# Howdy! Calibrated Software Documentation Thanks for stopping by. This is the official knowledge base for all things **Calibrated Software** — including **Tin Man**, **Tin Man Server**, **Calibrated QuickLook plugin** and **Calibrated Spotlight plugin**. Whether you're reviewing camera originals, automating exports, generating reports, or integrating with your post-production workflow, our tools are designed to stay out of your way and let you focus on the work. These docs will help you get up and running quickly, understand key features, and troubleshoot anything that comes up. If you’re new here, feel free to start anywhere — everything is written to be clear, direct, and practical. *** ## **Getting Help** If something’s unclear, unexpected, or you believe you’ve found an issue, reach out anytime: **** We read every message, and we aim to reply quickly during standard U.S. Central Time business hours.\ Outside those hours, we still monitor for anything that might block your work. *** ## **What You’ll Find in These Docs** #### **Tin Man** Your all-in-one desktop app for media playback, metadata viewing, report creating and batch exporting - designed for production and post-production workflows. #### **Tin Man Server** Command-line automation for high-volume exporting, reporting, and workflow integration. Includes a Claude Cowork plugin for AI-driven media workflows. #### **Calibrated Spotlight Plugin (macOS)** Deep metadata indexing for macOS Spotlight and Finder, powered by Tin Man’s metadata engine. #### **Calibrated QuickLook Plugin (macOS)** Quick preview of professional camera RAW formats and MXF files directly in macOS Finder, with thumbnail scrub bar and timecode overlay. Each section contains: * Setup and installation guidance * Core feature explanations * Format and metadata support * Release notes and updates *** ## **A Note From Us** Calibrated Software has been building media tools in Texas for nearly two decades, and one thing has stayed consistent: **our focus on reliability, clarity, and real-world workflows.** We write these docs with the same philosophy — straightforward, helpful, and built for people who work with media every day. If you think something could be clearer or more useful, we always appreciate feedback. # Tin Man **Tin Man** is a professional video player, exporter, report creator and metadata viewer designed to support video production and post-production workflows. Available as both a desktop application and command-line tool, Tin Man handles playback, export, batch processing, metadata extraction, and report generation. Compatible with both **Windows** and **macOS**, Tin Man is licensed to handle a wide range of professional formats, including: * **Apple ProRes** & **ProRes RAW** * **Avid DNxHD/HR** * **ARRIRAW** * **Blackmagic RAW** * **Canon RAW** * **Panasonic AVC-Ultra** * **RED RAW** * **Sony RAW** & **Sony XAVC** ### Tin Man (Desktop App) Tin Man's desktop application (available with Standard and Pro licenses) provides a graphical interface for: * Video playback and review * Color grading RAW video * Realtime color conversion for playback * Export and transcoding * Metadata viewing * Bin organization * Report generation ### Tin Man Server (CLI) Tin Man Server (available with Server license) provides command-line tools for: * Batch processing and automation * High-volume metadata extraction * Automated report generation (PDF, HTML, JSON, CSV, XLSX) * Thumbnail generation at scale * Integration with existing pipelines and workflows * Claude Cowork plugin for AI-driven media workflows Server licenses include all desktop application features plus CLI capabilities. To get up and running quickly, visit the **Getting Started** section of the user guide. If you have any questions, feel free to contact us at: You can download a **free trial of Tin Man** here:\ 👉 # System Requirements #### **Windows System Requirements** **Operating System:** * **Recommended:** Windows 11 64-bit * **Minimum:** Windows 11 64-bit\ *(Virtual OS not supported)* **Processor:** * **Recommended:** Intel 7th Gen 4-core or newer; AMD Ryzen 3000/Threadripper 2000 or newer * **Minimum:** 1 GHz or faster with 2 or more cores on a compatible 64-bit processor with AVX 2 support **Memory:** * **Recommended:** 16 GB for HD; 32 GB for 4K * **Minimum:** 8 GB **GPU:** * **Recommended:** 4 GB for HD; 6 GB+ for 4K * **Minimum:** 2 GB and OpenGL 4.5 **Display:** * **Recommended:** 1920×1080 or greater * **Minimum:** 1280×800 * **Storage:** * **Installation:** 650 MB * **Recommended:** SSD or M.2 drive *** #### **macOS System Requirements** **Please note the macOS Intel support has been deprecated and will be removed in future builds** **Operating System:** * **Recommended:** macOS 26 (Tahoe), macOS 15 (Sequoia) * **Minimum:** macOS 13\ *(Virtual OS not supported)* **Processor:** * **Recommended:** Apple Silicon M1 or newer * **Minimum:** Intel 7th Gen 4-core or newer **(Deprecated-support will be removed soon)** **Memory:** * **Recommended (Apple Silicon):** 32 GB for 4K * **Minimum (Apple Silicon):** 16 GB * **Recommended (Intel):** 16 GB for HD; 32 GB for 4K * **Minimum (Intel):** 8 GB **GPU:** * **Recommended (Apple Silicon):** 16 GB * **Minimum (Apple Silicon):** 8 GB and Metal 2 * **Recommended (Intel):** 4 GB for HD; 6 GB+ for 4K * **Minimum (Intel):** 2 GB and Metal 2 **Display:** * **Recommended:** 1920×1080 or greater * **Minimum:** 1280×800 **Storage:** * **Installation:** 1.2GB * **Recommended:** SSD or M.2 drive # Standard vs Pro vs Server Tin Man offers three license tiers to match your workflow needs. All licenses include the desktop application; Server adds command-line tools for automation. ### Tin Man Standard **Best for:** Playback and review workflows, batch exporting and report creation **Includes:** * Video playback and review * Export and transcoding * Metadata viewing * Bin organization (including Smart Bins) * Interactive report generation (Clip Reports, Marker Reports) * All supported camera RAW and professional formats ### Tin Man Pro **Best for:** DaVinci Resolve users, and users requiring Avid workflow support **Everything in Standard, plus:** * Ability to sync external audio files to video files * DaVinci Resolve Studio integration (send/update files, sync bins and markers) * DaVinci Resolve CSV metadata export * Avid DNxHD/HR/Unc decoding and encoding * JSON Reports * Export with AAF sidecar in MXF OP-Atom * Export with FCPXML sidecar ### Tin Man Server **Best for:** Users requiring batch processing and automation * Command-line interface (CLI) for batch processing (no GUI required) * Automated video exporting and transcoding at scale * Automated media copy with SHA256 verification * Automated report generation (HTML, PDF, CSV, XLSX, JSON) * Automated thumbnail generation for high-volume workflows * Integrate with existing pipelines and scripts * Integrate with Ai automation using MCP Server or Claude Cowork Plugin * Comes with license for desktop Tin Man Pro (when used on same computer) *** ### Which License Do I Need? * **Need playback and exports?** → Standard * **Working with DaVinci Resolve or Avid workflows?** → Pro * **Need to automate batch exports, creating reports or thumbnails ?** → Server # Activation Open the **Activation** panel from the **Help** menu.
Click the **"ONLINE Activate"** button to start the online activation process. A window will appear prompting you to enter your **Activation Key**.
After entering your Activation Key, click the **Apply Activation Key** button. You will receive a message indicating whether the activation was **successful** or if an **error** occurred. * If activation is successful, **close the panels and restart the application** to complete the process. * If you receive an error, please contact us at and include your **Order Number** and the **exact error message**. > **Note:** A license can be activated on **two computers at a time**. If you need to move your license to another computer, you must **deactivate it first** using the same process. # Getting Started (Desktop) **Tin Man** is an elegant video playback and export application, designed with a customizable interface featuring resizable and dockable windows. This flexibility allows you to tailor the workspace to best fit your post-production workflow. **Playback** To import media files for playback: * Click the **File Import** icon in the **File List** window * Or choose **Import Files** from the **File** menu * Or simply **drag and drop** media files directly from your operating system into either the **File List** or **Playback Viewer** windows Once imported, click on a file in the **File List** to load it into the **Player Window**, where you can use the playback controls to play, scrub, or seek to a specific frame. A thumbnail scrub bar beneath the player lets you visually scrub through clips for quicker navigation and review. To enable or disable it, right-click the standard scrub bar and select the option from the context menu. #### Additional Playback Tools: * **Video Image** window: Adjust **video source properties**, set the **color space**, and configure **monitor settings**. * **Metadata Windows**: * **NRT (Non-Real-Time)**: Displays static metadata that doesn’t change over time * **RT (Real-Time)**: Displays timecode-based metadata that updates during playback * **Inspect**: Shows key metadata in a concise, easy-to-read format. Also allows editing of supported metadata fields. * **Audio Mapping** window: Route individual audio channels to different speakers and adjust their volumes independently. * **Video Analyze** window: * Enable **gamut warnings** * View individual **RGB channels** * Toggle **action/safe title overlays** * Use the **pixel color picker** to inspect precise values * **Video Scopes** and **Audio Meters**: Monitor video signal and audio levels in real-time. * **Issues** window: Displays any problems encountered during import, playback, or export. **Export** To add files to the export queue: * Click the **File Import** icon in the **Export** window * Or right-click a file in the **File List** or **Player Controls** and select **Add to Export Queue** * Or drag and drop media files directly into the **Export** window > **Note:** Once a file is in the export queue, its source properties cannot be changed until it is removed from the queue. **Reports** Tin Man can generate detailed reports for your imported media in multiple formats: * PDF and HTML: Styled, self-contained reports with support for dark and light modes. HTML reports embed all CSS and images in a single file for easy sharing. * CSV and XLSX: Tabular reports for spreadsheet workflows. * JSON (Pro, Server): Structured reports with embedded base64 thumbnails and summary data, viewable in the included Tin Man JSON Report Viewer. Two report types are available: * Clip/Camera Reports: Metadata summaries for imported media files. * Marker Reports: Include marker metadata with optional thumbnails and annotations composited into the output. * Contact Sheet Reports: Visual thumbnail grids of imported clips with key metadata and customizable headers, available in HTML and PDF. **Tips** * Use **Reset Panels** from the **Main Application** menu to restore all dockable windows to their default layout. * Many controls have additional options available via **right-click** context menus. * On **Windows**, the **first launch** (or first launch after an update with RAW support changes) may take longer due to compilation of OpenCL GPU programs. * **AMD GPUs** may take over **5 minutes** for this initial setup. * Once compiled, future launches will be significantly faster. # Free Trial Limitations (Desktop) The Tin Man free trial allows you to evaluate core functionality with the below limitations. Please note that the free trial is for testing only and not intended for production use. ### Playback & Export * Playback may be watermarked with Tin Man logo when using advanced features. * Exports are limited to one minute in length ### Reports * HTML, PDF, JSON, and XLSX Clip Reports are limited to 5 clips at a time * HTML, PDF, JSON, XLSX and CSV Marker Reports are limited to 5 clips at a time * HTML, PDF Contact Sheet Reports are limited to 5 clips at a time * JSON Clip and Marker reprots are a Pro Feature. ### Metadata * Realtime metadata will only show field names (not values) after the first frame * Changing MOV TimeCode is limited to once per app session * Exporting ARRI LUT Files is limited to once per app session * Saving RED RAW Sidecar files is limited to once per app session * Saving Blackmagic RAW Sidecar files is limited to once per app session * Saving thumbnails is limited to 3 times per app session * Saving non-realtime and real-time metadata is not support in the free trial ### Project * Saving or loading projects is limited to 1 time per app session * Saving or loading layouts is limited to 1 time per app session ### Pro Features (Limited in Trial and Tin Man standard version) The following Tin Man Pro features are available with restrictions during the trial or when using the standard version of Tin Man: * **Sync Audio**: Syncing or unsyncing external audio files to video files is limited to 5 video files per app session * **DaVinci Resolve Integration**: Sending or updating files in DaVinci Resolve Studio is limited to 5 times per app session * **DaVinci Resolve Metadata Export**: Exporting DaVinci Resolve CSV Metadata files is limited to 5 times per app session * **JSON Reports**: JSON clip and marker report generation is limited to 5 clips per app session * **Monitor Color Space and LUT** * **Display video on 2nd Monitor** * **Avid DNxHD/HR Encoding/Decoding** (see note below) * **Export with AAF sidecar in MXF OP-Atom** * **Export with FCPXML sidecar** ### Not Supported in Trial #### Colourlab Ai Integration The free trial does not support workflows with Colourlab Ai products. This workflow is only supported in licensed versions (Standard or Pro or Server). To request a limited trial for Colourlab Ai workflows, please contact us at . #### Avid DNxHD/HR DNxHD/HR/Unc decoding and DNxHD/HR encoding using the Avid SDK is not in the free trial or standard version. That is only supported in Tin Man Pro and Tin Man Server. If you’d like to try these features for a limited time, please [contact us](mailto:info@calibratedsoftware.com). Note: DNxHD/HR 422 can be decoded with using the FFmpeg SDK in the free trial and the standard version. To request a limited Tin Man (Standard or Pro or Server) full trial, please contact us at . **Note**: Other features may also have trial limitations. # Getting Started (Server) Tin Man Server is a professional command-line tool for batch processing, metadata extraction, creating thumbnails, copying media with SHA256 verification and report generation designed to support high-volume video production and post-production workflows. Compatible with both Windows and macOS, Tin Man Server is licensed to handle a wide range of professional formats, including Apple ProRes & ProRes RAW, Avid DNxHD/HR, ARRIRAW, Blackmagic RAW, Canon RAW, Panasonic AVC-Ultra, RED RAW, and Sony RAW & XAVC. ### Installation & Access After installing Tin Man, the Server CLI is available at: **macOS:** ```bash "/Applications/Calibrated Tin Man.app/Contents/Server/tinman-server" ``` **Windows:** ```bash "C:\Program Files\Calibrated\Tin Man\tinman-server.exe" ``` The installer automatically configures command-line access: * **Windows:** Adds `C:\Program Files\Calibrated\Tin Man` to your system PATH * **macOS:** Creates a symlink in `/usr/local/bin` After installation, you can use `tinman-server` directly from any Command Prompt on Windows or Terminal on macOS. ### Quick Start View all available commands and options: ```bash tinman-server --help tinman-server --version ``` ### RAW Colorspace & GPU Options These general options come before your input files and apply to the whole operation. The RAW colorspace flags set the output colorspace for all RAW files; the GPU flags control compute and encoding: ```bash # Set all RAW files to Rec. 709 with tone mapping tinman-server --raw709tonemap /path/footage/ metadata --output-dir /path/reports/ # Set all RAW files to Log tinman-server --rawLog /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ # Use CUDA instead of OpenCL (Windows / NVIDIA only) tinman-server --gpu-cuda /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ # Enable GPU hardware encoding tinman-server --gpu-encode /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ ``` Additional RAW colorspace flags: `--raw2020`, `--rawHLG`, `--rawPQ`, `--rawACES`. ### Extract Metadata Generate comprehensive metadata reports in multiple formats: ```bash # PDF report (default) with Rec. 709 conversion with Tone Mapping for Thumbnails tinman-server /path/footage/ metadata --output-dir /path/reports/ --rec709tonemap # CSV report tinman-server /path/footage/ metadata --output-dir /path/reports/ --format csv # Multiple formats at once tinman-server /path/footage/ metadata --output-dir /path/reports/ --format csv pdf xlsx # JSON with all metadata types tinman-server /path/footage/ metadata --output-dir /path/reports/ --format json # Contact sheet report tinman-server /path/footage/ metadata --output-dir /path/reports/ --type contactsheet --format pdf # Both clips and contact sheet reports tinman-server /path/footage/ metadata --output-dir /path/reports/ --type clips contactsheet --format pdf ``` #### Custom Report Configuration ```bash # Generate default config file tinman-server generate-config --output my-config.json # Use config for reports tinman-server /path/footage/ metadata --config my-config.json --output-dir /path/reports/ ``` ### Generate Thumbnails (currently free) Extract thumbnail images with extensive control: ```bash # Single thumbnail per file (320px wide, default) tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ # Three evenly distributed thumbnails (start/middle/end) tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ --position-count 3 # Six evenly distributed thumbnails (0%, 20%, 40%, 60%, 80%, 100%) tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ --position-count 6 # Time-based thumbnails with intervals tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ \ --time-count 5 --time-interval 1.0 --usesubdirs # Custom naming with prefix and timecode index tinman-server /path/file.R3D thumbnail --output-dir /path/thumbs/ \ --nameprefix Dailies --nameindex timecode # with Rec. 709 conversion with Tone Mapping tinman-server /path/file.braw thumbnail --output-dir /path/thumbs/ \ --startframe 100 --size 512 --quality 95 --rec709tonemap ``` ### Export & Transcode Export and transcode media files using system presets or custom configurations: ```bash # List all available system presets tinman-server export --list-presets # Export using system preset to ProRes 422 HQ tinman-server /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ # Export using custom preset JSON file tinman-server /path/footage/ export --preset /path/my-preset.json --output-dir /path/exports/ # Override preset resolution to half tinman-server /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ \ --resolution half # Override preset bitrate (target and max in kbps, H.264/H.265 only) tinman-server /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ \ --bitrate 12000 16000 # Export with custom naming pattern to 10Mbps H264 tinman-server /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ \ --naming "{date}_{source}_{timecode}" # Export image sequence with custom frame numbering tinman-server /path/file.R3D export --preset imageseq_dpx_10bit_rgb_be \ --output-dir /path/exports/ --index-prefix "." --index-min-size 6 --index-offset 1 ``` ### Copy Files with Verification (currently free) Copy media files with checksum verification: ```bash # Copy single file tinman-server /path/input.R3D copy --output-dir /path/backup/ # Copy folder preserving structure tinman-server /path/footage/day1/ copy --output-dir /path/backup/day1/ # Overwrite existing files tinman-server /path/footage/ copy --output-dir /path/backup/ --overwrite ``` ### Multi-Threading Process files faster with concurrent operations (1-5 threads - default 1): ```bash # Metadata extraction with 3 threads tinman-server --threads 3 /path/footage/ metadata --output-dir /path/reports/ --format csv # Export with 3 threads tinman-server --threads 3 /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ # File copying with maximum threads (5) tinman-server --threads 5 /path/footage/ copy --output-dir /path/backup/ ``` ### Chaining Commands Execute multiple operations in a single command: ```bash # Generate both metadata report and thumbnails tinman-server /path/input.R3D metadata --output-dir /path/reports/ thumbnail --output-dir /path/thumbs/ ``` ### Progress Output By default, Tin Man Server outputs JSON-formatted progress suitable for parsing by automation tools: ```bash # JSON progress (default) - ideal for automation tinman-server /path/footage/ metadata --output-dir /path/reports/ # Human-readable progress tinman-server --progress=no-json /path/footage/ metadata --output-dir /path/reports/ ``` The JSON progress output includes file processing status, progress percentage, errors and warnings, operation results, and timing metrics. ### Input Methods ```bash # Single file tinman-server /path/input.R3D metadata --output-dir /path/reports/ # Multiple files tinman-server /path/file1.R3D /path/file2.braw metadata --output-dir /path/reports/ # Folders (recursive by default) tinman-server /path/footage/ metadata --output-dir /path/reports/ # Don't scan subfolders tinman-server --no-recursive /path/footage/ metadata --output-dir /path/reports/ # File list from text file tinman-server @filelist.txt metadata --output-dir /path/reports/ ``` ### Claude Cowork Plugin Tin Man Server includes a Claude Cowork plugin for macOS and Windows, allowing you to run all Tin Man Server operations through natural language in Claude AI. Install the plugin from the [GitHub repository](https://github.com/calibratedsoftware/tinman-server-cowork). ### Other MCP Clients To connect Tin Man Server to any MCP-compatible client, add the following entry to your client's MCP configuration file. **Windows:** ```json "tinman-server": { "command": "C:\\Program Files\\Calibrated Software\\Tin Man\\python\\python.exe", "args": ["C:\\Program Files\\Calibrated Software\\Tin Man\\Server\\tinman_server_mcp.cpython-310.pyc"] } ``` **macOS:** ```json "tinman-server": { "command": "/Applications/Calibrated Tin Man.app/Contents/PlugIns/Frameworks/Python.framework/Versions/3.10/bin/python3", "args": ["/Applications/Calibrated Tin Man.app/Contents/Server/tinman_server_mcp.cpython-310.pyc"] } ``` ### Support For complete command reference and all available options: ```bash tinman-server --help ``` For questions or workflow consultation: Download Tin Man: # Free Trial Limitations (Server) The Tin Man Server free trial allows you to evaluate core functionality with the below limitations. Please note that the free trial is for testing only and not intended for production use. ### Export * Exports are limited to one minute in length ### Reports * CSV, JSON, XLSX, PDF, and HTML Clip Reports are limited to 5 clips at a time *** ### Not Supported in Trial #### Colourlab Ai Integration The free trial does not support workflows with Colourlab Ai products. This workflow is only supported in licensed versions (Standard or Pro or Server). To request a limited full trial for Colourlab Ai workflows, please contact us at . #### Avid DNxHD/HR Due to Avid licensing restrictions, DNxHD/HR/Unc decoding and encoding are not supported in the free trial. **macOS Exception**: DNxHD/HR can be decoded if you have Pro Video Formats 2.2.4 or greater installed on your Mac. To request a limited Tin Man (Standard or Pro or Server) full trial, please contact us at . **Note**: Other features may also have trial limitations. # Supported Formats **Tin Man** supports a broad range of professional video formats and codecs.