for each file by selecting a single file and opening the drawer.

9.  Set the conversion parameters as you would normally and start the conversion.

NOTES:

A.  The progress and estimated time to completion is based on converting all the frames in the selected clips.

B.  For this to work correctly for RED sources, the .RDC and R3D files must not have their name changed after they are created by the camera.  When they are recorded, the camera stores the original file name in the clip metadata.  ReMaster keeps this file name with the CineForm metadata and uses it to find the original clip.

C.  If you are shooting stereo, make sure the two cameras create clips with unique names.  One suggestion it to have A/B, C/D camera pairs.  One rig would have cameras A and B, and so would generate clips A001_C001/B001_C001 as a matched pair.

Neo3D support for Avid Media Composer v5 is through Avid’s AMA QuickTime interface.  Previous versions of Media Composer are not compatible with CineForm media.

AVI versus MOV: On both Win and Mac Media Composer requires CineForm MOV files.  If you have CineForm AVI files they can always be rewrapped to MOV using HD Link on Win or ReMaster on Mac (part of all Neo family products).  (Note: Media Composer on Windows will play CineForm AVI files but there seems to be a bug in the Media Composer audio handling at the time this was written).

Spatial Resolution: Media Composer is an HD application and will not support media higher in resolution than 1920×1080.  (The slight modification to this statement is that if you have a 2K CineForm file, it will be decoded at full resolution and then center-cropped (to 1920×1080) by Media Composer so you lose horizontal and vertical edges.

Broadcast: We recommend shooting up to HD resolution (1920×1080) for broadcast distribution, even if you’re shooting with the SI-3D rig (which supports both HD and 2K).  The reason is that you have a straightforward real-time 3D workflow at HD, including the ability to finish for broadcast distribution at HD.  

Film: Many film projects will prefer to shoot at 2K or other resolutions above HD.  In this case you will use a somewhat traditional offline/online model with Media Composer.  You can edit CineForm media as offline in MC and use CineForm tools to assist with your conform afterwards.

Workflow Steps:

1.  Create your CineForm 3D media.

2.  Link your CineForm media through the Media Composer AMA interface.

3.  Launch First Light and import the same CineForm media into First Light.  Often you’ll select side-by-side as the stereo viewing mode within First Light.

4.  In Composer Settings, select the Stereo Layout you prefer in the MC window.

5.  If you need to make stereo or color adjustments on CineForm media while editing:

a.  bring First Light into the foreground and make the adjustment;
b.  bring MC into the foreground and hit Play – you’ll see the adjustment immediately.

6.  At completion of editing, if you used CineForm online files, you’re ready to export to your preferred format. 

a.  Full-resolution CineForm stereo file:
      i.  Select Left eye in the CineForm 3D view control; then render to
           a full-resolution CineForm file (this will make the Left eye).
     ii. Select Right eye in the CineForm 3D view control; then render to
           a full-resolution CineForm file (this will make the Right eye).
    iii. Bring both Left and Right eye files into First Light and mux into
           a new CineForm stereo file.

b.  Side-by-side for broadcast or DVD/Blu-Ray:
        i. Select side-by-side mode in First Light.  Then render from Media Comoser
            to your preferred codec (including CineForm).

7.  For film workflows above HD you can export an XML from Media Composer, then filter it in Film Scribe, then use the resulting XML with ReMaster (Mac only right now) to create DPX files for use in numerous finishing tools.  Please see the separate Tech Note that describes the finishing workflow on Mac.  (Windows finishing later).

Spatial Resolution: Remember HD-SDI cards are designed for spatial resolution up to 1920×1080.  Unfortunately HD-SDI cannot play 2048×1152 at full frame rate.  There are a couple options to work around this that we’ll discuss below.  But here are our general recommendations for broadcast versus film workflows:

Broadcast: We recommend shooting up to HD resolution (1920×1080) for broadcast distribution, even if you’re shooting with the SI-3D rig (which supports 2K).  The reason is that you have a straightforward real-time 3D workflow at HD which becomes more cumbersome above HD.  Note: The limitations on resolutions above 1920×1080 are not imposed by Neo3D or First Light, but are instead imposed by i) FCP (which is optimized for workflows of HD and below); and ii) HD-SDI which is (also) optimized for HD resolutions. 

