Batch queue
Add clips or a whole folder. Each done job shows Mbps and how much smaller it is than the source.
Independent product. Not affiliated with or endorsed by camera or codec vendors.
Independent product. Not affiliated with or endorsed by camera or codec vendors.
02 · What it does
One window: media pool, preview, encode options, and a queue that reports % vs source as each job finishes.
Add clips or a whole folder. Each done job shows Mbps and how much smaller it is than the source.
4:1 holds the most. 8:1 is the everyday cut. 12:1 is the smallest. All stay wavelet.
Every encode is camera log, wide gamut. Rec.709 and .cube LUTs are preview only — never baked.
Kelvin, tint, ISO, flash, chroma NR. Apply to queue for one look. Restore defaults anytime.
Beside the source, or choose a folder. 10-bit YUV 4:2:2 CineForm.
No extra host. Drop wavelet cinema RAW and encode.
Preview · Rec.709 vs Primary
Same clip, two looks. Rec.709 is a viewing LUT. Primary stays camera log / wide gamut for the encode.
03 · Why it’s different
A visually lossless codec. Clips have landed at up to 74% saved. The codec stays in the same transform family as the source.
CineForm · DWT
A discrete wavelet transform peels the finest detail layers first. Edges stay steps. When bits run out it looks a little softer — you still have a picture to grade.
Apple ProRes · DCT
A discrete cosine transform packs 8×8 blocks. Excellent interchange. Lift the mids hard and those tiles can ring — mosquito, halo — because the math is a grid, not a field.
04 · How much space can I save?
CineCompressor is a visually lossless encoder. No matter what ratio you choose, expect excellent results.
4:1 holds the most. 8:1 is the everyday cut. 12:1 is the smallest. All stay wavelet.
05 · How much does it cost?
Get CineCompressor today for a one-time purchase price.
06 · FAQ
Nothing else. The decoder is built in. Drop clips and encode.
Always Primary Development — camera log, wide gamut. Rec.709 and .cube LUTs are preview only. In Resolve, set Input Color Space and Input Gamma to the Primary values shown in the app.
The file is CineForm. DaVinci Resolve, Premiere Pro, and After Effects play it natively — drop the encode on a timeline and grade. Other hosts that ship a CineForm decoder work the same way. Final Cut Pro does not play CineForm. If FCP is your cut, keep the original RAW or transcode to a codec that app will load.
A visually lossless encode. That is how you save up to 74% and still have a picture to grade.
Open Metadata, set Kelvin / tint / ISO / flash / NR, then Apply to queue. Restore all queued returns each job to its own camera metadata.