\ If you're working with a supported format or codec and encounter any issues, please contact us at — we’re here to help. # Import File Formats #### **Media Compatibility** File types and encoding implementations can vary between cameras, systems, and software. We strongly recommend testing your specific media files with Tin Man during the **free trial period** before purchasing. **Format & Hardware Requirements** * **DNxHD / DNxHR / Uncompressed** decoding requires a **Tin Man Pro License**,\ *or* can be natively decoded on **macOS** with **Apple Pro Video Formats 2.2.4** or later installed. * **Sony HDCAM-SR** playback requires an **Intel-based CPU**. * **AAC** and **AC3** audio decoding is dependent on **operating system support**. ### RAW Formats #### Apple ProRes RAW (.mov) * **Video Codec**: Apple ProRes RAW * **Audio**: PCM * **Metadata**: QuickTime, Adobe XMP #### ARRIRAW & ARRICORE (.mxf) * **Video Codec**: 13-bit, 12-bit rev. , 12-bit (and HDE variants), ARRICORE * **Audio**: PCM * **Metadata**: ARRI JSON , ARRI v3 Header , ARRI XML, Adobe XMP * **Real-Time Metadata**: ARRI #### ARRIRAW (.ari, .arx) * **Video Codec**: ARRIRAW 12-bit (and HDE variants) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Type**: Still sequence * **Metadata**: ARRI v3 Header, Adobe XMP * **Real-Time Metadata**: Dynamic ARRI v3 Header #### Blackmagic RAW (.braw) * **Video Codec**: Blackmagic RAW * **Audio**: PCM * **Metadata**: QuickTime, Adobe XMP, .sidecar * **Real-Time Metadata**: BRAW RT Track #### CinemaDNG (.dng) * **Video Codec**: 10/12/16-bit, Lossless, Lossy, Uncompressed (tested from following companies: Blackmagic Design , DJI , Sigma fp ) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Type**: Still sequence * **Metadata**: DNG, IPTC, Photoshop PSIR, Adobe XMP #### Canon RAW (.crm, .rmf) * **Video Codec**: Canon RAW (8, 10, 12-bit) * **Audio**: * `.rmf`: Side-car WAV, AIFF, MP3, AC3 * `.crm`: Embedded PCM * **Type**: * `.rmf`: Still sequence * `.crm`: Video file * **Metadata**: Canon, QuickTime, Adobe XMP #### Nikon N-RAW (.nev) * **Video Codec**: Nikon N-RAW * **Audio**: Embedded PCM * **Metadata**: NEV metadata #### RED RAW (.r3d) * **Video Codec**: RED RAW * **Audio**: Embedded PCM; Side-car WAV, AIFF, MP3, AC3 * **Metadata**: R3D metadata #### Sony RAW (.mxf) * **Video Codec**: Sony RAW, X-OCN XT , X-OCN ST , X-OCN LT \ (Burano, Venice2, Venice, F65, F55, F5, FS700) * **Audio**: PCM * **Metadata**: Sony Acquisition Record , Sony XML , Sony User Descriptive, Adobe XMP * **Real-Time Metadata**: Sony ANC , Sony BIM *** ### Video Formats #### MOV (.mov) * **Video Codecs**:\ Animation, Apple PhotoJPEG, Apple ProRes, Apple ProRes RAW, Avid DNxHD/DNxHR/Meridien, Canon XF-AVC Intra/Long, Canon XF-HEVC Long, DVCProHD, DV50, DV25, H264, H265, IMX, MPEG4, Panasonic AVC-Intra/LongG/LT/444, Samsung APV, Sony HDCAM SR, Sony XAVC Intra/Long GOP, XDCAM HD/EX/422, Uncompressed * **Audio**: PCM, AAC, AC3 * **Features**: also supports Simple QT Ref * **Metadata**: QuickTime, Sony XML, Panasonic XML, Adobe XMP, Sony Acquisition/User Descriptive, * **Real-Time Metadata**: Sony BIM, ARRI #### MP4 (.mp4) * **Video Codecs**: H264, H265, MPEG-4, Samsung APV, Sony XDCAM EX, XAVC S, XAVC HS * **Audio**: PCM, AAC, AC3 * **Metadata**: MP4, Panasonic/Sony XML, Sony Acquisition, Adobe XMP * **Real-Time Metadata**: Sony ANC #### MXF OP1a / OP-Atom (.mxf) * **Video Codecs**:\ Apple ProRes, ARRIRAW, ARRICORE, Avid DNxHD/DNxHR/DNxUncompressed/Meridien/H264 Proxy, Canon XF-AVC/HEVC Intra/Long, DVCProHD, DV50, DV25, H264, IMX, JPEG2000, Panasonic AVC-Intra/LongG/LT/444, Sony MPEG4 Proxy, Sony HDCAM SR, Sony RAW/X-OCN, Sony XAVC Intra/Long GOP, XDCAM HD/EX/422, Uncompressed * **Audio**: PCM, Avid MPL2, Sony Alaw * **Features**: Auto-join V/A, Avid OP-Atom, Panasonic P2, Sony SAM, IMF * **Metadata**: Adobe XMP, ARRI XML/JSON/v3, Avid InterChange, Canon XML, Sony XML, Panasonic XML, Ikegami XML * **Real-Time Metadata**: Sony ANC/BIM, ARRI, Panasonic VANC *** ### Image Sequences #### BMP (.bmp) * **Video Codec**: 8-bit BGRA/BGR * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Alpha**: Yes * **Metadata**: Adobe XMP #### Cineon (.cin) * **Video Codec**: 10-bit RGB (Big Endian) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Metadata**: Cineon, Adobe XMP #### DPX (.dpx) * **Video Codec**:\ 8, 10, 12, 16-bit RGB/BGR/RGBA (Big Endian and LE variants) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Alpha**: Yes * **Metadata**: DPX, Adobe XMP #### EXR (.exr) * **Video Codec**:\ 16-bit half RGBA/RGB, 32-bit float RGBA/RGB * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Metadata**: EXR, Adobe XMP #### JPEG (.jpg, .jpeg) * **Video Codec**:\ 8-bit YUV 4:4:4, 4:2:2, 4:2:0 * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Metadata**: Exif, Photoshop PSIR, Adobe XMP #### JPEG2000 (.j2k, .jp2) * **Video Codec**:\ RGBA 4:4:4:4, RGB 4:4:4, YUV 4:4:4, YUV 4:2:2 (8–16-bit) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Alpha**: Yes * **Metadata**: Adobe XMP #### PNG (.png) * **Video Codec**: 8/16-bit RGB/RGBA (Big Endian) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Alpha**: Yes * **Metadata**: tEXt, Exif, Adobe XMP #### TGA (.tga) * **Video Codec**: 8-bit BGRA/BGR, RLE Encoded * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Alpha**: Yes * **Metadata**: Adobe XMP #### TIFF (.tif, .tiff) * **Video Codec**: 8/16-bit RGB/RGBA (Big Endian and LE) * **Audio**: Side-car WAV, AIFF, MP3, AC3 * **Alpha**: Yes * **Metadata**: IPTC, Photoshop PSIR, Adobe XMP *** ### Audio Formats #### AC-3 (.ac3) * **Audio Codec**: AC3 * **Metadata**: Adobe XMP #### AIFF (.aif, .aiff) * **Audio Codec**: PCM * **Metadata**: BWF, ID3, Adobe XMP #### MP3 (.mp3) * **Audio Codec**: MPEG Layer III * **Metadata**: ID3, Adobe XMP #### WAV (.wav) * **Audio Codec**: PCM * **Metadata**: BWF, ID3, iXML, Adobe XMP # Import Video Codecs #### **Performance & Compatibility** Real-time playback performance may vary depending on your computer’s hardware and the media format being used. We recommend testing your specific media files with Tin Man during the trial period before purchasing. **Format-Specific Requirements** * **DNxHD/DNxHR/Uncompressed** decoding requires a **Tin Man Pro License**,\ **or** can be decoded on **macOS** systems with **Apple’s Pro Video Formats 2.2.4** or later installed. * **Sony HDCAM-SR** playback requires a system with an **Intel CPU**. * **macOS ProRes** decoding/encoding and **ProRes RAW** decoding require: * **Apple Silicon hardware** with a built-in **ProRes encode/decode engine** * **macOS 12.3** or later ## Playback Video Codecs **Animation** * **Sub-codecs**: 8-bit RGB, 8-bit ARGB * **File Types**: MOV * **Notes**: I-Frame or Long GOP, Alpha capable **Apple PhotoJPEG** * **Sub-codecs**: YUV 4:2:2, YUV 4:2:0 * **File Types**: MOV **Apple ProRes** * **Sub-codecs**: 4444 XQ, 4444, 422 HQ, 422, 422 LT, 422 Proxy * **File Types**: MOV, MXF OP1a, MXF OP-Atom * **Notes**: Requires macOS 12.3+, GPU decode on Apple Silicon **Apple ProRes RAW** * **Sub-codecs**: RAW HQ, RAW SQ * **File Types**: MOV * **Notes**: Requires macOS 12.3+, GPU decode on Apple Silicon **ARRICORE** * **Sub-codecs**: ARRICORE * **File Types**: MXF OP1a **ARRIRAW** * **Sub-codecs**: 13-bit, 12-bit rev., 12-bit, 13-bit HDE, 12-bit HDE rev., 12-bit HDE * **File Types**: MXF OP1a, .ARI, .ARX **Avid DNxHD** * **Sub-codecs**: 444 (10-bit), HQX (10-bit), HQ, SQ, LB, LT, TR * **File Types**: MOV, MXF OP1a, MXF OP-Atom * **Notes**: Requires Pro License **Avid DNxHR** * **Sub-codecs**: 444 (12/10-bit), HQX (12/10-bit), HQ, SQ, LB * **File Types**: MOV, MXF OP1a, MXF OP-Atom * **Notes**: Requires Pro License, 444 is Alpha capable **Avid DNxUnc** * **Sub-codecs**: RGB 444 (12/10/8-bit), YUV 422 (12/10/8-bit) * **File Types:** MXF OP1a, MXF OP-Atom * **Notes**: Requires Pro License, 444 is Alpha capable **Avid Meridien** * **Sub-codecs**: Uncompressed, 2:1, 3:1, 10:1, 14:1, 20:1, 28:1, 35:1, 3:1m, 4:1m, 8:1m, 10:1m, 2:1s, 4:1s, 15:1s (NTSC/PAL) * **File Types**: MOV, MXF OP1a, MXF OP-Atom **Blackmagic RAW** * **Sub-codecs**: Blackmagic RAW * **File Types**: .BRAW **Canon RAW** * **Sub-codecs**: 8-bit, 10-bit, 12-bit * **File Types**: .CRM, .RMF **Canon XF-AVC Intra** * **Sub-codecs:** 4:4:4 (12/10-bit), 4:2:2 (10-bit) * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Canon XF-AVC Long** * **Sub-codecs:** 4:2:2 (10-bit), 4:2:0 (8-bit) * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Canon XF-HEVC Long** * **Sub-codecs:** 4:2:2 (10-bit) * **File Types:** MXF OP1a, MXF OP-Atom **DV** * **Sub-codecs:** DVCProHD, DV50, DVCPro25, DV25 * **File Types:** MOV, MXF OP1a, MXF OP-Atom **H.264** * **Sub-codecs:** 10/8-bit YUV 4:2:2, 10/8-bit YUV 4:2:0, Avid H.264 Proxy * **File Types:** MOV, MP4, MXF OP1a, MXF OP-Atom **H.265** * **Sub-codecs:** 10/8-bit YUV 4:2:2, 10/8-bit YUV 4:2:0 * **File Types:** MOV, MP4 **IMX** * **Sub-codecs:** NTSC/PAL, 50Mb, 40Mb, 30Mb * **File Types:** MOV, MXF OP1a, MXF OP-Atom **JPEG2000** * **Sub-codecs:** RGBA 4:4:4:4, RGB 4:4:4, YUV 4:4:4, YUV 4:2:2 (16/12/10/8-bit), 12-bit JPEG2000 XYZ 4:4:4 * **File Types:** MXF OP1a, MXF OP-Atom * **Notes:** RGBA is Alpha capable **MPEG-4** * **Sub-codecs:** MPEG4 in MOV/MP4, Sony Proxy * **File Types:** MOV, MP4, MXF OP1a **Nikon N-RAW** * **Sub-codecs:** Nikon N-RAW * **File Types:** .NEV **Panasonic AVC-Intra 444** * **Sub-codecs:** 4K, QFHD, 2K, HD * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Panasonic AVC-Intra LT** * **Sub-codecs:** 4K, QFHD, 2K, HD * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Panasonic AVC-Intra** * **Sub-codecs:** 4K 100Mb, QFHD 100Mb, 2K 100Mb, HD 200Mb/100Mb/50Mb * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Panasonic AVC-LongG** * **Sub-codecs:** 1080p/i, 720p (50/25/12/6Mb) * **File Types:** MOV, MXF OP1a, MXF OP-Atom **RED RAW** * **Sub-codecs:** RED RAW * **File Types:** .R3D **Samsung APV** * **Sub-codecs:** 10-bit YUV422, 12-bit YUV422, 10-bit YUV444, 12-bit YUV444, 10-bit YUV4444 (with Alpha), 12-bit YUV4444 (with Alpha) * **File Types:** MOV, MP4 **Sony HDCAM-SR** * **Sub-codecs:** HQ 444, 444, 422, Lite 422 * **File Types:** MOV, MXF OP1a * **Notes:** Requires Intel CPU **Sony RAW / X-OCN** * **Sub-codecs:** X-OCN XT, ST, LT, RAW (Burano, Venice2, Venice, F65, F55, F5, FS700) * **File Types:** MXF OP1a **Sony XAVC Intra** * **Sub-codecs:** 4K, QFHD, 2K, HD - Class480/300/100, CBG/VBR, 1080p/i, 720p * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Sony XAVC Long GOP** * **Sub-codecs:** QFHD Long422 200Mb/140Mb/150Mb, HD Long422 50Mb/35Mb (1080p/i, 720p) * **File Types:** MOV, MXF OP1a, MXF OP-Atom **Sony XAVC S** * **Sub-codecs:** Intra 10-bit YUV 4:2:2, 10-bit YUV 4:2:2, 8-bit YUV 4:2:0 * **File Types:** MP4 **Sony XAVC HS** * **Sub-codecs:** 10-bit YUV 4:2:2, 8-bit YUV 4:2:0 * **File Types:** MP4 **Uncompressed MOV** * **Sub-codecs:** 10/8-bit YUV 4:2:2, 16-bit ARGB/RGB (Big Endian), 10-bit RGB (Blackmagic, Big Endian), 8-bit BGRA/ARGB/BGR/RGB * **File Types:** MOV * **Notes:** 4444 is Alpha capable **Uncompressed MXF** * **Sub-codecs:** Avid 10-bit YUV 4:2:2, 10/8-bit YUV 4:2:2, 10-bit RGB, 8-bit RGBA/RGB * **File Types:** MXF OP1a, MXF OP-Atom * **Notes:** 4444 is Alpha capable **XDCAM** * **Sub-codecs:** HD 422, EX, HD, MPEG2, Various bitrates * **File Types:** MOV, MXF OP1a, MXF OP-Atom # Export File Formats #### **Exported File Format Notes** * **DNxHD / DNxHR encoding** requires a **Tin Man Pro License**. * **H.264 / H.265 encoding on Windows** depends on available **GPU hardware acceleration**. * **H.265 10-bit and 8-bit YUV 4:2:2** encoding is **GPU-only** and requires **macOS 12.3+** with **Apple Silicon**. * **Panasonic AVC-Intra / AVC-LongG** and **Sony XAVC Intra / XAVC Long GOP** encoding require an **Intel CPU**. * **AAC** and **AC3** audio encoding is limited to a **maximum of 2 channels**. * **Apple FCPXML** and **Avid AAF** export support requires a **Tin Man Pro License**. ## **Video File Formats** **MOV (.mov)** * **Video Codecs**: Animation, Apple ProRes, Avid DNxHD, Avid DNxHR, H264, H265, MPEG2, Panasonic AVC-Intra, Panasonic AVC-LongG, Passthru, Samsung APV, Sony XAVC Intra, Sony XAVC Long GOP, Uncompressed MOV * **Audio Codecs**: PCM, AAC, AC3 * **Notes**: Video filetype * **Metadata**: QuickTime, Adobe XMP, Apple FCPXML **MP4 (.mp4)** * **Video Codecs**: H264, H265, Passthru, Samsung APV * **Audio Codecs**: PCM, AAC, AC3 * **Notes**: Video filetype * **Metadata**: MP4, Adobe XMP, Apple FCPXML **MXF OP1a (.mxf)** * **Video Codecs**: Apple ProRes, Avid DNxHD, Avid DNxHR, H264, JPEG2000, MPEG2, Panasonic AVC-Intra, Panasonic AVC-LongG, Passthru, Sony XAVC Intra, Sony XAVC Long GOP * **Audio Codecs**: PCM * **Notes**: Video filetype * **Metadata**: MXF OP1a, Adobe XMP, Apple FCPXML **MXF OP-Atom (.mxf)** * **Video Codecs**: Avid DNxHD, Avid DNxHR, H264, JPEG2000, MPEG2, Panasonic AVC-Intra, Panasonic AVC-LongG, Passthru, Sony XAVC Intra, Sony XAVC Long GOP * **Audio Codecs**: PCM * **Notes**: Video filetype * **Metadata**: Avid, Adobe XMP, Apple FCPXML, Avid AAF ## **Image Sequence Formats** **Bitmap (.bmp)** * **Video Codecs**: 8-bit BGRA, 8-bit BGR * **Audio Codecs**: N/A * **Notes**: Still sequence, Alpha capable * **Metadata**: Adobe XMP **DPX (.dpx)** * **Video Codecs**: 16-bit RGBA (Big Endian), 16-bit RGBA, 16-bit RGB (Big Endian), 16-bit RGB, 12-bit RGB (Big Endian), 12-bit RGB, 10-bit RGB (Big Endian), 10-bit RGB, 8-bit RGBA, 8-bit RGB * **Audio Codecs**: N/A * **Notes**: Still sequence, Alpha capable * **Metadata**: DPX, Adobe XMP **EXR (.exr)** * **Video Codecs**: 16-bit half RGBA, 16-bit half RGB, 32-bit float RGBA, 32-bit float RGB * **Compression**: None, RLE, ZIP, ZIP16, PIZ, PXR24, B44, B44A, DWAA, DWAB * **Audio Codecs**: N/A * **Notes**: Still sequence, Alpha capable * **Metadata**: EXR, Adobe XMP **JPEG (.jpg)** * **Video Codecs**: JPEG 8-bit YUV 4:4:4, JPEG 8-bit YUV 4:2:2, JPEG 8-bit YUV 4:2:0 * **Audio Codecs**: N/A * **Notes**: Still sequence * **Metadata**: Adobe XMP **PNG (.png)** * **Video Codecs**: 16-bit RGBA (Big Endian), 16-bit RGB (Big Endian), 8-bit RGBA, 8-bit RGB * **Audio Codecs**: N/A * **Notes**: Still sequence, Alpha capable * **Metadata**: Adobe XMP **TGA (.tga)** * **Video Codecs**: 8-bit BGRA, 8-bit BGR * **Audio Codecs**: N/A * **Notes**: Still sequence, Alpha capable * **Metadata**: Adobe XMP **TIFF (.tif)** * **Video Codecs**: 16-bit RGBA, 16-bit RGB, 8-bit RGBA, 8-bit RGB * **Audio Codecs**: N/A * **Notes**: Still sequence, Alpha capable * **Metadata**: Adobe XMP # Export Video Codecs #### **Export Video Codec Notes** * **DNxHD / DNxHR encoding** requires a **Tin Man Pro License**. * **H.264 / H.265 encoding on Windows** relies on **GPU hardware acceleration** and may vary by system. * **Panasonic AVC-Intra / AVC-LongG** and **Sony XAVC Intra / XAVC Long GOP** encoding require an **Intel CPU**. * **ProRes CBR (Constant Bitrate)** export is supported for both **MOV** and **MXF OP1a** containers. * **H.265 10-bit and 8-bit YUV 4:2:2** encoding is **GPU-only** and requires **macOS 12.3+** with **Apple Silicon**. * **macOS GPU decoding/encoding of ProRes** and **decoding of ProRes RAW** requires **Apple Silicon** with a **ProRes hardware engine** and **macOS 12.3 or later**. ## Export Video Codecs **Animation** * **Video Codec:** Animation 8-bit RGB, Animation 8-bit ARGB * **File Types:** MOV * **Notes:** I-Frame or Long GOP, Alpha capable **Apple ProRes** * **Video Codec:** ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy * **File Types:** MOV, MXF OP1a * **Notes:**\ macOS: VBR Only, GPU encode on Apple Silicon (requires macOS 12.3+)\ Windows: VBR or CBR4 **Avid DNxHD** * **Video Codec:** DNxHD 444 (10 bit), DNxHD HQX (10 bit), DNxHD HQ, DNxHD SQ, DNxHD LB, DNxHD LT, DNxHD TR * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** Requires Pro License **Avid DNxHR** * **Video Codec:** DNxHR 444 (12 or 10 bit), DNxHR HQX (12 or 10 bit), DNxHR HQ, DNxHR SQ, DNxHR LB * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** Requires Pro License, 444 is Alpha capable **H264** * **Video Codec:** H264 8-bit YUV 4:2:0 * **File Types:** MOV, MP4, MXF OP1a, MXF OP-Atom * **Notes:** Windows: dependent on GPU **H265** * **Video Codec:** H265 8-bit YUV 4:2:0, H265 10-bit YUV 4:2:0, H265 10/8-bit YUV 4:2:2 (Apple Silicon Only) * **File Types:** MOV, MP4 * **Notes:**\ Windows: dependent on GPU\ macOS: H265 10/8-bit YUV 4:2:2 requires GPU **JPEG2000** * **Video Codec:** JPEG2000 RGBA 4:4:4:4, JPEG2000 RGB 4:4:4, JPEG2000 YUV 4:4:4, JPEG2000 YUV 4:2:2 (16, 12, 10, 8 bits) * **File Types:** MXF OP1a, MXF OP-Atom * **Notes:** RGBA 4:4:4:4 is Alpha capable, 1000.0 to 1.0 bitrate, Lossless capable, 100 to 1 Quality **MPEG2 (XDCAM profile)** * **Video Codec:** YUV 4:2:2 CBR, YUV 4:2:0 VBR, YUV 4:2:0 CBR * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** I-Frame or Long GOP, 280.0 to 6.0 bitrate **Panasonic AVC-Intra** * **Video Codec:** AVC-Intra 4k 100Mb, AVC-Intra QFHD 100Mb, AVC-Intra 2k 100Mb, AVC-Intra HD 200Mb, AVC-Intra HD 100Mb, AVC-Intra HD 50Mb * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** Requires Intel CPU **Panasonic AVC-LongG** * **Video Codec:** AVC-LongG 1080p, AVC-LongG 1080i, AVC-LongG 720p (50Mb, 25Mb, 12Mb, 6Mb) * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** Requires Intel CPU **Passthru** * **Video Codec:** N/A * **File Types:** MOV, MP4, MXF OP1a, MXF OP-Atom * **Notes:** Video codec must be supported by the file format for passthru to work **Samsung APV** * **Sub-codecs:** 10-bit YUV422, 12-bit YUV422, 10-bit YUV444, 12-bit YUV444, 10-bit YUV4444 (with Alpha), 12-bit YUV4444 (with Alpha) * **File Types:** MOV, MP4 **Sony XAVC Intra** * **Video Codec:**\ XAVC 4k Intra Class480 CBG/VBR, QFHD Intra Class480 CBG/VBR, 2k Intra Class100 CBG/VBR, HD Intra @ 1080p/1080i/720p Class100 * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** Requires Intel CPU **Sony XAVC Long GOP** * **Video Codec:**\ QFHD Long422 200Mb/140Mb/150Mb, HD Long422 @ 1080p 50Mb/35Mb, HD Long422 @ 1080i 50Mb/35Mb, HD Long422 @ 720p 50Mb * **File Types:** MOV, MXF OP1a, MXF OP-Atom * **Notes:** Requires Intel CPU **Uncompressed MOV** * **Video Codec:**\ 10-bit YUV 4:2:2, 8-bit YUV 4:2:2, 16-bit ARGB/RGB (Big Endian), 10-bit RGB (Blackmagic Design), 8-bit BGRA/ARGB/BGR/RGB * **File Types:** MOV * **Notes:** 4444 is Alpha capable # Export Metadata > *Apple FCPXML or Avid AAF export requires a Tin Man Pro License.* *** **Adobe XMP** * **Tags:**\ *Dublin Core:* Creator, Title, Description, Publisher, Type, Keyword, Rights, Contributor, Source, Coverage\ *Dynamic Media:* Project Name, Scene, Shot Name, Shot Number, Take Number, Shot Location, Log Comment, Good?, Tape Name, Alt Tape Name, Comment, Client, DP, Director, Genre, Artist, Album * **File Types:** BMP, DPX, JPG, MOV, MP4, MXF OP1a, MXF OP-Atom, PNG, TGA, TIFF *** **Apple FCPXML** * **Tags:**\ *Library:* Event Name, Clip Name, Notes\ *Asset:* Notes, Reel Name, Scene, Take, Location, Camera Name, Camera Angle * **File Types:** MOV, MP4, MXF OP1a, MXF OP-Atom * **Notes:** Requires Pro License *** **Apple QuickTime** * **Tags:**\ *Timecode:* Tape Name\ *Standard:* Album, Artist, Author, Comment, Copyright, Description, Director, Display Name, Genre, Keywords, Information, Location Name, Location Note, Producer, Publisher, User Ratings, Year\ *Pro Apps:* Clip File Name, Camera ID, Camera Name, Manufacturer, Model Name, Serial No, Creator, Is Good?, Log Note, Reel, Scene, Take\ *Share:* Category, Copyright, Creator, Description, Episode ID, Episode Number, Genre, ID, Media Kind, Screen Writer, Season Number, Show, TV Network * **File Types:** MOV *** **Avid AAF** * **Tags:** Same metadata as Avid Interchange * **File Types:** MXF OP-Atom * **Notes:** Requires Pro License *** **Avid Interchange** * **Tags:**\ *General:* Project Name, Material Package Name, Source Package Name, Tape Name\ *Interchange:* Reel, Production, Scene, Take, Comments, Shoot Date, Journalist, Camera, Camroll, Labroll, Soundroll, TapeID, VFX, VFX Reel, ASC\_SOP, ASC\_SAT * **File Types:** MXF OP-Atom *** **DPX** * **Tags:** Project, Copyright, Slate Info * **File Types:** DPX *** **MP4** * **Tags:** Title, Artist, Album, Author, Comment, Copyright, Information, Description, Long Description, Director, Keywords, Genre, Narrator, Producer, Publisher, Writer, Performer, Episode, Network, Show * **File Types:** MP4 *** **MXF OP1a** * **Tags:** Material Package Name, Source Package Name * **File Types:** MXF OP1a # Tin Man (Desktop) \