Film: First of all, read the comments above about HD versus 2K.  Film people may however opt for a 2K workflow – that’s okay, we can make it work, but there are a few steps to keep in mind.  Please see the 2K workflow notes below.

AVI versus MOV: On Mac you really want to edit using CineForm MOV files.  Yes Mac can read CineForm AVIs, but… a) they’re interpreted as 8 bit instead of 10/12 bit; b) The FCP “RT Enabler” mode will not use them in RT mode so there will be lots of rendering; and c) AVIs do not thread on Mac so performance is lower.  So on Mac, if your sources are CineForm AVIs you should first rewrap them to MOV using ReMaster before editing in FCP.

RT Enabler Mode: Using the RT Enabler mode for Neo3D gains access to the RT engine inside FCP.  The result is a high-performance real-time, multi-stream editing environment, even for a stereo workflow.  But there are a few things you need to be aware of for an optimized workflow:

a.  Dual-link editing.  Be aware that FCP does NOT support dual-link (either RGB or stereo) when using RT Enabler.  This means that RT performance in FCP when in dual-link stereo mode is limited to a cuts-only workflow.  All FCP transitions and effects must be rendered.  First Light adjustments are fine – they are not affected by RT Enabler in any way.

b.  Side-by-side editing.  Our recommendation for a stereo editing environment is to do as much RT editing as possible.  That means using the RT Enabler mode in FCP, and consequently editing in side-by-side (or any passive) mode.  Using RT Enabler allows most FCP transitions and effects to be applied to CineForm stereo files without the need for rendering.  Even if your final output is dual-link stereo we recommend editing in side-by-side mode with a final dual-link stereo render for output. Note: most all monitors support side-by-side input, including the new Panasonic BT-3DL2550 dual-link studio monitor.

c.  Turning RT Enabler ON or OFF.  Control of RT Enabler is in the CineForm panel within your Mac System Preferences.  Click on the Performance tab and turn RT Enabler ON or OFF.  This must be done while FCP is closed.

Stereo Rendering: If you use RT Enabler mode you will generally not need to render your stereo project until final output, or until the point when you need to view the project through dual-link HD-SDI (such as for projection using RealD, Dolby, or XpanD).   You can tell if you need to render in the following circumstances:

a.  If you turn RT Enabler OFF and you have render bars on the FCP timeline. 

b.  With RT Enabler OFF your CineForm clips with Active Metadata applied are not playing back without stuttering. Note: Applying Active Metadata takes additional CPU resources.  Especially on older Woodcrest-based dual-quad Macs you will run out of CPU resources pretty quickly when playing back dual-link stereo if much Active Metadata is applied.  In this case you may need a faster CPU!

c.  If you need to render to flatten effects, transitions, or Active Metadata, follow these steps: 

i.   set the CineForm stereo display mode to LEFT; then render the timeline (or the timeline segment) as a CineForm file;

ii.  set the CineForm stereo display mode to RIGHT; then render the timeline (or the timeline segment) as a CineForm file.

iii. you now have a full-resolution CineForm LEFT and RIGHT eye file; load both rendered files into First Light and mux them together into a new CineForm stereo file

iv. move the new full-res stereo file onto the FCP timeline.  If you rendered only a portion of the timeline then replace the segment you rendered in the timeline with the newly rendered and muxed clip.

Note: You can choose to render some, all, or no Active Metadata into your rendered segment by using the Global Controls underneath the playback window in First Light.

Dual-Link Stereo Playout: To playout dual-link stereo in FCP follow these steps:

i.    Turn RT Enabler OFF (see above for instructions)

ii.   In the Kona control panel turn ON the stereo mode

iii.  In the CineForm 3D controls select the 2D mode

Note: You can turn ON CineForm Active Metadata in dual-link output mode, but depending on your machine performance you may run into CPU limitations.  You’ll have to experiment as to how much AM you can apply in dual-link stereo mode based on the configuration of your machine. 