# Keyboard Controls **Player** Play Start/Stop - Spacebar Reverse, Start/Stop, Forward - j, k, l Slow Reverse/Forward - j, l with Shift +/- 1 Frame - Left/Right Arrow +/- 10 Frames - Left/Right Arrow with Shift +/- 1 Second - Left/Right Arrow with Ctrl Add Marker - m Go to Specific Time - y with Shift Go to Start/End - Home/End Go to Previous/Next Interesting Frame - p, n Go to Previous/Next Clip - p, n with Shift Set In/Out Point - i, o Go to In/Out Point - i, o with Shift Clear In/Out Point - z, c with Shift Clear Both In and Out Point - x with Shift Volume Increase/Decrease 1dB - +, - Change Playback Style - e with Shift Take a snapshot - s with Shift **File List** Save Project - Ctrl with s (Windows) Save Project - Cmd with s (macOS) Drag Files (Thumbnail Mode) to Bin - Left Click with Alt then Drag (Windows) Drag Files (Thumbnail Mode) to Bin - Left Click with Option then Drag (macOS) Drag Files (List Mode) to Bin - Left Click then Drag Drag Bin(s) to Bin - Left Click then Drag Select All - Ctrl with a (Windows) Select All - Cmd with a (macOS) **Main Viewer** Toggle Full Screen - f with Shift (Esc to exit) Zoom In/Out - Mouse Wheel Up/Down Toggle Fit To Screen/Full Size - Double-Click Left Mouse Adjust Video Origin - Left Mouse Down and Move Mouse **2nd Viewer** Toggle Full Screen - f with Shift (Windows Only) Toggle Full Screen - Double-Click Left Mouse Exit Full Screen - Esc **Export** Toggle Fit To Screen/Full Size - Double-Click Left Mouse Stop Export - Ctrl with . \
# Preferences Tin Man's default preferences are optimized for general use and should work well for most workflows out of the box. However, you may want to adjust specific settings to better suit your environment—especially when working with **RAW footage** or integrating Tin Man into a customized post-production pipeline. The Preferences panel allows you to fine-tune playback behavior, color management, import settings, audio output, and more. # General
* **Theme Color**\ Adjusts the default theme color of Tin Man.\ *(Requires application restart to apply)* * **HiDPI Scaling**\ Sets the default font size for HiDPI monitors.\ *(Requires application restart to apply)* * **Floating Window Title Bar Re-Docking**\ Controls how floating windows can be re-docked into the main window—use the **full title bar**, or just the **left** or **right** edge for docking behavior. * **Show Removal Warning**\ Enables pop-up confirmation windows for actions like removing files from the File List or Export Queue. * **Show General Message**\ Enables pop-up confirmation windows for actions like displaying error messages. * **Show Advanced Options**\ Reveals advanced settings throughout the application. *(Exactly what it says in the name!)* * **Enable BETA Features**\ Displays any available BETA features currently in development. * **Animated Docking**\ Enables animated transitions when docking/undocking panels.\ *(Requires application restart to apply)* * **Show Floating Windows in Video Full Screen** *(Windows Only)*\ When enabled, floating windows will remain visible during full-screen video playback on Windows. * **Dark Window Title Bar When Floating**\ Applies a dark theme to the title bars of all floating windows. * **Dark Main Title Bar**\ Applies a dark theme to the main window’s title bar.\ *(Requires application restart to apply)* * **Dark Main Window Border**\ Applies a dark border around the main application window.\ *(Requires application restart to apply)* * **Reset Preferences**\ Resets all user preferences to their default values. * **Reset UI Settings**\ Resets all dockable UI windows to their default size and position. # Player - Video
* **Number Buffers** - This can adjust the number of memory buffers used for playback * **Default View**\ Sets the default display resolution for video or image files in the playback window. * **Playback Queue**\ Controls the number of frames preloaded into memory before playback begins, affecting playback smoothness and responsiveness. * **Swap Interval**\ Determines whether frame updates are synchronized with the vertical blanking interval (V-Sync) to prevent screen tearing during playback. * **Drop Frames for Sync**\ Controls how aggressively Tin Man will drop frames to maintain audio/video synchronization during playback. * **Clock**\ Selects the timing source used to regulate playback speed and maintain accurate timing. * **Use GPU Buffers When Able** \ Enables storage of RAW video frames directly on the GPU for faster playback performance when supported. * **Prefer CUDA (Windows Only)**\ Use NVIDIA CUDA GPU acceleration for ARRIRAW, Blackmagic RAW, Canon RAW, CinemaDNG, and RED RAW formats. When unchecked OpenCL is used - requires app restart. * **Hide on Deactivate (2nd Display – macOS, Pro Version Only)**\ When enabled, the Second Display Window will automatically **hide** when Tin Man is no longer the active application and **reappear** when it becomes active again. > *Note: This does not affect the Second Display when it is in full-screen mode.* # Player - Audio
* **Audio Output**\ Selects the audio output device Tin Man will use for playback. * **Audio Output Channel Mapping**\ Sets the default mapping of audio channels to speaker outputs during playback. * **Audio Output Frames Per Buffer**\ Determines the number of audio samples loaded into each buffer, which can affect playback latency and performance. * **Prime Buffers**\ When enabled, audio buffers are pre-filled before playback begins, helping to reduce playback glitches or dropouts. * **Main Volume**\ Controls whether the volume slider in the Player window adjusts the **global volume** across all files or applies a **per-file volume** setting. # Import Media
These preferences define how Tin Man handles media import defaults when certain metadata is missing or when optimization settings are needed for playback performance. *** **Timebase and Timecode Defaults** * **Indeterminate Timebase**\ Sets the default **frame rate** to apply when a video, audio, or image sequence does not contain valid timebase metadata. * **Indeterminate Timecode**\ Sets the default **starting timecode** for media that lacks embedded timecode information. * **Indeterminate AAC Sample Offset**\ Defines the default **sample offset** for AAC audio, which often has an inherent delay of **2112 samples**. > This value typically shouldn't be changed unless you're compensating for known sync issues. *** **Audio Mapping** * **Discrete Audio Mapping**\ When an audio channel is labeled as "discrete," this setting determines the **default speaker output mapping** for that channel (e.g., mapped to Front Left, Right, Center, etc.). *** **Playback & Performance Settings** * **Playback at High Depth**\ If a file supports multiple bit depths for playback, this sets whether **high bit depth** decoding should be the default. * **Enable Direct I/O**\ When enabled, Tin Man uses **Direct I/O** for faster disk access, improving performance for large files or high-resolution footage. * **Use More Memory**\ Allows the video decode engine to **allocate more memory** for improved decoding performance on capable systems. * **Hardware Decoding**\ Toggles the use of **GPU-accelerated decoding** for supported video formats. > Can improve playback speed and lower CPU usage on supported hardware. # Color Space
These preferences manage how destination color space conversions are automatically applied in the **Video Image → Color Space** panel. *** **Preset Management** * **Preset**\ Save and manage up to **10 custom color space conversion presets** for use in the **Video Image → Color Space** window. *** **Auto-Application Settings** * **Auto Convert**\ Determines **when and how** a preset is automatically applied as the destination color space for a given video file. * **Enable Color Space Convert**\ Enables or disables applying the selected **destination color space and level** in the **Video Image → Color Space** panel. *** **Color Conversion Settings** * **Color Space**\ Sets the **destination color space** to convert to (e.g., Rec.709, PQ, HLG, etc.). * **Color Level**\ Sets the **destination color level**, such as **Full Range** or **Video Range**. *** **HDR to SDR Conversion Settings** * **HDR Diffuse White**\ Adjusts how **HDR content is scaled** when converting to SDR (defines the diffuse white level in SDR space). * **HLG (Scene) Scaling**\ Controls how **HLG Scene-referred content** is converted into SDR space. * **Gamma Tone Map**\ Enables or disables **tone mapping** to compress gamma for HDR-to-SDR conversion, helping preserve highlight and midtone detail. # ProRes RAW
These settings define the default behavior for how **ProRes RAW files** are processed and displayed upon import. All options can be overridden in the **Video Image → Source** panel for individual files. *** **Playback & Processing** * **Default Playback Resolution**\ Sets the default **decode resolution** for ProRes RAW playback. > Lower resolutions may improve playback performance at the expense of image quality. This setting can also be adjusted per file in the player controls. * **Default Log Processing**\ Defines the default **color space (log type)** used for ProRes RAW processing. > Can be changed in the **Source** panel after import. *** **LUT & CDL Workflow** * **ProRes RAW LUT Folder**\ Sets the default **LUT folder path** opened when selecting LUTs for ProRes RAW in the Source panel. * **Pre CDL LUT**\ Determines whether a **3D LUT is automatically applied before** the CDL stage. > Can be modified in the Source panel. * **Enable CDL**\ Enables or disables **CDL (Color Decision List)** processing for ProRes RAW files by default. * **Post CDL LUT**\ Determines whether a **3D LUT is automatically applied after** the CDL stage. > Can be modified in the Source panel. *** **Color Space and Level Controls** * **Dst Color Space – Pre CDL LUT**\ Sets the **destination color space** that the **Pre CDL LUT** will convert into. * **Dst Color Space – Post CDL LUT**\ Sets the **destination color space** that the **Post CDL LUT** will convert into. * **Dst Color Level**\ Controls the default **color level labeling or conversion** for ProRes RAW files: * **Full Range (Label)** – Tags video as Full Range (no conversion) * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags video as Video Range (no conversion) * **Video Range (Convert)** – Converts from Full Range to Video Range # ARRI RAW
These settings define the default behavior for how **ARRI RAW** and **ARRI ProRes (LogC3/LogC4)** files are processed and displayed upon import. All settings can be overridden per file in the **Video Image → Source** panel. *** **Playback & Debayer Quality** * **Default Playback Resolution**\ Sets the resolution used during playback of ARRI RAW files. > Lowering the resolution improves playback speed at the expense of image detail. * **Default Playback Quality**\ Sets the default **debayer quality** for ARRI RAW during playback. > Lower quality = faster playback. * **Default Render Quality**\ Sets the **debayer quality** used for ARRI RAW during export. > Lower quality = faster export. *** **Color Processing Defaults** * **Default Log Processing**\ Specifies the default **log color space** used when processing ARRI RAW files. * **ARRI RAW Color Output**\ Determines whether ARRI RAW is processed as **Full Range RGB** or **Legal Range YUV**. * **ProRes (ARRI) Color Output**\ Sets the output color format for ProRes files identified as ARRI LogC3 or LogC4: * **Full Range RGB** * **Legal Range YUV** *** **ARRI LogC Processing Options** * **ARRI LogC3 Look**\ Enables applying an **embedded or custom LUT** to ARRI RAW or ProRes files using **LogC3**. * **ARRI LogC3 Color Convert**\ Enables **color space conversion** for ARRI RAW or ProRes files using **LogC3**. * **ARRI LogC4 Look**\ Enables applying an **embedded or custom LUT** to ARRI RAW or ProRes files using **LogC4**. * **ARRI LogC4 Color Convert**\ Enables **color space conversion** for ARRI RAW or ProRes files using **LogC4**. *** **LUT Management** * **ARRI RAW LUT Folder**\ Defines the default folder shown when selecting LUTs for ARRI RAW or ARRI ProRes files. # Sony RAW
These preferences define the default import behavior for Sony RAW files. All settings can be overridden per file in the **Video Image → Source** panel. *** **Playback and Decode Settings** * **Default Playback Resolution**\ Sets the resolution used for Sony RAW playback. > Lower resolution improves playback speed, at the cost of image detail. * **Default Decode Quality**\ Controls the default decode quality for Sony RAW media. *** **Color Processing Defaults** * **Default Log Processing**\ Specifies the default color space applied during Sony RAW processing. * **Resolution Options**\ Sets the default output resolution for Sony RAW files. * **Dst Color Level**\ Defines how the color level is handled: * **Full Range (Label)** – Tags video as Full Range * **Full Range (Convert)** – Converts from Video to Full Range * **Video Range (Label)** – Tags video as Video Range * **Video Range (Convert)** – Converts from Full to Video Range *** **LUT & CDL Management** * **Sony LUT Folder**\ Default folder shown when selecting LUTs for Sony RAW files. * **Pre CDL LUT**\ Enables an automatic **3D LUT** applied before the CDL stage. * **Enable CDL**\ Toggles whether a **CDL (Color Decision List)** is applied by default. * **Post CDL LUT**\ Enables an automatic **3D LUT** applied after the CDL stage. * **Dst Color Space Pre CDL LUT**\ Sets the **destination color space** used by the Pre CDL LUT. * **Dst Color Space Post CDL LUT**\ Sets the **destination color space** used by the Post CDL LUT. # Blackmagic RAW
These preferences define the default behavior when importing Blackmagic RAW files. All options can be overridden per file in the **Video Image → Source** panel. *** **Playback and Color Science** * **Default Playback Resolution**\ Sets the default playback resolution. > Lower resolutions improve performance but reduce image detail. * **Default Color Primaries**\ Sets the default color primaries used for processing. * **Default Color Gamma**\ Sets the default gamma curve used for tone mapping. * **Default Color Science**\ Defines which Blackmagic Color Science version is used. * **Default Embedded LUT**\ Toggles whether the embedded LUT is automatically applied. *** **LUT & CDL Management** * **Blackmagic RAW LUT Folder**\ Sets the default folder used when browsing for LUTs. * **Pre CDL LUT**\ Automatically applies a 3D LUT before CDL processing. * **Enable CDL**\ Enables or disables the default use of a CDL (Color Decision List). * **Post CDL LUT**\ Automatically applies a 3D LUT after CDL processing. * **Dst Color Space Pre CDL LUT**\ Specifies the destination color space for the **Pre CDL LUT**. * **Dst Color Space Post CDL LUT**\ Specifies the destination color space for the **Post CDL LUT**. *** **Color Level Handling** * **Dst Color Level**\ Controls how the color range is tagged or converted: * **Full Range (Label)** – Tags footage as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags footage as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range # RED RAW
These preferences define the default behavior when importing RED RAW files. All options can be overridden per file in the **Video Image → Source** panel. *** **Playback and Color Science** * **Default Color Science**\ Sets the default RED color science (IPP2 or Legacy FLUT) used for processing. * **Default Playback Resolution**\ Defines the playback resolution for RED RAW. > Lower resolutions improve playback performance at the cost of image detail. *** **IPP2 Workflow Defaults** * **Default IPP2 Color Primaries**\ Sets the default color primaries used for IPP2 color science. * **Default IPP2 Color Gamma**\ Sets the default gamma curve used for IPP2 tone mapping. * **Enable CDL**\ Enables or disables CDL (Color Decision List) processing for IPP2 workflows. * **3D LUT (IPP2)**\ Sets whether an embedded or custom 3D LUT is automatically applied. * **3D LUT Dst Color Space**\ Sets the destination color space that the 3D LUT transforms the video into. *** **Legacy Workflow Defaults** * **Default Legacy Color Primaries**\ Sets the default color primaries used for Legacy (FLUT) color science. * **Default Legacy Color Gamma**\ Sets the default gamma curve for Legacy workflows. * **Enable Lift Gamma Gain**\ Enables or disables Lift, Gamma, Gain (LGG) adjustment for Legacy workflows. * **User Curves**\ Enables or disables the use of User Curves in Legacy workflows. *** **Color Level Handling** * **Dst Color Level**\ Defines how the video color range is handled: * **Full Range (Label)** – Tags as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range *** **LUT Folder** * **RED RAW LUT Folder**\ Sets the default folder shown when selecting a LUT for RED RAW files. # Canon RAW
These preferences define the default behavior when importing Canon RAW files. All options can be overridden per file in the **Video Image → Source** panel. *** **Playback and Decode Settings** * **Default Playback Resolution**\ Sets the playback resolution for Canon RAW. > Lower values increase playback speed at the cost of visual fidelity. * **Default Decode Quality**\ Controls the quality of the Canon RAW decode process. *** **Color Processing Defaults** * **Default Color Primaries**\ Defines the default color primaries used when processing Canon RAW files. * **Default Color Gamma**\ Defines the default gamma curve used for color processing. *** **CDL & LUT Processing** * **Pre CDL LUT**\ Automatically applies a 3D LUT *before* CDL processing. * **Enable CDL**\ Enables or disables CDL adjustments for Canon RAW files. * **Post CDL LUT**\ Automatically applies a 3D LUT *after* CDL processing. * **Dst Color Space Pre CDL LUT**\ Defines the destination color space the Pre CDL LUT transforms the image into. * **Dst Color Space Post CDL LUT**\ Defines the destination color space the Post CDL LUT transforms the image into. *** **Color Level Handling** * **Dst Color Level**\ Controls how color range is interpreted or transformed: * **Full Range (Label)** – Tags video as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags video as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range *** **LUT Folder** * **Canon RAW LUT Folder**\ Sets the default folder for browsing 3D LUTs when importing or adjusting Canon RAW files. # CinemaDNG
These preferences define the default behavior when importing CinemaDNG RAW files. All settings can be overridden per file in the **Video Image → Source** panel. *** **Playback and Decode Settings** * **Default Playback Resolution**\ Controls the resolution used during playback. > Lowering this can improve playback speed but reduces visual quality. * **Default Decode Quality**\ Sets the default decoding quality used for CinemaDNG RAW playback and processing. *** **Color Processing Defaults** * **Default Log Processing**\ Specifies the default color space to be applied during decode. *** **CDL & LUT Processing** * **Pre CDL LUT**\ Automatically applies a 3D LUT *before* CDL processing. * **Enable CDL**\ Enables or disables CDL adjustments for CinemaDNG RAW files. * **Post CDL LUT**\ Automatically applies a 3D LUT *after* CDL processing. * **Dst Color Space Pre CDL LUT**\ Defines the destination color space the Pre CDL LUT will transform to. * **Dst Color Space Post CDL LUT**\ Defines the destination color space the Post CDL LUT will transform to. *** **Color Level Handling** * **Dst Color Level**\ Sets the default color range behavior: * **Full Range (Label)** – Tags the video as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags the video as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range *** **LUT Folder** * **CinemaDNG LUT Folder**\ Sets the default folder opened when browsing for 3D LUTs associated with CinemaDNG RAW files. # J2K
These preferences define the default behavior when importing JPEG2000 files. All settings can be overridden per file in the **Video Image → Source** panel. *** **Playback Settings** * **Default Playback Resolution**\ Specifies the resolution used for playback of JPEG2000 files. > Lowering this setting can improve performance at the expense of image quality.\ > This value can also be adjusted per file in the player controls. # EXR
These preferences define the default behavior when importing EXR files. All settings can be overridden per file in the **Video Image → Source** panel. *** **Playback Settings** * **Default Playback Resolution**\ Specifies the resolution used for playback of EXR files. > Lowering this setting can improve performance at the expense of image quality.\ > This value can also be adjusted per file in the player controls. # DPX/Cineon