2K Workflow recommendations:  For film project many will prefer to shoot 2K instead of HD, so here’s what you can do:

a.   Turn RT Enabler ON. See above for instructions

b.   Setup Kona in 1920×1080 8-bit mode. In the Kona control panel select 1920×1080 8-bit, even though the source material is 2048×1152 at 12-bit.  The CineForm decoder will scale the material in RT to 1920×1080 for each channel in order to meet the spec for HD-SDI.  You’ll need a reasonably fast machine for this because two scales are being performed in RT plus whatever Active Metadata is being applied (dual-quad Nehalem or faster preferred).

c.   Edit in side-by-side mode not dual-link stereo.  This will allow you to use the RT Enabler setting (available in the CineForm System Preferences control panel) which eliminates the need to render for most any transitions or effects you apply in FCP.

d.  Dual-link viewing of 2K source.  If you want to view your 2K project in dual-link stereo on a projector, you’ll need to first render it to HD (not 2K) stereo.  The reason, as discussed above, is that HD-SDI cannot carry a 2048×1152 signal at full frame rate.  So…using the rendering instructions above, render the stereo timeline into a Left eye file and then a Right eye file at HD resolution, with your choice of metadata to be applied.  Then multiplex the files together into an HD stereo stream.  This will playback in RT through dual-link using the dual-link instructions above.

2K or HD Finishing: You can finish 3D at either 2K or HD resolution within FCP by rendering for file-based output. 

a.  CineForm HD or 2K Stereo Master File.  You can render your final project to a final CineForm stereo file using the rendering instructions above.  Pay attention to which Active Metadata you want burned into your final project.

b.  Broadcast Distribution.  Some broadcasters will want the full-resolution CineForm files.  But if you need to deliver a side-by-side format, you can: i) set the First Light 3D control to side-by-side; and ii) render into your preferred distribution format. 

c.  HDCAM stereo master.  If you want to record your project to HDCAM SR in stereo mode you should first render to a clean and flattened CineForm master stereo file (see render instructions above).  Then play the CineForm 3D master file as dual-link stereo using instructions above for dual-link stereo playout. 

2K or HD Finishing outside FCP: If you edited your CineForm 3D project in FCP as offline but intend to finish elsewhere (Smoke, Pablo, DS, etc) ReMaster will pull selects from your CineForm our Red source media from a Final Cut Pro XML file for finishing, including support for IN and OUT points with handles.   See the separate Tech Blog post on using ReMaster to pull selects for a conform.

When using a RAW capture source compressed to CineForm RAW (like the SI-2K), the development from RAW to 4:4:4 RGB involves selecting a demosaicing/debayer filter. There are a range of different filters to select from to create the look you need on a shot by shot bases.

Note: On Slumdog Millionaire they used a range of CineForm demosaicing filters to get the best sharpness per shoot — better than post sharpening filters they stated.

With FirstLight most CineForm RAW clips will show the debayer filter set to “Default”. Default maps to “CF Advanced Detail 1″ for 16/32-bit rendering or “Bilinear” for fast 8-bit playback. Yet some tools might render using 8-bit, and it is unlikely you want a bilinear demosaic for render (lower quality and not sharp.) If you set your clip’s metadata to use a particular demosaic type, it will use that in all decodes (8 thru 32-bit, playback and rendering.) For smaller projects you can use the cut and custom-paste to quickly selectively paste just the debayer type to all your clips, but that becomes impractical for feature length projects. There is a registry control that sets the default demosaic of 8 and 16/32-bit decoding modes (for Advanced PC users.)

The registry is located
HKEY_CURRENT_USER/Software/CineForm/ColorProcessing/Default

You might see 0×0000ffff set or similar like 0×0000f7f3. The “ffff” part are the hexdecimal lower 16-bits that control the what Active Metadata features are active (globally.) These are reflected in this FirstLight control:

The upper bits ‘AB” in 0×00ABffff control the demosaicing filters. The ‘A’ section selects the debayer filter for 16/32-bit decodes and the B section for 8-bit.