These settings control how DPX and Cineon files are interpreted upon import. All options can be overridden per file in the **Video Image → Color Space** panel. *** **Color Space Interpretation** * **Interpret All Cineon Files as Linear**\ Determines whether all imported Cineon files are tagged as linear instead of Cineon Log. > This setting affects how the file’s color space is treated during processing. * **Interpret All 10-bit DPX Files as Log**\ When enabled, all 10-bit DPX files will be interpreted as Cineon Log. > Useful for workflows that assume log encoding for 10-bit DPX material. # Export Media
This panel allows you to define default behaviors and settings for exporting media files. *** **Export Job Handling** * **Maximum Concurrent Jobs -** This setting controls how many exports can run at the same time. The default is 1, and the maximum is 5. Note: Setting a higher value does not always mean faster exports. Please consider your computer’s CPU and GPU capabilities when increasing this value. * **Remove Source When Job Removed**\ When enabled, removing a job from the **Export List** will also remove the associated file from the **Playback File List**. * **Use GPU Export Engine**\ When enabled, if color conversion, pixel format conversion or resize is needed for the export - it will be doen using the GPU instead of the CPU * **Select Source When Job Select**\ When enabled, the export job you select will show that file in the Player Viewer. * **Use Src Resize**\ When enabled, if a source file has the ability to resize itself clsoer to the destination resolution it will. *** **File Naming & Location** * **Default Location**\ Specifies the default folder where exported files will be saved. * **Extension Case**\ Sets the case for exported file extensions: * **Auto** * **Uppercase** * **Lowercase** * **Use Display Name in Exported File**\ If enabled, and the source file has a **Display Name**, that name will be used as the filename for the export. # Metadata
This panel controls how metadata is handled during export jobs, including file locations, mapping behavior, and default metadata types. *** **Metadata File Export Settings** * **Custom Metadata Location**\ Sets the default folder where **FCPXML** or **Avid AAF** metadata files will be saved (when applicable). * **Export FCPXML to Custom Metadata Location**\ When enabled, FCPXML files generated during export jobs will be saved to the **Custom Metadata Location**. * **Export Avid AAF to Custom Metadata Location**\ When enabled, Avid AAF files generated during export jobs will be saved to the **Custom Metadata Location**. *** **Metadata Mapping** * **None** – No metadata will be mapped to the exported file * **Inspect** – Only metadata visible in the **Inspect Panel** will be included * **Src** – All metadata present in the **source file** will be exported * **Inspect + Src** – Combines both Inspect Panel and source metadata *** **Default Metadata Types** * **Various Metadata Types**\ Choose which types of metadata are included by default in export jobs (e.g., Adobe XMP, QuickTime, MP4, EXR). > These settings act as defaults and can still be adjusted per job in the Export Panel. # MOV/MP4
These preferences define the default export behaviors for **MOV**, **MP4**, and **MOV Reference** file formats. All options can be overridden per export job. *** **MOV / MP4 Options** * **Fast Start (BETA)**\ When enabled, the video/audio index (moov atom) is written at the beginning of the file for faster streaming performance. > Applies to both MOV and MP4 exports. * **Use Resolve 709 (Display) Tag - W**When disabled, the color space in the MOV/MP4 file is set to 1,1,1 to indicate Rec. 709 (for either 709 (Scene) or 709 (Display)). When enabled, the color space is set to 1,2,1 (with “2” indicating an unknown transfer function), and a ‘gama’ atom with a value of 2.4 is added. * **Use V2 Audio Description (MOV Only)**\ When enabled, exports will use the **V2 Audio Description** atom. If unchecked, the older **V1 format** will be used. > Improves compatibility with newer software workflows. * **Use Avid DNxHR Legacy Atom (MOV Only)**\ When enabled, exports using **DNxHR** will use the older **Avid DNxHR Atom Description** for compatibility with legacy systems. > When unchecked, the newer format is used. *** **MOV Reference Options** * **Check Video Frame Size**\ Validates the frame size for every frame when creating **MOV Reference Files**. > Especially useful when referencing MXF files with padded frames. * **Use URL Instead of Alis**\ Enables the use of **modern URL-based referencing** rather than the legacy **Alis resource fork format**. > Alis remains more widely compatible, but URL is more future-proof. # OP1a
**Export Tagging Options** * **Tag All H.264 Exports as ‘High Unconstrained’**\ When enabled, all generic **H.264 video exports** within MXF OP1a files will be tagged using the widely supported **'High Unconstrained'** profile. > If disabled, the export will attempt to use the specific H.264 profile based on the encode settings, which may offer more precision but less compatibility. * **Use MCA Audio Labels**\ When enabled, audio channels in MXF OP1a exports will be tagged with **descriptive MCA labels** (e.g., Front Left, Front Right, Center, LFE). > Useful for professional delivery specs. Can be toggled per job in the Export panel. # OP-Atom
**Export Tagging & Linking Options** * **Tag All H.264 Exports as ‘High Unconstrained’**\ When enabled, H.264 exports will be tagged using the general **'High Unconstrained'** profile for maximum compatibility. > When disabled, Tin Man will attempt to use the specific H.264 profile that best matches the encoding parameters. * **Use MCA Audio Labels**\ Enables descriptive **Multi-Channel Audio (MCA) labeling** for exported audio tracks, such as Front Left, Front Right, Center, etc. > Useful for professional workflows and delivery standards. This can be adjusted per export job. * **Use Source Link**\ Includes a metadata reference to the **original source file** from which the MXF OP-Atom export was created. > Helpful for asset tracking and relinking in post-production pipelines. # Image Sequence
These settings define default behaviors when exporting media as **image sequences**. All options can be overridden on a per-export-job basis. *** **Folder & File Naming Options** * **Create New Folder**\ When enabled, a new folder will automatically be created for each image sequence export. * **Index Prefix**\ Sets the default **prefix** added before the numbered frame index in the filename (e.g., `Frame_0001.dpx`). * **Index Min. Size**\ Defines the minimum number of digits in the index (e.g., `0001`, `001`, etc.). * **Index Offset**\ Controls how the starting frame index is calculated: * `0` – Start at frame 0 * `1` – Start at frame 1 * `Offset` – Start at the image sequence's frame offset * `TC` – Start based on the Timecode offset * `Still/Offset` – Same as Offset, also applies when exporting a single still * `Still/TC` – Same as TC, also applies when exporting a single still image *** **Format-Specific Settings** * **EXR Compression**\ Sets the default compression method used when exporting to **OpenEXR**. * **EXR Zip Comp Level**\ Defines the compression level for **ZIP**-based EXR exports. * **EXR DWA Comp Level**\ Sets the compression level for **DWA**-based EXR exports. * **JPEG Encode Quality**\ Sets the default quality (1–100) for **JPEG image sequence** exports. * **PNG Comp Level**\ Sets the compression level (0–9) for **PNG image sequence** exports. # Playback Panels The following sub-sections summarize the different Panels used when playing media. # Playback Viewer
To import files for playback, use the **File Import** window by either clicking the **import icon** in the **File List** window or selecting **"Import Files"** from the **File** menu. You can also simply **drag and drop** media files directly from your operating system into the **File List** or **Playback Viewer** window. The **Player Control** window offers a variety of options for controlling playback and customizing how media is viewed.
The media controls from left-to-right and top-to-bottom are: **Top Row Controls** * **Display View**\ Adjusts how large or small the media appears in the Playback Viewer. You can also zoom using your mouse’s scroll wheel. * **File Name**\ Displays the name of the current media file.\ **Right-click** on the file name to access options:\ ▸ **Show in Explorer/Finder** – Opens the file’s location in the operating system\ ▸ **Interpret Properties** – Opens a dialog to adjust timecode and audio properties\ ▸ **Add to Export Queue** – Adds the file to the export queue (file becomes locked for editing) * **Playback Resolution**\ Appears only if the media supports playback at lower resolutions. Useful for maintaining real-time playback on lower-performance systems. * **Playback Bit Depth**\ Appears only for media with multiple bit depth options (e.g., 10-bit and 16-bit). Choose a lower bit depth to improve real-time playback performance. * **Control Options (⋯ button)**\ Opens a configuration panel for the Control Panel itself:\ ▸ **Auto-Hide** – Choose Off, On, Full Screen Only, or Playback Only\ ▸ **Position** – Options include: Locked to Viewer, Locked Overlay, or Mini Controls\ ▸ **Mouse** – Enable/disable:\  • L-Button: Move Image\  • Wheel Scroll: Zoom\  • R-Button: Get Pixel Color **Middle Row Controls** * **In Point**\ Defines the start of the playback range.\ ▸ **Left-drag** to adjust\ ▸ **Double-click** to manually enter\ ▸ **Right-click** to reset\ ▸ Or press **‘i’** on the keyboard * **Frame Position Slider**\ Allows scrubbing through the timeline.\ **Right-click** the slider for additional actions:\ ▸ Set In/Out point to current frame\ ▸ Jump to In/Out point\ ▸ Clear In, Out, or both\ ▸ Enable/disable Thumbnail Scrub Bar * **Thumbnail Scrub Bar** – When enabled, displays a filmstrip of thumbnail images above the frame position slider for quick visual navigation. Hover over the thumbnails to preview frames, and click to jump to that position. To enable or disable, right-click the frame position slider and select the option from the context menu. * **Out Point**\ Defines the end of the playback range.\ ▸ **Left-drag** to adjust\ ▸ **Double-click** to manually enter\ ▸ **Right-click** to reset\ ▸ Or press **‘o’** on the keyboard **Bottom Row Controls** * **Current Frame**\ Displays the current frame position.\ ▸ **Left-drag** to seek\ ▸ **Double-click** to enter a frame/time manually\ ▸ **Right-click** to switch time display: Run Time, Frames, Timecode, or Time Left * **Look Options**\ Toggle the display of:\ ▸ **Look Color Space**\ ▸ **Monitor Color Space**\ ▸ **Monitor LUT** * **Overlay Options**\ Toggle the overlay for :\ ▸ **Timecode**\ ▸ **Metadata**\ ▸ **Metadata Overlay Options** * **Playback Controls**\ Standard controls for:\ ▸ Play / Pause\ ▸ Frame Forward / Reverse\ ▸ Jump to Previous / Next Interesting Point\ **Right-click** on the Play button to choose playback mode:\ ▸ Play Once\ ▸ Loop\ ▸ Play In to Out\ ▸ Loop In to Out\ ▸ Playlist Mode\ (More shortcuts are available in the **Keyboard Controls** section.) * **Snapshot**\ Takes a snapshot of the current frame in JPG, PNG, TIFF, or DPX format.\ (See the next section for more details.) * **Full Screen**\ Toggles Full Screen mode.\ ▸ Shortcut: **Shift + F** * **Volume Control**\ Adjusts overall audio playback volume.\ ▸ **Left-click** to mute/unmute\ ▸ **Right-click** to:\  • Change volume units (dB, bars, or percent)\  • Enable/disable **audio scrubbing**\ (Individual channel volumes can be controlled via the **Audio Mapping** panel.) # Snapshot
**Snapshots** You can quickly capture a snapshot of the currently displayed frame directly from the **Player Control** window. **Format Options** * **JPG**\ ▸ Color Space Options: Auto, 8-bit YUV 4:2:0, 4:2:2, or 4:4:4\ ▸ Adjustable JPEG Quality: 1–100 * **PNG**\ ▸ Color Space Options: Auto, 8-bit RGB(A) or 16-bit RGB(A)\ ▸ Adjustable Compression Level: 0–3 * **TIFF**\ ▸ Color Space Options: Auto, 8-bit RGB(A) or 16-bit RGB(A) * **BMP (Bitmap)**\ ▸ Color Space Options: Auto or 8-bit BGR(A) * **DPX**\ ▸ Color Space Options: Auto, 8-bit RGB(A), 10-bit RGB, and 12/16-bit RGB(A) **Additional Settings** * **Field Order**: Choose between **Progressive** (default) or match the **source file's field order**. * **Color Level**: Choose between **Full Range** (default) or match the **source file's color level**. * **Resolution**: Choose Full, Half, Quarter, Eighth. * **Timecode and Metadata Burn-In**: If Timecode overlay and/or Metadata overlay is enabled for playback then Timecode and Metadata will be burned into the snapshot. **Quick Snapshot Toggle** **Right-click** the **camera icon** in the Player Controls to enable or disable **Quick Snapshot** mode. When Quick Snapshot is enabled - snapshots are taken based on the current saved Snapshot settings.
# File List & Bins
**File List & Bins Overview** The **File List & Bins** are central hubs within **Tin Man**, providing a clear, organized view of all imported media. From here, you can manage files, navigate bins, and begin both **playback** and **export** workflows. Projects are saved as self-contained .tmprjt folder bundles. When closing Tin Man or switching to another project, the current project saves automatically. Use Save As to create a new named copy of the project. The File List dock title shows the name of the currently loaded project. #### **Importing Media** To import media files into the File List, you have several options: * Click the **File Import icon** located in the **lower-left corner** of the File List window * Select **"Import Files"** from the **File** menu * Or simply **drag and drop** media files from your operating system into either the **File List** or **Playback Viewer** window All files will import to the **currently selected Bin** #### **Managing Bins** Bins are folders used to organize your media within the File List. You can easily create, rename, move, or delete Bins to match your project’s structure. **Right-Click Menu (Bin Table)** Right-click anywhere inside the **Bin Table** to open the contextual menu. From this menu, you can: * **Create New Bin** — Adds a new Bin at the current level * **Rename Bin** — Edits the name of the selected Bin * **Remove Bin** — Removes the selected Bin **and all files contained within it** from the File List #### **Dragging Files to different Bins** Tin Man allows flexible organization by letting you drag both files and bins between different Bins. **Drag Files** * **Thumbnail Mode (Windows):**\ Hold **Alt + Left Click**, then drag the selected file(s) to the target Bin. * **Thumbnail Mode (macOS):**\ Hold **Option + Left Click**, then drag the selected file(s) to the target Bin. * **List Mode (All Platforms):**\ **Left Click + Drag** the selected file(s) to the target Bin. **Drag Bins** * **Left Click + Drag** one or more selected Bins to move them into another Bin. Once imported, you can either **play the media** or **add it to the Export Queue**. > **Note:** When a file is added to the Export Queue, it becomes **locked** for most adjustments in Tin Man.\ > You’ll recognize locked files by their **italicized file name and metadata** in the File List. To make changes, remove the file from the Export Queue first. #### **Smart Bins** Smart Bins provide live-updating filtered views of your clips based on custom criteria. Unlike standard bins, Smart Bins are global and project-independent — they persist across all projects and automatically update as files are imported or removed. Smart Bins appear in their own list below the standard Bin list. To create a Smart Bin, right-click in the Smart Bin list and select **New Smart Bin**. The Smart Bin dialog lets you define one or more filter rules based on metadata fields such as codec, resolution, frame rate, camera model, or any other available column. Rules can be combined using AND/OR logic. Selecting a Smart Bin filters the File List to show only clips matching its criteria. The filter updates in real time as your project changes. #### **File List Mode (Top Right)**
The controls in the top-right corner of the File List window let you choose how clips are displayed: * **List View** – A detailed list with rows of metadata for each clip. * **Thumbnail View** – A grid of thumbnails that provide a quick visual reference. * **Thumbnail Size Slider** – Adjusts the size of thumbnails in Thumbnail View. Drag left for smaller thumbnails (more items visible at once) or right for larger thumbnails (clearer frame previews). In List View Mode - dragging the slider all the way to the left will turn off thumbnails in the List View. #### Thumbnail Scrubbing In **Thumbnail View**, you can interactively scrub through a clip without pressing play. * **Scrubbing** – Click and hold the **left mouse button** on a selected thumbnail, then drag left or right. * As you drag, the clip will scrub in **both the Thumbnail** and the **Main Viewer** at the same time. This allows you to preview a clip’s contents quickly and precisely, making it easier to find the exact moment you need without starting playback. #### **File List Controls (Bottom Left)** The controls located at the **bottom left** of the File List window allow you to manage and organize your media:
#### **Toolbar Controls (Left to Right)** * **Import Files**\ Opens the **Import File** window to bring media into the File List. * **Show Hidden Files**\ Displays any files you previously marked as hidden. * **Remove Selected Files**\ Removes all **selected and unlocked** files from the File List. * **Refresh Files**\ Refreshes growing media files in the File List, allowing updated duration or size. * **Import Settings**\ Opens the current **Import Settings** panel with the following options: **Import Settings Options** * **Stills Sequence**\ If enabled, still images will be treated as part of a sequence. Disable this option to import an individual still frame. * **Sequence Fast Import**\ Bypasses verification of each frame’s properties in an image sequence, assuming they match. This speeds up import time. * **Filter Spanned Video**\ Filters out video clips that are part of a multi-part span (e.g., segmented camera file structures). * **Gammas As Display Light**\ By default, gamma values with differing scene and display characteristics are tagged as **scene-referred**.\ Uncheck this option to treat them as **display-referred**.\ (e.g., Rec. 709 gamma will be tagged as “709 (Scene)” when checked, and “709 (Display)” when unchecked.) * **Join MXF Ext. Audio**\ Automatically joins external audio and video MXF files into a single entry. * **Filter MXF Ext. Audio**\ Hides separate MXF audio files that are already joined to a corresponding video file. * **Add to Export Queue (Rocket Ship)**\ Adds selected files to the Export Queue. These files become locked and cannot be modified. #### **Search Tool** Located at the **bottom right** of the File List window, the search bar allows you to **search for any text** across all loaded media files.
#### **Right-Click Options on Files** Right-clicking a file in the **File List** opens a context menu with the following actions: * **Show in Explorer/Finder**\ Opens the file’s location in your operating system. * **Interpret Properties**\ Opens a window to modify **timecode** and **audio properties**. * **Sync Audio (Tin Man Pro)** Sync up to 16 external audio files to a video clip using timecode or in/out points. Optionally use audio file metadata. See the Audio Sync subpage for more details. * **Unsync Audio** - Remove synced external audio files from the selected video clip. * **Select All**\ Selects all files in the File List. * **Show Hidden**\ Displays any files you previously marked as hidden. * **Hide Selected**\ Hides selected files from the list (use "Show Hidden Files" to unhide). * **Remove Selected**\ Removes selected and **unlocked** files. * **DaVinci Resolve Studio Integration (Tin Man Pro )** \ see subpage for more information on this feature * **Add to Export Queue**\ Adds selected files to the Export Queue. These files become locked and cannot be modified.
#### Sorting and Columns in List View In **List View**, you can customize how clip information is displayed and organized. * **Click to Sort** – Clicking a column header will sort the list by that column. Repeated clicks toggle between ascending and descending order. * **Right-Click Menu** – Right-clicking any column header opens a menu with the following options: * **Sort** – Enable or disable sorting. * **Choose Columns** – Show or hide specific metadata fields (e.g., FPS, Codec, Resolution) to keep the list focused on the information you need. * **Reset** – Restore the default column arrangement and widths. This flexibility allows you to adapt the File List to your workflow, whether you want a clean minimal view or a full technical breakdown.
#### Sorting in Thumbnail View When in **Thumbnail View**, you can control how clips are organized. * **Right-Click on the Header** – Right-click anywhere on the header bar in the Thumbnail View to open the **Sort Type** menu. * **Choose Sort Order** – Select from a variety of metadata fields (such as Clip Name, Duration, FPS, Resolution, Codec, Date Created, etc.) to change how clips are sorted. * **Turn Off Sorting** – If you prefer, you can also disable sorting so clips remain in their original import order. This flexibility allows you to quickly arrange clips in a way that best fits your workflow—whether that’s by technical attributes, production info, or simply by when they were created.
# Saving and Managing Projects
### **Saving and Managing Projects** Tin Man saves your work as self-contained .tmprjt project bundles that include the database and all associated assets. Projects save automatically when closing Tin Man or switching to another project. * To create a new project, select File → New Project or press Ctrl+N (Windows) / Cmd+N (macOS). * To save your current project, select File → Save Project or press Ctrl+S (Windows) / Cmd+S (macOS). * To save a copy with a new name, select File → Save Project As… or press Ctrl+Shift+S (Windows) / Cmd+Shift+S (macOS). * To open a recent project, select File → Recent Projects and choose from the available entries. * To manage or delete saved projects, select File → Manage Projects… Legacy .tmfilelist projects are automatically migrated to the new format on first load and shown with a "(legacy)" label in the project manager. This feature is especially useful for switching between different projects, client setups, or shot groupings without needing to re-import or reorganize your media. # DaVinci Resolve Studio Integration (Tin Man Pro) Tin Man Pro provides advanced integration with DaVinci Resolve Studio, making it easier than ever to transfer files, metadata, and markers between your Tin Man Pro projects and your Resolve projects. Please be aware that sending a large number of files at once may increase the time it takes for Resolve to process them. The following options are available in the File List right-click menu under DaVinci Resolve:
* **Send Files (Studio):** \ Send selected files from Tin Man Pro to your open DaVinci Resolve Studio project for immediate use or organization. When audio sync is enabled, synced video and external audio clips are sent together. * **Send + Update Files (Studio):** Send selected files to DaVinci Resolve Studio and automatically update their metadata within Resolve, ensuring all clip information is accurate and synchronized. * **Update Files (Studio):** Update the metadata of files that are already present in your DaVinci Resolve Studio project, without needing to resend the original media. * **Send + Add Markers (Studio):**\ Send selected files to DaVinci Resolve Studio and add their markers to the corresponding clips in Resolve. * **Add Markers (Studio):**\ Add markers from Tin Man to files that are already present in your DaVinci Resolve Studio project. * **Export Metadata CSV:**\ Generate a Resolve-compatible CSV file containing detailed metadata for your selected files. Once exported, you can import the CSV into DaVinci Resolve using File → Import Metadata To to update the metadata of the corresponding files in your Resolve Media Pool. * **Scripting Options:**\ Configure which metadata fields are sent to DaVinci Resolve Studio or exported in CSV. The following options are available in the Bins context menu:
* **Send Bins (Studio):**\ Quickly send selected bins and the files in them from Tin Man Pro to your open DaVinci Resolve Studio project for immediate use or organization. * **Send Bins + Update Files (Studio):**\ Send selected bins and the files in them to DaVinci Resolve Studio and automatically update their metadata within Resolve, ensuring all clip information is accurate and synchronized. * **Send Bins + Add Markers (Studio):**\ Send selected bins and the files in them to DaVinci Resolve Studio and automatically update their markers within Resolve, ensuring all clip information is accurate and synchronized. * **Send Bins + Update Files + Add Markers (Studio):**\ Send selected bins and the files in them to DaVinci Resolve Studio and automatically update their metadata and markers within Resolve, ensuring all clip information is accurate and synchronized. * **Metadata Options:**\ Access options to customize which metadata fields are updated in DaVinci Resolve Studio or exported in , allowing precise control over your workflow. ### **Scripting Options**
The Scripting Options dialog allows you to select which metadata fields will be included when sending, updating, or exporting metadata to DaVinci Resolve Studio, as well as when generating a Resolve Metadata CSV file. This ensures you have full control over which information is transferred or exported, so your workflow stays efficient and only relevant data is updated or shared. #### Audio Sync Options * Sync Audio (TC Only) — When enabled, synced audio files are sent to DaVinci Resolve along with the video clip using timecode sync. #### Metadata Options Available metadata fields include: * Clip Name (Update Only — not available in CSV) * Clip Color * Reel Number (Update Only — not available in CSV) * Start TC (Update Only — not available in CSV) * Input Color Space (Update Only — not available in CSV; only works if your Resolve project is Color Managed and the color space is recognized by Resolve) * Data Level — options are Auto, Full, or Video * Episode # * Sound Roll # * Roll/Card * Clip # * Scene, Shot, Take, Good Take * Comments, Description, Keywords * Angle, Camera # * Shoot Day * Director * DP * Production Company * Production Name * Location * Camera Operator * Environment * Day/Night To customize which fields are included, simply check or uncheck each option in the list. * **Checked fields** will be sent/updated in Resolve and included in the CSV export. * **Unchecked fields** will be excluded from the operation. Once you’ve made your selections, click **Ok** to apply them, or **Cancel** to exit without saving changes. **Scripting Requirements** To use the Send and Update features with DaVinci Resolve, you must have DaVinci Resolve Studio (the paid version) installed on your computer. Tin Man Pro requires that DaVinci Resolve Studio is installed in the default location: * **macOS:** `/Applications/DaVinci Resolve/DaVinci Resolve.app` * **Windows:** `C:\Program Files\Blackmagic Design\DaVinci Resolve\` # Audio Sync (Tin Man Pro)
### Audio Sync (Tin Man Pro) Audio Sync lets you sync up to 16 external audio files to a video clip, designed for workflows where audio is recorded separately from video. ### Syncing Audio To sync audio, select the video clip(s) and the audio file(s) you want to sync together in the File List, then right-click and select Sync Audio. Choose a sync method: * By TC — Sync using matching timecode between the video and audio files. * By InPoint — Sync audio starting at the video clip's In point. * By OutPoint — Sync audio ending at the video clip's Out point. You can also right-click on a Bin and select Sync Audio to sync all files within that bin. ### Options * Retain Video Metadata — When enabled, audio file metadata is used alongside the video file's existing metadata. ### Unsyncing Audio To remove synced audio, right-click the clip in the File List and select Unsync Audio. ### File List Integration * The Sync Audio column in the File List displays the filenames of synced audio files. * Audio channel names are extracted from iXML and BWF metadata in WAV files and appear in the Inspect panel, File List, Audio Mapping source column, and reports. * Synced audio is preserved when saving and loading projects. ### DaVinci Resolve Integration (Tin Man Pro) Synced video and external audio clips can be sent to DaVinci Resolve Studio, with an option to include audio metadata. See the DaVinci Resolve subpage for more details. # Inspect
### Inspect Panel The **Inspect Panel** in Tin Man is a dynamic metadata interface designed to provide clear, editable insight into a clip's technical and production information. It helps users review, edit, and preserve essential metadata for each media file in the File List. #### Overview The panel is split into two major metadata zones: 1. **Technical Metadata** – auto-populated, read-only fields based on source file analysis 2. **Editable Production Metadata** – user-adjustable fields for organizing and exporting clips effectively #### Technical Metadata Fields These fields are detected automatically and cannot be edited: * **File Name** – Full name of the media file * **Path** – Directory path on disk * **Size** – File size (GB) * **Duration** – Clip length in timecode * **Frame Rate** – Frames per second (e.g., 24fps) * **TimeCode** – SMPTE timecode with base rate (this can be edited in the Interpret Properties panel) * **Date Created** – File creation date * **Video Codec** – Detected video compression format * **Resolution** – Full raster + pixel aspect ratio (e.g., 5792x4854 (2.00)) * **Field Type** – Progressive or Interlaced * **Color Space** – Source color encoding and gamma (e.g., Sony S-Gamut3.Cine/S-Log3) * **Audio Codec** – Sample resolution and frequency * **Channels** – Number of audio channels and track distribution * **Camera Make, Camera Model, Camera SN, Camera Firmware, Aperture, Focal Length, Focus Distance, Lens Model, Lens SN, ISO, White Balance, Tint, Shutter Angle, Shutter Speed, Pan, Tilt, Roll** – Camera settings from embedded metadata (if available) #### Editable Production Metadata These fields can be edited per clip and are preserved across sessions via the project database: * **Clip Name** * **Clip Color** * **Company** * **Production** * **Episode #** * **Reel** * **Roll/Card** * **Sound Roll #** * **Clip #** * **Scene** * **Shot** * **Take** * **Good Take** * **Shoot Day** * **Comments** * **Description** * **Director** * **DP** * **Location** * **Int/Ext** * **Day/Night** * **Keywords** * **Camera Name** * **Camera Operator** Individual rows can be hidden to customize the view. Right-click in the panel and select "Choose Rows" to bring up the Row customize window. # Report {% tabs %} {% tab title="Settings" %}
{% endtab %} {% tab title="Project" %}
{% endtab %} {% tab title="Clips" %}
{% endtab %} {% tab title="Markers" %}
{% endtab %} {% endtabs %} ## Report Panel The Report Panel in Tin Man allows users to generate two types of reports: * **Clip Reports** – HTML, PDF, JSON, XLSX and CSV formats, using metadata extracted from the **Inspect Panel** for all visible files in the File List. * **Contact Sheet Reports** – HTML and PDF formats, using metadata extracted from the **Inspect Panel** for all visible files in the File List. * **Marker Reports** – HTML, PDF, JSON, XLSX and CSV formats, using marker metadata from the **Markers Panel** for all visible files in the File List. ### Generating a Report Click the **Report icon (⚡ lightning bolt)** to create a report for all currently visible files in the File List. ### Panel Overview The panel is divided into four sections: #### 1. Settings * Choose report type: **Clip Report, Contact Sheet** or **Marker Report** or all three * Choose format: HTML, PDF, JSON, XLSX and CSV * Set the report name and destination folder #### 2. Project * Add optional Company Logos and placement * Enter project-specific header information *Note: Project-specific headers are not available in CSV formats* #### 3. Clips & Contact Sheets Configure metadata and style options for Clips and Contact Sheet reports #### 4. Markers Configure metadata and style options for Marker reports *** ### Clip and Contact Sheet Report Options **Dark Mode PDF/HTML** – When enabled, the generated Clip or Contact Sheet Report HTML or PDF will use a dark color theme. **Thumbnails PDF/HTML/JSON** – When enabled, the generated Clip Report PDF/HTML/JSON will include three thumbnails per clip. You can adjust the thumbnail rendering quality by selecting from the following options: *Fastest, Fast, Standard, Good, High,* or *Maximum*. **Convert to 709** - When enabled, all clip thumbnails are converted to 709 colorspace **709 ToneMapped** - When enabled, if clips are converted to 709 colorspace and if those clips are in Log colorspace then the 709 conversion will have tonemapping. **Use HTML Asset Folder** - When enabled, thumbnails are saved as separate JPEG files alongside the HTML instead of embedded inside it. #### Metadata Automatically Included * **File Name** – Full name of the media file #### Metadata Optional Fields **General File Info** * **Size** – File size (GB) * **Duration** – Clip length in timecode * **File Path** – Directory path on disk * Format – File container format * Frame Rate – e.g., 23.976, 24, 25 * Timecode – SMPTE timecode with base rate (editable in Interpret Properties) * Date Created – File creation date * Video Codec – Detected video compression format * Resolution – e.g., 5792×4854 (2.00 pixel aspect) * Field Type – Progressive or Interlaced * Color Space – e.g., Sony S-Gamut3.Cine / S-Log3 * Audio Codec – e.g., PCM 24-bit @ 48kHz * Channels – Number of audio channels and layout * Sync Audio - if sync'd with external audio file(s) - the name(s) of those Audio File(s) **Production Info** * Clip Name * Clip Color * Company * Production * Episode # * Reel * Roll/Card * Sound Roll # * Clip # * Scene * Shot * Take * Good Take * Shoot Day * Comments * Description * Director * DP (Director of Photography) * Location * Int/Ext * Day/Night * Keywords **Camera & Lens Info** * Camera Make * Camera Model * Camera Serial Number * Camera ID * Camera Name * Camera Operator * Camera Firmware * ISO * White Balance * Tint * Shutter Angle * Shutter Speed * Pan * Tilt * Roll * Aperture * Focus Distance * Focal Length * Lens Model * Lens Serial Number *** ### Marker Report Options **Sort by TimeCode** – When checked - markers for a clip are sorted by their start TimeCode first before being written into the report. **Dark Mode PDF/HTML** – When enabled, the generated Marker Report PDF/HTML will use a dark color theme. **Show Thumbnails PDF/HTML/JSON** — Enable or disable row thumbnails (small thumbnails displayed in the Name cell of each marker row). **Large Thumbnails PDF/HTML/JSON** — Controls large thumbnail display below each marker row. Options are: * **None** — No large thumbnails * **Annotated Only** — Only show large thumbnails for markers that have annotations * **All** — Show large thumbnails for all markers When annotations have been added to a marker, they are composited onto the thumbnail in the report output. #### Metadata Automatically Included * **File Name** – Full name of the media file * **Marker Name** – The name of the marker * **Notes** – Notes entered for the marker #### Metadata Optional Fields * File Path – Directory path on disk * Color – The color tagged for the marker * Start – Start time of the marker * End – End time of the marker * Duration – Duration of the marker * Date – Timestamp when the marker was added * Clip metadata - Scene, Shot, Take, Comments, and Description from the Clip metadata *** ### **Smart HTML Reports** HTML Clip Reports and Marker Reports include a full set of interactive features for reviewing and navigating your reports directly in the browser. **Search & Filtering** The search bar supports advanced multi-term queries using OR (||), AND (&&), and parentheses grouping to quickly locate specific clips or markers. A live filtering summary displays matched vs total items as you type. **Navigation & Display** A sticky controls bar stays visible while scrolling for quick access to search, theme, and display options. Clips and marker groups can be collapsed or expanded individually, or all at once using Ctrl+click (Windows) or Cmd+click (macOS). **Theme & Print** A dark/light theme toggle switches the entire report between color schemes. When printing, UI controls are automatically hidden for clean output. **Thumbnails** Marker Reports support a thumbnail lightbox for viewing marker thumbnails at full size. **Mobile** HTML reports include a responsive layout optimized for viewing on phones and tablets. **JSON Reports (Tin Man Pro & Tin Man Server)** Structured JSON output designed for AI, scripting, and pipeline integration workflows. JSON reports include full metadata and thumbnail references, making them ideal for automated processing and custom tooling. **JSON Report Viewer (Tin Man Pro & Tin Man Server)** Open and review Tin Man JSON reports with the same interactive features as Smart HTML Reports, including search, dark/light theme toggle, collapse/expand, thumbnails, and print support. *** ### Workflow Example 1. Open the **Report Panel** and choose whether to create a **Clip Report** or **Marker Report**. 2. Select the desired **report format** (CSV, XLSX, HTML, JSON or PDF for markers). 3. Enter a **report name** and choose the **destination folder**. 4. In the **Report Data** section, select which metadata fields to include. 5. (Optional) Add project-specific headers such as *Project Name* or *Director* (not available in CSV format). 6. Click **Generate Report** to create the file. # Markers
## Markers Panel The Markers Panel in Tin Man provides a structured way to annotate clips with timecode-based markers, making it easier to track creative notes, technical comments, and review feedback. Markers can be color-coded, renamed, and extended with notes. Marker metadata is stored in the project database, with thumbnails and annotations stored in a project-local markerthmb/ folder. ### Overview The panel is designed to give editors and production teams an intuitive workspace for managing clip annotations. Each marker entry includes a thumbnail, timecode, duration, creation date, and user-entered notes. Markers can also be color-labeled for fast visual categorization. The panel is divided into the following key elements: **Annotation Toolbar** The annotation toolbar sits above the marker thumbnail canvas and provides drawing tools for annotating marker thumbnails directly: * **Freeform Line** – Draw freehand lines on the thumbnail. * **Arrow** – Draw arrows to point out specific areas of the frame. * **Rectangle** – Draw rectangles to highlight regions. * **Ellipse** – Draw ellipses to circle areas of interest. * **Delete Tool** – Remove annotations by drawing a selection rectangle over them. * **Stroke Width** – Configure the line thickness (e.g., 6px). * **Color Picker** – Choose the annotation drawing color. * **Undo/Redo** – Step back or forward through annotation changes. The annotation canvas position can be configured to appear on the Right, Left, Top, or Bottom relative to the marker list. #### Marker Toolbar * **Search Bar** – Filter markers by text or notes. * **Color Filter** – Quick-access palette for filtering markers by color. * **Add Marker Button** – * **Left-click:** Adds a marker at the current timecode with the currently selected marker color. * **Right-click:** Opens a menu to choose a new default marker color. * **Keyboard Shortcut:** Press **m** to add a marker. * **Note:** Only one marker can exist at a given starting timecode. Double-clicking a marker in the list will move playback to that marker’s starting point. #### Marker List Columns * **Color** – Color swatch reflecting the assigned marker color. * **Thumbnail** – A thumbnail image of the frame at the marker's starting timecode. * **Name** – Auto-incremented marker names (e.g., Marker 0, Marker 1) that can be renamed. * **Start** – The exact SMPTE timecode frame where the marker begins. * **End** – The marker's end timecode. For single-frame markers, this matches the start. * **Duration** – Length of the marker. Defaults to 1 frame unless extended. * **Date** – Timestamp when the marker was created. * **Notes** – Freeform text field for recording comments, instructions, or feedback. Fully searchable. #### Marker Color Each marker includes a color swatch on the left side of its row. The swatch reflects the assigned marker color and can be used as a quick reference for filtering or categorization. #### Panel Controls * **Visibility Toggle (eye icon)** – Show hidden markers in the timeline view. * **Remove Marker** – Deletes selected markers. * **Copy to Clipboard / Save to Text** – Exports marker info for the current clip to the clipboard or a text file. For multi-clip Marker Reports (CSV, XLSX, or PDF), use the **Report Panel**. #### Editing Markers * **Start/End Adjustment** – Double-click a Start or End field to manually enter a new timecode, or click-and-drag with the mouse to adjust. * **Right-Click Context Menu** – Provides additional options such as: * Select All * Hide Selected / Show Hidden * Remove Selected * Set Marker Color * Set Mark In / Set Mark Out * Go to Mark In / Go to Mark Out
**Workflow Example** 1. While reviewing a clip, press the Add Marker button or 'm' on the keyboard to drop a marker. 2. Use the annotation tools to draw directly on the marker thumbnail — arrows, rectangles, or freeform lines to highlight areas of interest. 3. If needed, re-assign a color to categorize it (e.g., yellow = "review later"). 4. Enter notes in the Notes column to capture detailed feedback. 5. Use the search bar or color filters to find markers quickly during review. 6. Export the list in the Reports Panel for delivery to editorial or VFX. Thumbnails and annotations are composited into PDF, HTML, and JSON marker reports. # Copy Manager
## Copy Manager Panel The Copy Manager copies media to one or more destinations with checksum verification, generating an MHL v1.1 manifest for each destination so the copy can be verified by post houses and downstream tools. ### Adding Files To add media to the copy queue: * Click the **Add Files** icon at the bottom-left of the window * Or drag and drop files or folders directly into the queue Folders are added recursively, preserving their structure at the destination. The global destination is shown at the bottom-right of the window and defaults to your Desktop. Click it to choose a different destination folder. ### Queue Columns * **Name** - The source file name. * **Size** - The file size. * **Status** - Current state of the copy (queued, copying, verifying, complete, or error). * **Progress** - Per-file copy progress. * **Destination** - The output path for that file. The header above the queue shows total elapsed time and the file count. Click the **Start** button at the top-right to begin copying. ### Right-Click Menu Right-click any item in the queue for additional options: * **Show Source In Explorer** - Reveal the source file in the OS file browser. * **Show Output In Explorer** - Reveal the copied output file. * **Show Dest. Folder In Explorer** - Open the destination folder. * **Set Custom Destination** - Assign a specific destination to the selected items, overriding the global destination. * **Select All** - Select every item in the queue. * **Reset Selected** - Return selected items to a queued state so they copy again. * **Remove Selected** - Remove selected items from the queue. * **Remove Completed** - Remove all finished items. * **Remove All** - Clear the entire queue. ### Toolbar The bottom toolbar provides quick access to: * **Add Files** - Add files or folders to the queue. * **Clear Completed** - Remove all finished items from the queue. * **Remove Selected** - Remove the currently selected items. * **Global Destination** (bottom right) - Click it to choose a different destination folder. ### Verification & MHL Each file is hashed at the source, copied, then hashed again at the destination and compared to confirm an exact match. When a copy job completes, an MHL v1.1 manifest is written to the root of each destination, listing every file with its size, checksum, and copy timestamps. Copying to multiple destinations produces a separate manifest per destination. # NRT Metadata Non Real Time Metadata
#### **Non-Real-Time Metadata Panel** The **Non-Real-Time Metadata Panel** displays **static metadata**—information in the media file that does not change over time. You can export this metadata by: * **Right-clicking** within the panel and selecting an option from the pop-up menu * Clicking the **"Copy Metadata to Clipboard"** button * Clicking the **"Save Metadata to TXT File"** button These options allow you to copy either **all** or **selected** metadata to your clipboard or save it as a text file for external reference. # RT Metadata Real Time Metadata
#### **Real-Time Metadata Panel** The **Real-Time Metadata Panel** displays **dynamic metadata**—information that typically changes on a per-frame basis throughout the media file. To export this metadata, you can: * **Right-click** inside the panel and choose from the context menu * Use the **"Copy Metadata to Clipboard"** button * Use the **"Save Metadata to TXT File"** button These options allow you to copy or save **all** or **selected** metadata for review or external use. # Audio Mapping
**Audio Mapping Panel** The **Audio Mapping Panel** allows precise control over each audio channel in a media file. You can adjust the following per-channel settings: * **Volume** * **Channel Output Label** (used for export) * **Speaker Output Assignment** * **Descriptive Label** In the **Controls** section, you also have the ability to: * **Disable** an individual audio channel * **Split** a single audio channel across two different speakers * **Solo** a channel (mutes all other channels and plays only the selected one) **System Audio Mapping Integration** Tin Man will attempt to **automatically map audio channels** based on your system’s audio output configuration, as defined in the **"Player – Audio" Preferences Panel**. *** #### **Copy / Paste / Reset Options** **Right-clicking** in the Audio Mapping panel opens a context menu with the following options: * **Toggle Mute All** – Mute or unmute all audio channels at once * **Copy Settings** – Copy the current audio mapping configuration * **Paste Settings** – Paste a previously copied configuration * **Reset Settings** – Revert to default or system-defined mappings > **Note:** Paste and Reset actions can be applied to **all selected files** in the File List window for batch updates. If you change your audio output setup in the **"Player – Audio" Preferences**, use the **"Reset"** or **"Reset Selected"** options from the Audio Mapping panel’s dropdown menu to reapply mapping based on the updated output configuration.