The filter number match how they appear in FirstLight:

• 1 – BiLinear
• 2 – Matrix 5×5 Adaptive
• 3 – CF Advanced Smooth
• 4 – CF Advanced Detail 1
• 5 – CF Advanced Detail 2
• 6 – CF Advanced Detail 3
• 7 – CF Simple Smooth
• 8 – CF Simple Detail 1
• 9 – CF Simple Detail 2

If you want “CF Advanced Detail 3″ (number 6) to be you global default edit the “Default” registry entry to be 0×0066ffff.  For “CF Simple Detail 2″ set 0×0099ffff etc.

The following summarizes the hardware requirements for Neo3D on Windows and Mac.  Due to different workflow and real-time requirements your individual performance needs may vary.

Neo3D Win or Mac – General Requirements

CPU: Dual Nehalem or better (8 physical cores / 16 HT cores)
Memory: 6GB (min); 12 GB is better.  Note: memory is more an FCP issue than First Light.
Media Drive: 2-drive RAID 0; 3-drive RAID 0 preferred.  7200 rpm SATA is fine.  (Remember each stereo stream is 2x HD streams, so if you play through a stereo transition you’re pulling 4 HD streams.  For HD 4:2:2 each stereo stream is approximately 30 MBytes/sec (plus or minus) for RT playback).
AJA Kona LHi/3: Not required for all configurations but highly recommended.  For stereo acquisition or dual-link playout Kona 3 is required.
Graphics Card: Don’t care – CineForm doesn’t use the GPU.

Comments for Mac:

1.  RT Enabler ON: For side-by-side playback (single link) you want to make sure RT Enabler is turned ON.  This gives CineForm full use of the FCP RT engine including transitions, effects, titles, etc.

2.  RT Enabler OFF: For dual-link stereo playback you must turn RT Enabler OFF.  The reason is that FCP (currently) will only play a single HD 4:2:2 stream with RT Enabler ON.  CineForm packs side-by-side into a single HD image so that’s okay for side-by-side (or over-under or fields).  But to drive a dual-link projector (RealD, Dolby, XpanD) we have to send two HD 4:2:2 streams and we cannot get that with the RT Enabler setting ON.  Cuts-only dual-link stereo works fine with RT Enabler OFF.  But you cannot apply RT effects or transitions (without rendering). 

RT Enabler Recommendation: Given the above, if you need FCP transitions and effects and also dual-link stereo, we recommend editing using RT Enabler ON using side-by-side where you can easily play through stereo transitions and effects.  Then when the section is complete you can render (flatten) into a new CineForm dual-link stereo file (without transitions and effects).  Now turn RT Enabler OFF and you can play dual-link stereo.

Windows Comments (Pending):

The following summarizes the keyboard shortcuts for First Light on Windows:

ctl-a – select all clips in clip library
ctl-c – copy active metadata
ctl-v – paste active metadata
Shft-ctl-v – selective paste of active metadata
ctl-z – undo

F6 – play backward, F6 again faster
F7 – stop
F8 – play forward F8 again faster.
F9 – step back one second
F10 – step back one frame
F11 – step forward one frame
F12 – step forward one second

We don’t normally devote a blog post to update releases, but we introduced a bug in recent Neo Family releases that we wanted to notify you about so you can do an update.

The bug is inconsistent, and affects both Win and Mac products, and can cause crashes when encoding source material into CineForm files.  It can also result in decoder crashes when playing material encoded with this bug.  Not everybody would have seen the bug but we recommend that everybody update to the current release.

The affected releases are:
   – Win: v5.00 build 256
   – Mac: v5.06 build 130 (NeoHD/4K/3D) or v5.00 build 36

Current releases beyond these build numbers have fixed the bug.  See the Update Log for more details.

We apologize for any inconvenience.