# Audio Meters
**Audio Meters Panel** The **Audio Meters Panel** displays real-time audio levels for each output speaker based on the media file’s audio output. The number of meter columns corresponds to the number of **audio output speakers** configured in the **"Player – Audio" Preferences Panel**. **Right-clicking** anywhere in the panel opens a context menu with options to: * Change the **color gradient** of the meter columns * Adjust the **peak hold duration** (how long the peak level indicator remains visible) # Video Image The Video Image Panel lets you change or adjust various options of the Video Image and Display Monitor. {% tabs %} {% tab title="Source" %}
**Source Panel** The **Source Panel** allows you to adjust or reinterpret certain **General Properties** of a media file. If the file contains additional source-specific properties, a new section will appear below the **General Properties** area, organized into relevant sub-sections. **General Properties** In this section, you can adjust or reinterpret the following settings (where applicable): * **Field Order**\ Reinterpret the field order as **Progressive**, **Upper Field First**, or **Lower Field First**. > *Note: This setting does not affect playback—only exports.* * **Resolution**\ Currently not adjustable. Displayed for informational purposes only. * **Aspect Ratio**\ Reinterpret the display aspect ratio of the media. > *This change will be reflected visually in the viewer.* * **HW Decode (Hardware Decoding)**\ Enable or disable **GPU-based decoding** for supported media types. > *Useful if hardware decoding causes playback issues or artifacts.* * **Valid Closed I-Frames**\ Some **Long-GOP** media may incorrectly label **Open I-Frames** as **Closed**, which can lead to decoding artifacts.\ Unchecking this option will treat Closed I-Frames as Open I-Frames, improving playback accuracy for affected files. {% endtab %} {% tab title="Color Space" %}
#### **Color Space Panel** The **Color Space** panel allows you to manage and convert the color characteristics of the currently selected media file. **Source Color Space** In this section, you can manually set or override the detected **Source Color Space** and **Source Color Level** of the media. **Destination Color Space** Here, you can convert the media from its source color space and level to a selected **Destination Color Space** and **Color Level**. When applicable, you can also apply: * **HDR-to-SDR white point conversions** * **Gamma and tone mapping adjustments** for accurate color remapping Additionally, you can set the destination color space using **Video Look Presets** saved under **Preferences → Import Media → Color Space**. {% endtab %} {% tab title="Monitor" %}
**Monitor Options** **Global Display Settings** * **Map Video to Full for Display**\ When enabled, this global option remaps media files encoded with **Video Levels** to **Full Levels** for on-screen display. * **Bit Depth**\ If you're using a monitor that supports **10-bit or higher output**, you can enable 10-bit display for media files that contain 10-bit (or greater) image data. * **2nd Display** *(Pro License required)*\ Toggles the **Second Video Output Window** on or off, allowing full-screen output to a secondary display. *** #### **Monitor Color Space** *(Pro License required)* The **Monitor Color Space** section allows you to convert the media file’s original **Color Space and Level** to the desired **Monitor Output Color Space and Level**.\ When appropriate, the following transformations can be applied: * **HDR-to-SDR white point conversions** * **Gamma and tone mapping** You can also **save** or **load Monitor Look Presets** for quick configuration. *** #### **Monitor LUT** *(Pro License required)* In the **Monitor LUT** section, you can apply a **3D LUT (Look-Up Table)** globally across all media for monitor output. You can also **save** or **load Monitor LUT Presets** for consistent color workflows. {% endtab %} {% endtabs %} # ARRI RAW Properties
The **ARRI RAW Properties Panel** provides a wide range of options for adjusting how ARRI RAW files are interpreted, processed, and displayed. These settings are grouped into logical sections for greater clarity and control. *** #### **Log Processing** * **Log Output**\ Allows you to switch between **LogC3** and **LogC4** output formats, when supported by the media. * **Color Convert**\ Converts the source Log color space to another color space for display or export. * **Color Output**\ Sets the output format to either **Full Range RGB** or **Video Range YUV**. * **Playback Quality**\ Controls the **debayer quality** during playback. Lower settings improve performance at the cost of image quality. * **Render Quality**\ Controls the **debayer quality** during export. Lower settings reduce export time, while higher settings maximize image fidelity. *** #### **Image Resolution** This section allows you to **scale**, **crop**, and **rotate** the image. * To reset individual values, **right-click** on the control or its label and choose **"Reset"** from the context menu. * To reset all resolution settings, click the **Reset icon** next to the *"Image Resolution"* label. *** #### **Image Processing** Adjust image attributes such as: * **White Balance** * **Tint** * **Exposure Index** * **Debayer Mode** To reset any control to its default value, **right-click** the control and select **"Reset"**. *** #### **Image Look** For LogC3 and LogC4 files, the **Image Look** consists of a combination of a **LUT** and **CDL (Color Decision List)**. **Importing a Look** * Click the **Import** button next to the *"Image Look"* label to load a saved look: * **AML** files for LogC3 * **ALF4** or **ALF4C** files for LogC4 * To reset the entire Image Look, click the **Reset icon** next to the *"Image Look"* label. *** #### **LUT (Look-Up Table)** The **LUT** is applied **before** the CDL and can be configured as: * **Embedded 3D LUT**\ Loaded directly from the ARRI RAW media file. * **Custom 3D LUT**\ Load your own LUT and optionally define a **Destination Color Space**. * **Custom Color 3D LUT** *(LogC4 only)*\ Combine a custom LUT with an ARRI **Display Render Transform (DRT)** LUT. To reset: * **Right-click** the *"LUT"* label and select **"Reset"** to clear a custom LUT. * Click the **Reset icon** next to the *"LUT"* label to fully reset LUT settings. *** #### **CDL (Color Decision List)** The CDL lets you apply and fine-tune: * **Slope** * **Offset** * **Power** * **Saturation** To reset: * **Right-click** any individual control or label and choose **"Reset"** * Or click the **Reset icon** next to the *"Image CDL"* label to reset all CDL settings at once *** #### **Copy / Paste / Reset Settings** **Right-click** the *"ARRI RAW Properties"* section header to: * **Copy Settings** * **Paste Settings** from a previous copy * **Reset Settings** to defaults > Paste and reset operations can also be applied to **all selected ARRI RAW files** in the File List window.
# Blackmagic RAW Properties
This panel provides full control over how **Blackmagic RAW (BRAW)** footage is processed, allowing for precise adjustments to color science, gamma, resolution, and image processing parameters. *** **Color Settings** * **Color Science**\ Choose the color science version used to interpret and process the BRAW file. * **Color Primaries**\ Select the set of color primaries to define the chromaticity of the source. * **Color Gamma**\ Adjust the gamma curve applied to the image during processing. * **Destination Color Level**\ Controls how the processed image is tagged or converted between **Full Range** and **Video Range**: * **Full Range (Label)** – Tags the processed image as Full Range (default). * **Full Range (Convert)** – Converts from Video Range to Full Range. Useful when applying a LUT that transforms to Video Range but you want Full Range output. * **Video Range (Label)** – Tags the processed image as Video Range. * **Video Range (Convert)** – Converts from Full Range to Video Range. Useful when targeting Video Range output. * **Resolution**\ Set the output resolution for the BRAW decode process. *** #### **Image Processing** Adjust the following BRAW-specific controls: * **ISO** * **Highlight Recovery** * **Gamut Compression** * **Temperature** * **Tint** * **Exposure** * **Embedded LUT Enable/Disable** – Choose whether to apply any embedded LUTs from the BRAW file or associated sidecar file. * **Destination Color Space for LUTs** – Define the target color space for applying embedded LUTs. > **Tip:** Right-click any control or label to reset it to its default value. *** #### **Pre CDL LUT** Allows you to apply a **3D LUT** *before* the CDL (Color Decision List) is applied. * Set the **Destination Color Space** for the LUT * **Reset** the LUT by right-clicking the **LUT** label or using the **Reset icon** next to the “Pre CDL LUT” label *** #### **Image CDL** Adjust or apply a **Color Decision List**, including: * **Brightness** * **Contrast** * **Contrast Pivot** * **Saturation** * **Slope** * **Offset** * **Power** > **Reset individual values** by right-clicking the control or label.\ > To reset the entire CDL, click the **Reset icon** next to “Image CDL”. *** #### **Post CDL LUT** Allows you to apply a **3D LUT after** the CDL is applied. * Set the **Destination Color Space** for the LUT * **Reset** by right-clicking the **LUT** label or clicking the **Reset icon** next to “Post CDL LUT” *** #### **Copy, Paste, and Reset Settings** Right-click the **Blackmagic RAW Properties** section header to: * **Copy** current settings * **Paste** settings to other BRAW files * **Reset** all settings to default values > Pasting or resetting applies to all selected BRAW files in the **File List Window**.
# Canon RAW Properties
This panel allows for detailed control of how **Canon RAW** media is decoded, processed, and exported, giving you flexibility over color management, resolution, and creative adjustments. *** **Color & Decode Settings** * **Decode Quality**\ Adjusts the rendering and playback quality of Canon RAW files.\ Higher settings improve image quality but may reduce playback performance. * **Color Primaries**\ Sets the chromaticity coordinates used during image processing. * **Color Gamma**\ Defines the gamma curve applied to the decoded image. * **Destination Color Level**\ Lets you tag or convert the output video to **Full Range** or **Video Range**: * **Full Range (Label)** – Default; tags the image as Full Range * **Full Range (Convert)** – Converts from Video to Full Range > *Useful if a 3D LUT transforms the image to Video Range but you want Full Range output* * **Video Range (Label)** – Tags the image as Video Range * **Video Range (Convert)** – Converts from Full to Video Range > *Useful when preparing media for platforms requiring Video Range* * **Resolution**\ Sets the output resolution of the decoded image.\ Includes options for cropping **width and height** independently. *** #### **Image Processing** Allows adjustments to the following Canon RAW parameters: * **Temperature** * **Tint** * **Sharpness** * **Exposure** * **Exposure Offset** > **Tip:** Right-click any control or label to **reset** it to its default value. *** #### **Pre CDL LUT** * Apply a **3D LUT** *before* the CDL (Color Decision List). * Set the **Destination Color Space** for the LUT. * **Reset** the LUT by: * Right-clicking the **“LUT”** label and choosing **Reset** * Clicking the **Reset icon** next to **Pre CDL LUT** *** #### **Image CDL** Apply and fine-tune a CDL including: * **Brightness** * **Contrast** * **Contrast Pivot** * **Saturation** * **Slope** * **Offset** * **Power** > Right-click individual controls or labels to reset.\ > Use the **Reset icon** next to **Image CDL** to reset the entire CDL block. *** #### **Post CDL LUT** * Apply a **3D LUT after** the CDL is processed. * Set the **Destination Color Space** for the LUT. * Reset options: * Right-click the **“LUT”** label and choose **Reset** * Use the **Reset icon** next to **Post CDL LUT** *** #### **Copy, Paste, Reset Settings** Right-click the **Canon RAW Properties** section header to: * **Copy** the current settings * **Paste** previously copied settings * **Reset** all controls to default > Paste and reset actions can be applied to **all selected Canon RAW files** in the File List Window.
# CinemaDNG RAW Properties
The CinemaDNG RAW Properties Panel provides full control over how **CinemaDNG** files are decoded, processed, and color-managed for both playback and export. *** **Decode & Color Settings** * **Decode Quality**\ Adjusts the playback and render quality of CinemaDNG RAW footage. Higher settings yield better image fidelity at the cost of performance. * **Log Processing**\ Sets the **Log Color Space** used when decoding the CinemaDNG RAW file. * **Destination Color Level**\ Choose how the output color range is handled or converted: * **Full Range (Label)** – Default; tags output as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags output as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range > These options are especially helpful when using LUTs that change the effective range of the image. * **Resolution**\ Set the output resolution of the decoded image and optionally crop **width** and **height** independently. *** #### **Image Processing** Fine-tune the image using the following controls: * **Temperature** * **Tint** * **Exposure** > **Tip:** Right-click any control or label to reset it to its default value. *** #### **Pre CDL LUT** Apply a **3D LUT before** the CDL stage: * Set the **Destination Color Space** for the LUT * To clear the LUT: * Right-click the **"LUT"** label and choose **Reset** * Click the **Reset icon** next to **Pre CDL LUT** *** #### **Image CDL** Apply and adjust **CDL (Color Decision List)** values: * **Brightness** * **Contrast** * **Contrast Pivot** * **Saturation** * **Slope** * **Offset** * **Power** > Right-click on any control or label to reset that setting.\ > Click the **Reset icon** next to **Image CDL** to reset all CDL values at once. *** #### **Post CDL LUT** Apply a **3D LUT after** the CDL is applied: * Set the **Destination Color Space** for the LUT * To clear the LUT: * Right-click the **"LUT"** label and choose **Reset** * Click the **Reset icon** next to **Post CDL LUT** *** #### **Copy, Paste, Reset Settings** Right-click the **CinemaDNG RAW Properties** section header to: * **Copy** the current settings * **Paste** previously copied settings * **Reset** all values to default > Copy/paste/reset can be applied to **all selected CinemaDNG RAW files** in the File List Window.
# JPEG2000 Properties
The JPEG2000 Source Properties allows you to lower the resolution of the media to different draft resolutions. # ProRes (ARRI) Properties
This panel provides decoding and color management options for **ProRes files recorded by ARRI cameras**, specifically those using **LogC3** or **LogC4** color science. *** **Color Settings** * **Log Processing**\ Displays the **Log Output type** detected in the ProRes file (e.g., LogC3 or LogC4). * **Color Convert**\ Converts the Log color space to a different color space for viewing or export. * **Color Output**\ Set the output color format: * **Full Range RGB** * **Video Range YUV** *** #### **Image Look (ARRI LogC3 / LogC4)** ARRI ProRes files may include embedded or custom looks, composed of a **LUT** and a **CDL**. **Image Look Preset** * Import a saved **Image Look preset**: * **AML** file for **LogC3** * **ALF4** or **ALF4C** file for **LogC4** * To fully reset, click the **Reset icon** next to the **Image Look** label. *** **LUT** The LUT is applied **before** the CDL: * **Embedded 3D LUT** – Extracted directly from the media file * **Custom 3D LUT** – User-specified LUT with its own destination color space * **Custom Color 3D LUT** – Used with ARRI **Display Render Transform (DRT)** LUTs (LogC4 only) > To clear a custom LUT:\ > Right-click the **LUT** label and select **Reset**, or click the **Reset icon** next to the **LUT** section. *** **CDL (Color Decision List)** Use the CDL controls to adjust: * **Saturation** * **Slope** * **Offset** * **Power** > Right-click any control or label to reset its value.\ > Click the **Reset icon** next to **Image CDL** to clear all CDL settings. *** #### **Copy, Paste, Reset Settings** Right-click the **ProRes (ARRI) Properties** section header to: * **Copy** the current settings * **Paste** settings onto other ProRes (ARRI) files * **Reset** all values to defaults > These operations apply to all **selected ARRI ProRes files** in the **File List Window**.
# ProRes RAW Properties
The ProRes RAW Properties Panel provides control over how **ProRes RAW** media is decoded, processed, and color managed for playback and export. *** **Color & Resolution Settings** * **Log Processing**\ Select the color space in which the ProRes RAW footage will be processed. * **Destination Color Level**\ Define how the output video range is tagged or transformed: * **Full Range (Label)** – Default; tags the output as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags the output as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range > These options are useful when applying 3D LUTs that modify color levels and require consistent output tagging or conversion. * **Resolution**\ Set the decoded output resolution of the ProRes RAW file. *** #### **Image Processing** Adjust fundamental image properties: * **Temperature** * **Exposure** * **Exposure Offset** > Right-click any control or label to **reset** it to its default value. *** #### **Pre CDL LUT** Apply a **3D LUT before** the CDL (Color Decision List): * Set the **Destination Color Space** for the LUT * **Reset** via: * Right-clicking the **“LUT”** label and selecting **Reset** * Clicking the **Reset icon** next to the **Pre CDL LUT** label *** #### **Image CDL** Adjust CDL parameters including: * **Brightness** * **Contrast** * **Contrast Pivot** * **Saturation** * **Slope** * **Offset** * **Power** > Right-click individual controls or labels to reset them.\ > Use the **Reset icon** next to **Image CDL** to reset all CDL adjustments. *** #### **Post CDL LUT** Apply a **3D LUT after** the CDL: * Set the **Destination Color Space** for the LUT * **Reset** the LUT via: * Right-clicking the **“LUT”** label * Clicking the **Reset icon** next to **Post CDL LUT** *** #### **Copy, Paste, Reset Settings** Right-click the **ProRes RAW Properties** section header to: * **Copy** the current settings * **Paste** previously copied settings * **Reset** all parameters to default values > Copy, paste, and reset operations can be applied to **all selected ProRes RAW files** in the File List Window.
# ProRes Properties
The **ProRes Properties** panel provides control over how **ProRes 4444** and **ProRes 4444 XQ** files are interpreted and decoded in Tin Man. *** **RGB vs. YUV Decoding** * **ProRes 4444** and **ProRes 4444 XQ** can be encoded in either **RGB** or **YUV** color formats. * Tin Man will automatically decode the file according to its encoding: * Encoded as **RGB** → Decoded as **RGB** * Encoded as **YUV** → Decoded as **YUV** **Color Level Guidelines** * According to Apple’s ProRes specification: * **RGB** should be treated as **Full Range** * **YUV** should be treated as **Video Range** > ⚠️ **Important Exception:** Certain formats, such as **Sony S-Log3 ProRes**, may use **YUV** encoding with **Full Range** levels. This falls outside the typical spec but is valid in practice. *** **Manual Override** If Tin Man has incorrectly detected the **decode type** (RGB or YUV) or **color level** (Full or Video Range), you can **manually override** these settings in this panel to ensure correct decoding. *** #### **Copy, Paste, Reset Settings** Right-click the **ProRes Properties** section header to: * **Copy** the current settings * **Paste** settings from a previously copied file * **Reset** all properties to default values > Actions apply to all selected **ProRes 4444 / 4444 XQ** files in the **File List Window**.
# RED RAW Properties (IPP2)
This panel provides full control over how **RED RAW** files are decoded, color-managed, and processed in Tin Man for IPP2 workflow. *** **Reset Options** * **Reset To**\ Choose whether to reset values to **Default (sidecar-based)** or **Clip metadata**. > *Right-click “Reset To” to reset all values to default or clip-based presets.* *** **Color Workflow** * **Color Version**\ Switch between: * **IPP2** – Modern RED Image Processing Pipeline * **Legacy (FLUT)** – Traditional RED decoding pipeline * **Color Primaries**\ Set the color primaries used for decoding (e.g., REDWideGamutRGB, Rec.709, etc.). * **Color Gamma**\ Choose the gamma curve to apply (e.g., Log3G10, Rec.709). * **Destination Color Level**\ Configure output tagging or conversion between **Full Range** and **Video Range**: * **Full Range (Label)** – Default; tags image as Full Range * **Full Range (Convert)** – Converts from Video Range to Full Range * **Video Range (Label)** – Tags image as Video Range * **Video Range (Convert)** – Converts from Full Range to Video Range * **Tone Map**\ Adjust the **tone mapping curve** for the target color space. * **Roll-Off**\ Control the **highlight roll-off** for HDR workflows. > *Includes HDR User Nits Limit adjustments based on output gamma.* *** **Audio & Decode Options** * **Audio Pref.**\ Choose between using **embedded audio** or a **sidecar .WAV** file for playback and export. * **Decode Type**\ Select **CPU** or **GPU** decoding for decompressing the RED RAW frames. *** **Resolution** * Set the output **decode resolution**. * Supports cropping and scaling as needed for delivery or preview workflows. *** #### **Image Processing** Make creative and technical adjustments to: * **Kelvin** (White Balance) * **Tint** * **ISO** * **Exposure** * **Contrast** * And more... > Right-click any control or label to **reset to default**. *** #### **3D LUT** * Apply a **3D LUT** to the image * Set the **Destination Color Space** for LUT processing * To clear: * Right-click the **“LUT”** label and choose **Reset** * Or click the **Reset icon** next to the **3D LUT** label *** #### **Image CDL** Apply and adjust **Color Decision List (CDL)** controls: * **Saturation** * **Slope** * **Offset** * **Power** > Right-click individual controls to reset, or use the **Reset icon** next to **Image CDL** to clear all adjustments. *** #### **Copy, Paste, Reset Settings** Right-click the **RED RAW Properties** section header to: * **Copy** settings * **Paste** settings to other RED RAW files * **Reset** all values > Copy/paste/reset applies to all **selected RED RAW clips** in the **File List Window**.
# RED RAW Properties (Legacy FLUT)
This panel provides control over how **RED RAW** footage is interpreted using the **Legacy FLUT** pipeline, offering options for color primaries, gamma, image adjustments, and Lift/Gamma/Gain controls. *** **Reset Options** * **Reset To**\ Choose whether to reset values to **Default (typically sidecar)** or **Clip-based** values. > *Right-click the “Reset To” label to reset all values to either default or clip values.* *** **Color Settings** * **Color Version**\ Switch between: * **IPP2** – RED’s newer color science * **Legacy (FLUT)** – Traditional FLUT-based processing * **Color Primaries**\ Select the primaries used for processing (e.g., REDColor3, REDColor4). * **Color Gamma**\ Choose the gamma curve (e.g., REDLogFilm, Rec.709). * **Destination Color Level**\ Configure how the output is tagged or converted: * **Full Range (Label)** – Tags as Full Range (default) * **Full Range (Convert)** – Converts from Video to Full Range * **Video Range (Label)** – Tags as Video Range * **Video Range (Convert)** – Converts from Full to Video Range *** **Resolution** * Set the **decode resolution** for playback or export. * Supports cropping or scaling as needed. *** #### **Image Processing** Adjust essential parameters such as: * **Kelvin** * **Tint** * **ISO** * **Exposure** * **Contrast** * Additional parameters based on RED's FLUT pipeline > Right-click any control or label to **reset to its default value**. *** #### **Image Lift / Gamma / Gain (LGG)** This section lets you apply and refine: * **Lift** * **Gamma** * **Gain** > Right-click any control to reset it individually, or click the **Reset icon** next to **Image LGG** to clear all adjustments. *** #### **Copy, Paste, Reset Settings** Right-click the **RED RAW Properties** section header to: * **Copy** the current settings * **Paste** settings to other RED RAW files * **Reset** all values > These actions apply to all **selected RED RAW clips** in the **File List Window**.
# Sony RAW Properties
The Sony RAW Properties Panel provides full control over decoding and image processing of Sony RAW footage, enabling precise color management and creative adjustments during playback and export. *** **Decode & Color Settings** * **Decode Quality**\ Adjust the render and playback quality for Sony RAW files. Lower quality improves performance; higher quality improves image fidelity. * **Log Processing**\ Select the **Color Space** used when processing the Sony RAW footage. * **Destination Color Level**\ Define how the processed footage is tagged or transformed: * **Full Range (Label)** – Default; tags output as Full Range * **Full Range (Convert)** – Converts Video Range to Full Range * **Video Range (Label)** – Tags output as Video Range * **Video Range (Convert)** – Converts Full Range to Video Range > Useful for managing output consistency when using LUTs that alter level mappings. * **Resolution**\ Change the resolution of the decoded output. * **Orientation**\ Set the output orientation (e.g., 0°, 90°, 180°, 270°) for the decoded footage. *** #### **Image Processing** Adjust key image attributes, including: * **Temperature** * **Tint** * **Sharpness** * **Exposure** * **Wall Temperature** *(Sony-specific color blending for skin tones and neutral objects)* * **Light Blend** *(Blends influence between ambient and practical lighting)* > Right-click any control or label to reset it to its default value. *** #### **Pre CDL LUT** Apply a **3D LUT before** the CDL is applied: * Assign a **Destination Color Space** for LUT processing * To reset: * Right-click the **“LUT”** label and select **Reset** * Click the **Reset icon** next to **Pre CDL LUT** *** #### **Image CDL** Apply and adjust **Color Decision List (CDL)** controls: * **Brightness** * **Contrast** * **Contrast Pivot** * **Highlights** * **Midtones** * **Shadows** * **Saturation** * **Slope** * **Offset** * **Power** > Right-click individual controls or labels to reset.\ > Click the **Reset icon** next to **Image CDL** to reset the entire CDL section. *** #### **Post CDL LUT** Apply a **3D LUT after** the CDL is applied: * Assign a **Destination Color Space** * Reset via: * Right-clicking the **“LUT”** label * Clicking the **Reset icon** next to **Post CDL LUT** *** #### **Copy, Paste, Reset Settings** Right-click the **Sony RAW Properties** section header to: * **Copy** the current settings * **Paste** to other Sony RAW files * **Reset** to default > These actions apply to all selected **Sony RAW files** in the **File List Window**.
# Video Analyze The **Video Analyze** panel provides visual tools for analyzing and verifying the video signal. It allows you to: * **Check Gamut** – Identify out-of-gamut colors in the image. * **Set Action/Safe Titles** – Display safe title and action guides, as well as customizable border outlines and aspect ratio masks. * **Isolate Color Channels** – View individual Red, Green, Blue, or Alpha channels. * **Read Pixel Values** – Inspect the exact color values of individual pixels in the image. {% tabs %} {% tab title="Gamut Warning" %}
{% endtab %} {% tab title="Guides" %}
{% endtab %} {% tab title="Isolate Channels" %}
{% endtab %} {% tab title="Get Pixel Color" %}
{% endtab %} {% endtabs %} # Video Scopes
The **Video Scopes** panel allows you to monitor the image using various analysis tools, including the **Vector Scope**, **Waveform**, and **Histogram**. * To switch between scopes, click the **three-dot icon** at the top of the panel and select the desired scope. * For scope-specific settings and customization options, click the **wrench icon** located at the bottom-right corner of each scope. **Vector Scope Options**
**Waveform Options**
**Histogram Options**
# Log
The **Log** panel displays any messages or potential problems encountered during **file import**, **playback**, or **export**. This helps you quickly identify and troubleshoot issues affecting media performance or compatibility. # Export Panel The **Export Panel** allows you to **batch export** multiple files to a wide range of professional file formats and video codecs. For a full list of supported export formats and codecs, please refer to the **Supported Formats** section.
# Export File List
To add media files to the export queue, you can: * Click the **Import Files** icon in the **Export List** window (bottom-left corner) * **Right-click** on a file in the **File List** or **Player Controls** window and choose **"Add to Export Queue"** * **Drag and drop** files directly from your operating system into the **Export List** window * **Drag and drop** files from the File List into the **Export List** window * **Drag and drop** bins from the Bin List into the **Export List** window Once media is added to the **Export List**, you can configure export settings for that file. To adjust export parameters for multiple files at once, simply select all the desired files in the Export List before making changes. > **Note:** Once a file is added to the export queue, it becomes **locked** in the playback panels and cannot be modified until removed from the queue.\ > Locked files are shown in **italics** in the File List to indicate their export status. *** #### **Export List Controls (Bottom Left – Left to Right)** * **Import Files** – Opens the File Import dialog * **Remove Completed Jobs** – Clears all jobs marked as completed * **Clear Selected Jobs** – Removes the currently selected export files
#### **Export Burn-In Options (Bottom Center)** Click the settings icon to access burn-in options for export. The following options are available: * **Timecode Burn-In** — Overlays the clip timecode onto the exported image. * **Metadata Burn-In** — Overlays metadata onto the exported image. * **Metadata Settings** — Opens the metadata burn-in configuration, allowing you to customize which metadata fields are displayed.
#### **Right-Click Options (Export List Window)** Right-clicking on a file in the Export List brings up the following context menu options: * **Show Source in Explorer/Finder** – Opens the source file's location * **Show Output in Explorer/Finder** – Opens the exported file's location * **Select All** – Selects all export jobs in the list * **Skip Selected** – Tags selected files to be skipped during export * **Reset Selected** – Reverts export jobs marked as "completed" or "skipped" to a pending state * **Refresh Updated** – Applies any updated parameters (e.g., modified In/Out points) * **Remove Selected** – Removes selected files from the export list * **Remove Completed** – Removes all completed export jobs from the list
#### **Starting and Stopping Export** To begin exporting, press the **Rocket button**. To abort an export in progress: * Click the **“Click to Stop”** button in the export status window * Or press **Ctrl + . (period)** on your keyboard

export start button

# Export General Options
#### **General Settings** The **General Settings** section allows you to customize: * **Exported File Name** * **Output Folder** * **Select a Preset for the current export job and all selected export jobs** * **Adjust Image Sequence Naming** * **Index Prefix**\ Sets the character(s) to appear before the frame number in the exported filenames. * **Start Index**\ Defines the starting frame number for the image sequen # Export Presets
#### **Export Presets** The export presets window all you to select a pre-defined system preset or create (or remove) your own user defined preset. # Export Video Options
#### **Format** The **Format** dropdown allows you to select the **file format** for export.\ Current supported formats include: * **MOV** * **MP4** * **MXF OP1a** * **MXF OP-Atom** * **Image Sequence** #### **Format Settings** **MOV Format Settings** * **Export as Reference**\ Exports a **MOV reference file** (i.e., a pointer to existing media, not a self-contained file). The **Video Export** dropdown lets you choose the type of video to export, **pass through** the source video without re-encoding, or **disable video export** entirely. **Available Export Formats and Codecs** * **MOV**\ ▸ PassThru\ ▸ ProRes\ ▸ DNxHD/DNxHR *(Pro License required)*\ ▸ H.264\ ▸ H.265\ ▸ MPEG-2\ ▸ AVC-Intra / AVC-LongG *(Intel CPU only)*\ ▸ XAVC-Intra / XAVC-L *(Intel CPU only)*\ ▸ Uncompressed * **MP4**\ ▸ PassThru\ ▸ H.264\ ▸ H.265 * **MXF OP1a**\ ▸ PassThru\ ▸ ProRes\ ▸ DNxHD/DNxHR *(Pro License required)*\ ▸ H.264\ ▸ MPEG-2\ ▸ AVC-Intra / AVC-LongG *(Intel CPU only)*\ ▸ XAVC-Intra / XAVC-L *(Intel CPU only)*\ ▸ JPEG2000 * **MXF OP-Atom**\ ▸ PassThru\ ▸ ProRes\ ▸ DNxHD/DNxHR *(Pro License required)*\ ▸ H.264\ ▸ MPEG-2\ ▸ AVC-Intra / AVC-LongG *(Intel CPU only)*\ ▸ XAVC-Intra / XAVC-L *(Intel CPU only)*\ ▸ JPEG2000 * **Image Sequence**\ Supported image types:\ ▸ DPX\ ▸ BMP\ ▸ TGA\ ▸ TIFF\ ▸ PNG\ ▸ JPG\ ▸ EXR > For codec-specific configuration, refer to the **Video Codec Settings** sections for detailed options and capabilities. *** #### **Frame Settings** * **Frame Rate**\ Displays the frame rate for the exported file. *(Not adjustable)* * **Field Order**\ Sets the field dominance (Progressive, Upper, Lower). Availability depends on the selected video codec. * **Resolution**\ Displays or sets the output resolution.\ If adjustable, **aspect ratio** settings will also become available. * **Dither**\ Controls dithering behavior when converting between integer and floating-point values. * **Color Space**\ Sets the output color space. Availability varies by codec. * **Color Level**\ Sets the output color level (e.g., Full Range, Video Range). May not be available for all codecs. * **Maximum Gamma Precision (Slower)**\ When enabled, improves gamma accuracy—especially useful when converting from HDR to SDR formats. > *May result in slower export performance.* # ProRes
When exporting to **Apple ProRes**, Tin Man provides a variety of codec configurations and export controls to match your production requirements. **Export Codec Options** * **Apple ProRes 422 HQ** * **Apple ProRes 422** * **Apple ProRes 422 LT** * **Apple ProRes 422 Proxy** * **Apple ProRes 4444 (YUV)** – Encodes using **YUV** color format * **Apple ProRes 4444 XQ (YUV)** – Encodes using **YUV** color format * **Apple ProRes 4444 (RGB)** – Encodes using **RGB** color format * **Apple ProRes 4444 XQ (RGB)** – Encodes using **RGB** color format **Bitrate Options** * **Variable**\ Frame sizes may vary based on content complexity. *(Default and recommended)* * **Constant** *(Windows Only)*\ All frames are encoded at the same size. Useful for systems that require consistent bitrate encoding. **Additional Export Settings** * **Preserve Alpha if Possible**\ When enabled, the export will include an **alpha channel** if the source supports one. > *Only applicable to ProRes 4444 and ProRes 4444 XQ.* * **Export at Maximum Depth**\ Enables export at the highest bit depth supported by the source file and the selected ProRes variant. # DNxHD/HR (Pro License Needed)
*(Pro License Required)* Tin Man supports exporting to various **Avid DNxHD** and **DNxHR** profiles for high-quality, industry-standard intermediate formats. **Export Codec Options** * **HQX** – Extra High Quality\ ▸ 10-bit depth for DNxHD\ ▸ 10-bit or 12-bit depth for DNxHR * **HQ** – High Quality * **SQ** – Standard Quality * **LB** – Low Bitrate * **444** – RGB 4:4:4\ ▸ 10-bit depth for DNxHD\ ▸ 10-bit or 12-bit depth for DNxHR * **TR (Thin Raster)** *(DNxHD Only)*\ Encodes to thin raster resolution (e.g., 1440x1080) * **LT (Light)** *(DNxHD Only)*\ Another thin raster format with reduced bitrate *** **Use DNxHR** Controls whether to use DNxHR encoding when possible: * **Auto** – Uses DNxHD if compatible; falls back to DNxHR when needed * **Always** – Forces encoding to DNxHR regardless of DNxHD compatibility *** **DNxHR Bit Depth *****(For HQX and 444 Profiles)*** * **Auto** – Matches the bit depth of the source file * **12-bit** – Forces 12-bit encoding * **10-bit** – Forces 10-bit encoding *** **Additional Export Settings** * **Preserve Alpha if Possible**\ When enabled, includes an alpha channel in the output (only supported in **DNxHR 444**). * **Export at Maximum Depth**\ Enables export at the highest bit depth supported by the source file and selected codec profile. # H.264
Tin Man offers flexible H.264 export settings optimized for a range of workflows. Available options may vary slightly between Windows and macOS. **Bitrate Mode** *(Windows Only unless noted)* * **Variable** – Dynamically adjusts bitrate based on scene complexity * **Constant** – Maintains a fixed bitrate throughout the video * **Constant QP (Quantization Parameter)** – Fixed quality per frame, useful for consistent image quality * **Auto** *(macOS)* – Automatically selects the appropriate bitrate mode **Target / Max Bitrate (Mbps)** * Adjustable range: **0.1 Mbps** (low) to **400 Mbps** (high) * Available for Variable and Constant bitrate modes **Quality / Speed Tradeoff** * Adjusts the encoder to favor **faster processing** with lower quality, or **higher quality** with slower performance * Useful for balancing render time and output fidelity **Profile / Level** * Sets the **H.264 profile** (e.g., Baseline, Main, High) and **level** (e.g., 4.0, 5.1) * Important for compatibility with various playback systems **Entropy Coding** * **Auto** – Encoder decides * **CABAC** – Higher compression, better quality (slower to encode) * **CAVLC** – Lower compression, faster encoding (less efficient) **Hardware Encoding** * Enables or disables **hardware-accelerated encoding** * Improves export speed when supported by the system’s GPU **GOP (Group of Pictures) Settings** * **GOP Type**\ Choose between: * **I-Frames Only** – Intra-frame only (better for editing) * **IPB** – Inter-frame encoding with P and B frames (better compression) * **GOP Size**\ Controls the number of frames between keyframes (I-frames) * **IDR Interval** * **Windows:** Manually adjustable (up to 50× the GOP size) * **macOS:** Automatically managed by the system # H.265
Tin Man provides robust H.265 (HEVC) export settings for delivering high-efficiency video across different platforms. Options may vary slightly between Windows and macOS. **Bitrate Mode** *(Windows only unless noted)* * **Variable** – Bitrate adjusts dynamically based on content complexity * **Constant** – Maintains a fixed bitrate throughout * **Constant QP (Quantization Parameter)** – Fixed frame quality for consistent visual fidelity * **Auto** *(macOS)* – System selects optimal bitrate mode **Target / Max Bitrate (Mbps)** * Adjustable from **0.1 Mbps** to **400 Mbps** * Applicable to Variable and Constant bitrate modes **Quality / Speed Tradeoff** * Adjust the encoder to prioritize **faster encoding** with lower quality, or **higher quality** with slower export speeds * Useful for balancing visual fidelity vs. performance **Profile / Level** * **Windows:** * **Main** – For 8-bit 4:2:0 encoding * **Main 10** – For 10-bit 4:2:0 encoding (when supported) * **macOS (Apple Silicon):** * **Main** * **Main 10** * **Main422 8-bit** * **Main422 10-bit** > *Enables 4:2:2 encoding for higher-fidelity workflows on Apple Silicon* **Tier** * **Windows:** Choose between **Main** or **High** tier * **macOS:** Automatically selected based on encoding parameters **Hardware Encoding** * Enables or disables **GPU-accelerated encoding**, reducing export time when supported by your system **GOP (Group of Pictures) Settings** * **GOP Type**\ Choose between: * **I-Frames Only** – Ideal for editing workflows * **IPB** – Includes P and B frames for improved compression * **GOP Size**\ Sets the number of frames between I-frames * **IDR Interval** * **Windows:** Manually configurable (up to 50× the GOP size) * **macOS:** Managed automatically by the system # MPEG-2
Tin Man supports several MPEG-2 encoding profiles commonly used in broadcast and professional video delivery, including XDCAM-compatible formats. **Export Codec Options** * **4:2:2 CBR**\ Matches **XDCAM 422** specifications. > *Common bitrate: 50 Mbps* * **4:2:0 VBR**\ Matches **XDCAM EX** specifications. > *Common bitrate: 35 Mbps* * **4:2:0 CBR**\ Matches **XDCAM** or **HDV** specifications. > *Common bitrates: 25 Mbps or 35 Mbps* *** **Bitrate Control** * **Bit Rate**\ Selectable range from **280 Mbps** down to **6 Mbps**, allowing for both high-bitrate mastering and bandwidth-efficient exports. *** **Additional Encoding Options** * **I-Frame Only**\ When enabled, encoding uses only **I-frames**, resulting in **Intra-frame** compression (not Long GOP). > *Useful for editing workflows requiring faster seek and decode performance.* # AVC-Intra/AVC-LongG
*(Intel CPU Required)* These export options are available **only on systems with Intel CPUs**.\ Some codec options may be disabled depending on the **frame rate** of the source media. *** **Export Codec Options** **AVC-Intra:** * **AVC-Intra 4K** – Bitrate: 100 Mbps * **AVC-Intra QFHD** – Bitrate: 100 Mbps * **AVC-Intra 2K** – Bitrate: 100 Mbps * **AVC-Intra 1080p** – Bitrates: 200 Mbps, 100 Mbps, 50 Mbps *(4:2:0)* * **AVC-Intra 1080i** – Bitrates: 200 Mbps, 100 Mbps, 50 Mbps *(4:2:0)* * **AVC-Intra 720p** – Bitrates: 200 Mbps, 100 Mbps, 50 Mbps *(4:2:0)* **AVC-LongG:** * **AVC-LongG 1080p** – Bitrates: 50 Mbps, 25 Mbps, 12 Mbps *(4:2:0)*, 6 Mbps *(4:2:0)* * **AVC-LongG 1080i** – Bitrates: 50 Mbps, 25 Mbps, 12 Mbps *(4:2:0)*, 6 Mbps *(4:2:0)* * **AVC-LongG 720p** – Bitrates: 50 Mbps, 25 Mbps, 12 Mbps *(4:2:0)*, 6 Mbps *(4:2:0)* *** **Bitrate Selection** The **BitRate** dropdown will provide bitrate options based on the selected codec and resolution.\ Refer to the codec list above for available bitrates per format. *** **Export at Maximum Depth** When enabled, this option will export the file at the **highest bit depth supported** by the source media and selected codec profile. # XAVC-Intra/XAVC-L
*(Intel CPU Required)* These export options are available **only on systems with Intel CPUs**.\ Note: Some codec profiles may be **disabled** depending on the **frame rate** of the source media. *** **Export Codec Options** **XAVC-Intra:** * **XAVC 4K Intra**\ ▸ Class480 CBG\ ▸ Class480 VBR\ ▸ Class300 CBG\ ▸ Class300 VBR * **XAVC QFHD Intra**\ ▸ Class480 CBG\ ▸ Class480 VBR\ ▸ Class300 CBG\ ▸ Class300 VBR * **XAVC 2K Intra**\ ▸ Class100 CBG\ ▸ Class100 VBR * **XAVC HD Intra @ 1080p**\ ▸ Class100\ ▸ Class50 *(4:2:0)* * **XAVC HD Intra @ 1080i**\ ▸ Class100\ ▸ Class50 *(4:2:0)* * **XAVC HD Intra @ 720p**\ ▸ Class100 *** **XAVC-Long GOP:** * **XAVC QFHD Long422**\ ▸ 200 Mbps *(4:2:2)*\ ▸ 140 Mbps *(4:2:2)*\ ▸ 100 Mbps *(4:2:2)* * **XAVC QFHD Long**\ ▸ 150 Mbps *(4:2:0)*\ ▸ 100 Mbps *(4:2:0)*\ ▸ 60 Mbps *(4:2:0)* * **XAVC HD Long422 @ 1080p**\ ▸ 50 Mbps\ ▸ 35 Mbps\ ▸ 25 Mbps * **XAVC HD Long422 @ 1080i**\ ▸ 50 Mbps\ ▸ 35 Mbps\ ▸ 25 Mbps * **XAVC HD Long422 @ 720p**\ ▸ 50 Mbps *** **Bitrate Selection** The **BitRate** dropdown will provide bitrate options based on the selected codec, resolution, and chroma subsampling (4:2:2 or 4:2:0).\ See the codec breakdown above for reference. *** **Export at Maximum Depth** When enabled, this option ensures the exported file uses the **highest bit depth** supported by both the source file and the selected XAVC profile. # JPEG2000
Tin Man supports multiple JPEG2000 profiles for high-quality, archival-grade exports, including alpha channel support and lossless encoding. *** **Export Codec Options** * **J2K YUV 4:2:2** * **J2K YUV 4:4:4** * **J2K RGB 4:4:4** * **J2K RGBA 4:4:4:4** *(Supports alpha channel)* *** **Bit Depth** * Selectable options: **8-bit**, **10-bit**, **12-bit**, **16-bit** > *Choose the appropriate bit depth based on your source material and target requirements.* *** **Compression Settings** * **Maximum Bitrate** * Range: **1 to 1000 Mbps** * *Ignored if Lossless is enabled* * **Encode Quality** * Range: **1 (lowest)** to **100 (highest)** * *Ignored if Lossless is enabled* * **Lossless** * When checked, disables bitrate and quality controls to produce a **lossless JPEG2000** export. *** **Additional Settings** * **Preserve Alpha if Possible** * Enables alpha channel export when available. * *Applies only to RGBA 4:4:4:4 profiles.* * **Export at Maximum Depth** * When enabled, exports using the **highest bit depth** available from the source file. # Export Audio Options
The **Audio Export** dropdown lets you choose the type of audio to include in your export or to **disable audio export entirely**. **Available Audio Codecs** * **AAC** *(Stereo only, MOV/MP4 only)* * **AC3** *(Stereo only, MOV/MP4 only)* * **PCM (Uncompressed)** *** #### **Codec Settings** * **Depth**\ Sets the bit depth for **PCM** audio export. * **Bitrate**\ Applies to **AAC** and **AC3** audio exports; determines the output audio bitrate. * **Sample Rate**\ Sets the output sample rate for the exported audio. * **Resample Quality**\ When the sample rate differs from the source (e.g., converting from 44.1kHz to 48kHz), this option controls the **quality of the resampling** process. *** #### **Channel Settings** * **Channel Mapping**\ When enabled, Tin Man will use the configuration from the **Audio Mapping Panel** to export audio channels.\ You can map audio based on:\ ▸ **Audio Channel #**\ ▸ **Speaker Output #** * **Channel Layout**\ Defines how the audio channels are structured in the exported file:\ ▸ **Auto** – Matches the layout of the source file\ ▸ **Discrete** – Each channel is saved in a separate audio track\ ▸ **Interleaved Pairs** – Pairs of channels are grouped into single tracks\ ▸ **Single Track** – All channels are combined into one audio track * **# Channels**\ Sets the number of channels to include in the export file. # Export Metadata Options
**Timecode Settings** for the exported media can be found under the Format dropdown. Tin Man provides multiple options for exporting metadata, depending on the selected export file format: * **Adobe XML**\ Available for all formats. Metadata will either be **embedded** or saved as a **sidecar `.xmp` file**, depending on the format. * **FCPXML** *(Pro License required)*\ Available for all formats. Metadata is saved as a **sidecar `.fcpxml` file**, which can optionally be saved to the **alternate metadata export folder**. * **QuickTime (MOV)**\ When **MOV** is selected as the export format, metadata will be **embedded** directly into the MOV file. * **MP4**\ When **MP4** is selected as the export format, metadata will be **embedded** in the MP4 file. * **OP1a (MXF)**\ When **MXF OP1a** is the export format, metadata is **embedded** in the MXF file. * **Avid (MXF OP-Atom)**\ When **MXF OP-Atom** is the export format, metadata will be **embedded** in the file. * **AAF** *(Pro License required)*\ Appears under the **Avid metadata** section when **MXF OP-Atom** is selected. Metadata is saved as a **sidecar `.aaf` file**, which can also be saved to the **alternate metadata export folder**. * **EXR**\ When **EXR** is the export format, metadata will be **embedded** directly into the EXR file. * **DPX**\ When **DPX** is the export format, metadata will be **embedded** in the DPX file. # Tin Man Server Complete command reference for Tin Man Server CLI operations. ### Command Structure ```bash tinman-server [general-options] [command-options] ``` **Note:** Press `Ctrl+C` to cancel any running operation. ### General Options These options must come **before** your input files: | Option | Description | | -------------------- | -------------------------------------------------------------- | | `--threads N` | Number of concurrent threads (1-5, default: 1) | | `--progress=no-json` | Output progress as human-readable text instead of JSON | | `--no-recursive` | Don't scan subfolders (default: recursive) | | `--gpu-cuda` | Use CUDA instead of OpenCL (Windows/NVIDIA only) | | `--gpu-encode` | Enable GPU hardware encoding (default: CPU) | | `--rawLog` | Set all RAW files to Log | | `--raw709` | Set all RAW files to Rec. 709 | | `--raw709tonemap` | Set all RAW files to Rec. 709 with tone mapping when available | | `--raw2020` | Set all RAW files to Rec. 2020 | | `--rawHLG` | Set all RAW files to Rec. 2020/HLG | | `--rawPQ` | Set all RAW files to Rec. 2020/PQ | | `--rawACES` | Set all RAW files to ACES AP0 | | `--help` | Show help message | | `--version` | Show version information | ### Input Methods | Method | Example | Description | | -------------- | ---------------------------------------------------- | ------------------------------------------------------------ | | Single file | `tinman-server /path/file.R3D ...` | Process one file | | Multiple files | `tinman-server /path/file1.R3D /path/file2.braw ...` | Process multiple files | | Folder | `tinman-server /path/footage/ ...` | Process all supported files in folder (recursive by default) | | File list | `tinman-server @filelist.txt ...` | Text file containing list of files/folders to process | ### Commands #### generate-config Generate a default configuration file that can be customized and reused for report configs or metadata burn-in on export configs. **Options:** | Option | Description | | --------------- | ------------------------------------------------ | | `--type TYPE` | Config type: report, burnIn-MD (default: report) | | `--output FILE` | Output config file path (required) | | `--stdout-json` | Output config JSON to stdout | **Example:** ```bash tinman-server generate-config --output my-config.json ``` *** #### metadata Extract metadata from media files and generate reports in multiple formats. **Options:** | Option | Description | | --------------------- | ---------------------------------------------------------------------------------------------- | | `--config FILE` | Filepath to JSON file for report options | | `--config-json JSON` | Inline JSON string for report options | | `--stdout-json` | Output JSON report to stdout instead of file | | `--summary` | Summary mode: minimal JSON output (fileName, size, codec, resolution, fps, duration, timecode) | | `--output-dir DIR` | Output directory for report files | | `--name REPORTNAME` | Name to use for the report | | `--type TYPE` | Report type: clips, contactsheet (default: clips). Multiple types can be specified | | `--format FORMAT` | Output format: json, pdf, html, csv, xlsx (default: pdf). Multiple formats can be specified | | `--html-asset-folder` | Save HTML thumbnails as separate JPEG files (creates folder) | | `--rec709` | Convert PDF thumbnails to Rec. 709 colorspace | | `--rec709tonemap` | Convert PDF thumbnails to Rec. 709 colorspace with tone mapping when needed | | `--header.KEY VALUE` | Override report header fields (see below) | **Header override fields** (used with `--header.KEY VALUE`): * `line1`, `line2`, `line3`, `line4` * `comments` * `logoLightMode_path`, `logoDarkMode_path` * `logo_alignment` (left, center, right) **Examples:** ```bash # PDF report (default) tinman-server /path/footage/ metadata --output-dir /path/reports/ # CSV report tinman-server /path/footage/ metadata --output-dir /path/reports/ --format csv # Multiple formats at once tinman-server /path/footage/ metadata --output-dir /path/reports/ --format csv pdf xlsx # Contact sheet report tinman-server /path/footage/ metadata --output-dir /path/reports/ --type contactsheet --format pdf # Both clips and contact sheet reports tinman-server /path/footage/ metadata --output-dir /path/reports/ --type clips contactsheet --format pdf # HTML report with separate JPEG sidecar assets tinman-server /path/footage/ metadata --output-dir /path/reports/ --format html --html-asset-folder # Summary mode to stdout (minimal JSON, no file written) tinman-server /path/footage/ metadata --summary --stdout-json # Inline JSON config tinman-server /path/footage/ metadata --config-json "{...}" --output-dir /path/reports/ # Using custom config file tinman-server /path/footage/ metadata --config my-config.json --output-dir /path/reports/ # Override report header fields tinman-server /path/footage/ metadata --output-dir /path/reports/ \ --header.line1 "Production Title" --header.line2 "Day 1" \ --header.logo_alignment center # With threading tinman-server --threads 3 /path/footage/ metadata --output-dir /path/reports/ --format csv ``` *** #### export Export and transcode media files using system presets or custom preset files. **Options:** | Option | Description | | ------------------------------ | ----------------------------------------------------------------------------------------------- | | `--list-presets` | List all available system export presets | | `--preset FILE` | Export preset (system preset name or path to custom JSON file) | | `--resolution RES` | Preset override resolution: half, quarter, eighth | | `--max-width N` | Preset override resolution: scale to max width, height auto-calculated | | `--fixed-size W H` | Preset override resolution: exact output width and height | | `--bitrate T M` | Preset override bitrate: target and max bitrate in kbps, 100 to 400000 (H.264/H.265 only) | | `--src-resize` | Use source resizing when possible | | `--burnIn-TC` | Burn in TimeCode | | `--burnIn-MD` | Burn in Metadata (uses conservative defaults) | | `--burnIn-MD-config FILE` | JSON config for per-field MD burn-in toggles | | `--burnIn-MD-config-json JSON` | Inline JSON for per-field MD burn-in toggles | | `--rec709` | Preset override output colorspace: convert to Rec. 709 colorspace | | `--rec709tonemap` | Preset override output colorspace: convert to Rec. 709 colorspace with tone mapping when needed | | `--output-dir DIR` | Output directory for exported files | | `--naming PATTERN` | Naming pattern with tokens: `{source}`, `{date}`, `{timecode}`, `{reel}` (default: `{source}`) | | `--index-prefix STR` | Character before frame number for sequences: `.`, `-`, `_` (default: none) | | `--index-min-size N` | Frame padding 4-12 for sequences (default: auto) | | `--index-offset VAL` | Starting frame: `0`, `1`, `offset`, `tc` (default: 0) | **Examples:** ```bash # List all available presets tinman-server export --list-presets # Export using system preset tinman-server /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ # Export using custom preset JSON file tinman-server /path/footage/ export --preset /path/my-preset.json --output-dir /path/exports/ # Export at half resolution tinman-server /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ \ --resolution half # Export scaled to a maximum width tinman-server /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ \ --max-width 1920 # Export at an exact fixed size tinman-server /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ \ --fixed-size 1920 1080 # Export with a custom target and max bitrate (kbps) tinman-server /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ \ --bitrate 12000 16000 # Export with Rec. 709 colorspace conversion tinman-server /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ \ --rec709 # Export with custom naming pattern tinman-server /path/footage/ export --preset mp4_h264_10mbps --output-dir /path/exports/ \ --naming "{date}_{source}_{timecode}" # Export image sequence with custom frame numbering tinman-server /path/file.R3D export --preset imageseq_dpx_10bit_rgb_be \ --output-dir /path/exports/ --index-prefix "." --index-min-size 6 --index-offset 1 # Export with threading tinman-server --threads 3 /path/footage/ export --preset mov_prores422_hq --output-dir /path/exports/ ``` **System Export Presets** **Image Sequences:** * `imageseq_dpx_10bit_rgb_be` - DPX 10-bit RGB Big Endian * `imageseq_tiff_16bit_rgb` - TIFF 16-bit RGB **MOV - Apple ProRes:** * `mov_prores422_proxy` - ProRes 422 Proxy * `mov_prores422_lt` - ProRes 422 LT * `mov_prores422` - ProRes 422 * `mov_prores422_hq` - ProRes 422 HQ * `mov_prores4444_yuv` - ProRes 4444 YUV * `mov_prores4444_rgb` - ProRes 4444 RGB * `mov_prores4444_xq_yuv` - ProRes 4444 XQ YUV * `mov_prores4444_xq_rgb` - ProRes 4444 XQ RGB **MOV - Avid DNxHR:** * `mov_dnx_lb` - DNxHR LB * `mov_dnx_sq` - DNxHR SQ * `mov_dnx_hq` - DNxHR HQ * `mov_dnx_hqx` - DNxHR HQX * `mov_dnx_444` - DNxHR 444 **MOV - Samsung OpenAPV:** * `mov_apv422_10_sq` - Samsung OpenAPV 422 10-bit SQ * `mov_apv422_10_lq` - Samsung OpenAPV 422 10-bit LQ * `mov_apv422_10_hq` - Samsung OpenAPV 422 10-bit HQ * `mov_apv422_12_sq` - Samsung OpenAPV 422 12-bit SQ * `mov_apv422_12_lq` - Samsung OpenAPV 422 12-bit LQ * `mov_apv422_12_hq` - Samsung OpenAPV 422 12-bit HQ * `mov_apv444_10_uq` - Samsung OpenAPV 4444 10-bit UQ * `mov_apv444_12_uq` - Samsung OpenAPV 4444 12-bit UQ **MOV - Passthrough:** * `mov_passthru` - MOV Passthrough (rewrap without transcoding) **MP4 - H.264:** * `mp4_h264_10mbps` - H.264 10 Mbps * `mp4_h264_20mbps` - H.264 20 Mbps **MP4 - H.265 (HEVC):** * `mp4_h265_main_10mbps` - H.265 Main Profile 10 Mbps * `mp4_h265_main_20mbps` - H.265 Main Profile 20 Mbps * `mp4_h265_main10_10mbps` - H.265 Main10 Profile 10 Mbps * `mp4_h265_main10_20mbps` - H.265 Main10 Profile 20 Mbps **MP4 - H.265 Main 4:2:2 (macOS only):** * `mp4_h265_main422_8bit_10mbps` - H.265 Main 4:2:2 8-bit 10 Mbps * `mp4_h265_main422_8bit_20mbps` - H.265 Main 4:2:2 8-bit 20 Mbps * `mp4_h265_main422_10bit_10mbps` - H.265 Main 4:2:2 10-bit 10 Mbps * `mp4_h265_main422_10bit_20mbps` - H.265 Main 4:2:2 10-bit 20 Mbps **MXF OP-Atom - Avid DNxHR:** * `mxf_opatom_dnx_lb` - MXF OP-Atom DNxHR LB * `mxf_opatom_dnx_sq` - MXF OP-Atom DNxHR SQ * `mxf_opatom_dnx_hq` - MXF OP-Atom DNxHR HQ * `mxf_opatom_dnx_hqx` - MXF OP-Atom DNxHR HQX * `mxf_opatom_dnx_444` - MXF OP-Atom DNxHR 444 **MXF OP-Atom - Passthrough:** * `mxf_opatom_passthru` - MXF OP-Atom Passthrough **MXF OP1a - Apple ProRes:** * `mxf_op1a_prores422_proxy` - MXF OP1a ProRes 422 Proxy * `mxf_op1a_prores422_lt` - MXF OP1a ProRes 422 LT * `mxf_op1a_prores422` - MXF OP1a ProRes 422 * `mxf_op1a_prores422_hq` - MXF OP1a ProRes 422 HQ * `mxf_op1a_prores4444_yuv` - MXF OP1a ProRes 4444 YUV * `mxf_op1a_prores4444_rgb` - MXF OP1a ProRes 4444 RGB * `mxf_op1a_prores4444_xq_yuv` - MXF OP1a ProRes 4444 XQ YUV * `mxf_op1a_prores4444_xq_rgb` - MXF OP1a ProRes 4444 XQ RGB **MXF OP1a - Avid DNxHR:** * `mxf_op1a_dnx_lb` - MXF OP1a DNxHR LB * `mxf_op1a_dnx_sq` - MXF OP1a DNxHR SQ * `mxf_op1a_dnx_hq` - MXF OP1a DNxHR HQ * `mxf_op1a_dnx_hqx` - MXF OP1a DNxHR HQX * `mxf_op1a_dnx_444` - MXF OP1a DNxHR 444 **MXF OP1a - Sony XAVC (Windows only):** * `mxf_op1a_xavchd_intra_interlaced_class100cbg` - XAVC HD Intra Interlaced Class 100 * `mxf_op1a_xavchd_intra_progressive_class100cbg` - XAVC HD Intra Progressive Class 100 * `mxf_op1a_xavc2k_intra_class100cbg` - XAVC 2K Intra Class 100 * `mxf_op1a_xavcqfhd_intra_class300cbg` - XAVC QFHD Intra Class 300 * `mxf_op1a_xavcqfhd_intra_class480cbg` - XAVC QFHD Intra Class 480 * `mxf_op1a_xavc4k_intra_class300cbg` - XAVC 4K Intra Class 300 * `mxf_op1a_xavc4k_intra_class480cbg` - XAVC 4K Intra Class 480 **MXF OP1a - Passthrough:** * `mxf_op1a_passthru` - MXF OP1a Passthrough *** #### thumbnail Generate thumbnail JPEG images with extensive control over size, quality, timing, and naming. **This command is currently free** **Options:** | Option | Description | | ------------------------- | ------------------------------------------------------------------------------- | | `--output-dir DIR` | Output directory for thumbnails (required, created if needed) | | `--size WIDTH` | Max width in pixels, height maintains aspect (120-1024, default: 320) | | `--quality N` | JPEG quality 1-100 (default: 85) | | `--startframe FRAME` | Starting frame number (default: 0, overrides --starttimecode) | | `--starttimecode TC` | Starting timecode (default: first frame) | | `--time-interval SECONDS` | Generate thumbnail every N seconds (default: single frame) | | `--time-count N` | Max number of thumbnails per file (default: 1) | | `--position-count N` | Generate N evenly distributed thumbnails (min: 2, overrides time-based options) | | `--rec709` | Convert thumbnails to Rec. 709 colorspace | | `--rec709tonemap` | Convert thumbnails to Rec. 709 colorspace with tone mapping when needed | | `--usesubdirs` | Create subdirectory per source file (batch mode only) | | `--fileoverwrite` | Overwrite existing thumbnail files (default: skip with error) | | `--nameprefix NAME` | Prefix to add before source filename (default: none) | | `--nameseparator SEP` | Separator: none, dash, dot, underscore (default: underscore) | | `--nameindex TYPE` | Index type: frame, timecode, sequence (default: sequence) | **Position-based generation examples:** * `--position-count 3` = 0%, 50%, 100% (start, middle, end) * `--position-count 6` = 0%, 20%, 40%, 60%, 80%, 100% **Examples:** ```bash # Single thumbnail per file at default size (320px) tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ # Three evenly distributed thumbnails (start/middle/end) tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ --position-count 3 # Six evenly distributed thumbnails tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ --position-count 6 # Five thumbnails with 1 second intervals, organized in subdirectories tinman-server /path/footage/ thumbnail --output-dir /path/thumbs/ \ --time-count 5 --time-interval 1.0 --usesubdirs # Custom naming with prefix and timecode index tinman-server /path/file.R3D thumbnail --output-dir /path/thumbs/ \ --nameprefix Dailies --nameindex timecode # High resolution with Rec. 709 Tone-Mapping conversion tinman-server /path/file.braw thumbnail --output-dir /path/thumbs/ \ --startframe 100 --size 1024 --quality 95 --rec709tonemap ``` *** #### copy Copy files with checksum verification. **This command is currently free** **Options:** | Option | Description | | ------------------ | ---------------------------------------- | | `--output-dir DIR` | Destination directory (required) | | `--overwrite` | Overwrite existing files (default: skip) | **Examples:** ```bash # Copy single file with verification tinman-server /path/input.R3D copy --output-dir /path/backup/ # Copy folder preserving structure tinman-server /path/footage/day1/ copy --output-dir /path/backup/day1/ # Copy with threading for speed tinman-server --threads 5 /path/footage/ copy --output-dir /path/backup/ # Overwrite existing files tinman-server /path/footage/ copy --output-dir /path/backup/ --overwrite ``` *** ### Command Chaining Multiple commands can be executed in a single invocation: ```bash # Generate both metadata report and thumbnails tinman-server /path/input.R3D metadata --output-dir /path/reports/ thumbnail --output-dir /path/thumbs/ ``` ### Progress Output By default, Tin Man Server outputs JSON-formatted progress for automation: ```bash # JSON progress (default) tinman-server /path/footage/ metadata --output-dir /path/reports/ # Human-readable progress tinman-server --progress=no-json /path/footage/ metadata --output-dir /path/reports/ ``` The JSON progress output includes file processing status, progress percentage, errors and warnings, operation results, and timing metrics. Progress updates are throttled to 10% increments for batch operations to reduce output volume. ### Claude Cowork Tin Man Server also includes a Claude Cowork plugin that exposes all commands through natural language in Claude AI. See the [GitHub repository](https://github.com/calibratedsoftware/tinman-server-cowork) for installation. ### Other MCP Clients To connect Tin Man Server to any MCP-compatible client, add the following entry to your client's MCP configuration file. **Windows:** ```json "tinman-server": { "command": "C:\\Program Files\\Calibrated Software\\Tin Man\\python\\python.exe", "args": ["C:\\Program Files\\Calibrated Software\\Tin Man\\Server\\tinman_server_mcp.cpython-310.pyc"] } ``` **macOS:** ```json "tinman-server": { "command": "/Applications/Calibrated Tin Man.app/Contents/PlugIns/Frameworks/Python.framework/Versions/3.10/bin/python3", "args": ["/Applications/Calibrated Tin Man.app/Contents/Server/tinman_server_mcp.cpython-310.pyc"] } ``` ### Tips * Press `Ctrl+C` to cancel any running operation * Use `--threads` to process multiple files concurrently (max 5) * The `copy` command is currently free * The `thumbnail` command is currently free * File inputs are processed recursively by default; use `--no-recursive` to process only top-level files # Release Notes Tin Man Release Notes **Version 26.8.1 – August 28, 2026** **New Features** * Added CDL with ASC-SOP Color Wheels for all video formats * Added Rotate, horizontal flip, and vertical flip for all formats * Exports can now optionally run in the background at full speed, half, or quarter * System notification when an export queue finishes * Stopping an export queue now offers to finish the jobs already running * Maximum concurrent export jobs raised from 5 to 10 * New marker snapshot: save a marker's frame with its annotations to JPG or PNG, or copy straight to the clipboard, with optional marker data in a caption below the image * Ability to import Insta360 INSV and LRV, DJI OSV and LRF, and GoPro 360 (single track viewing only) * Samsung Log support * Insta360 I-Log support * New Canon CRM gammas: Canon 709, CMT 709, CMT HLG, CMT PQ, and CMT DCI * Encode/Decode Samsung APV 444 RGB/RGBA 12/10-bit **SDK Updates** * Updated ARRI RAW SDK to 9.1 * Updated ARRI MXF SDK to 4.4.16 * Updated to the latest Canon RAW SDK * Updated OpenAPV SDK **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.7.1 – July 29, 2026** **New Features** * Added ASC-SOP Color Wheels for RAW Formats * Added loading and saving .cc files for RAW Formats * Added left/right eye switching for Immersive Blackmagic BRAW **SDK Updates** * Update Sony RAW SDK * Updated OpenAPV SDK * Updated FFMPEG SDK * Updated OpenEXR SDK **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.6.4 – June 27, 2026** **SDK Updates** * Updated RED RAW SDK to 9.2.1 **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.6.3 – June 15, 2026** **Fixes & Improvements** * Fixed playback of 24-bit AAC Audio * Miscellaneous bug fixes and stability improvements. **Version 26.6.2 – June 1, 2026** **New Features** * Added Timecode Burn-In for exports in Tin Man and Tin Man Server * Added Metadata Burn-In for exports in Tin Man and Tin Man Server * Added JSON configuration file support for Metadata Burn-In options in Tin Man Server * Added Timecode and Metadata Burn-In for snapshots in Tin Man * Added half, quarter, and eighth resolution options for snapshots in Tin Man * Added faster app update checking with options to check automatically weekly or on every app launch **SDK Updates** * Updated Claude Cowork Plugin for Tin Man Server with new Timecode and Metadata Burn-In Options **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.5.2 – May 20, 2026** **New Features** * Added Metadata overlay in Tin Man Desktop for playback **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.5.1 – May 12, 2026** **New Features** * Added GPU Export Engine (OpenCL and CUDA on Windows, Metal on macOS) — disabled by default * Added Timecode overlay in Tin Man Desktop for playback * Added Contact Sheet report (PDF and HTML) * Added half, quarter, and eighth resolution options for export * Added ability to store HTML report thumbnails in a sidecar assets folder instead of embedded in the HTML file * Added new Tin Man Server commands — see manual for details **SDK Updates** * Updated OpenAPV SDK * Updated OpenEXR SDK **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.4.1 – April 2, 2026** **New Features** * New ‘Copy Manager’ panel in Tin Man that enables verified copies of files/folders * Tin Man and Tin Man Server now write out MHL 1.1 files on verified copies to root destination folders. **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.3.3 – March 29, 2026** **New Features** * Added Canon RAW 14-bit .CRM support **Fixes & Improvements** * Fixed issue with certain type of Canon RAW .CRM causing a hang when opening * Miscellaneous bug fixes and stability improvements. **Version 26.3.2 – March 26, 2026** **Claude Cowork Plugin for Tin Man Server** Tin Man Server now comes with a Claude Cowork plugin for macOS and Windows, bringing professional media workflows and automation directly into Claude’s AI environment — all accessible through natural language. * Scan and analyze media * Generate Camera Reports in PDF, HTML, and JSON formats * Create thumbnails * Transcode media using built-in or custom presets * Perform SHA256-verified file copies * Includes built-in knowledge skills for camera formats, DIT workflows, and best practices *Claude Cowork Plugin available as a macOS or Windows download in our GitHub repository* **Smart HTML Reports** A major upgrade for HTML Camera Clips and Marker reports, adding powerful interactivity, customization, and improved usability. * Advanced multi-term search with support for OR (||), AND (&&), and parentheses grouping * Live filtering summary showing matched vs total items * Sticky controls bar for quick access while scrolling * Dark/light theme toggle with full report-wide switching * Responsive mobile layout with optimized control placement * Print-friendly output that automatically hides UI controls * Collapse/expand clips and marker groups; Ctrl/Cmd+click toggles all at once * Thumbnail lightbox for full-size viewing of marker thumbnails * Custom report headers with logo placement, four customizable text lines, and a comments field * Dual logo support for light and dark themes **JSON Reports for Automation** *(Tin Man Pro & Tin Man Server)* Structured JSON output for AI, scripting, and pipeline workflows, with full metadata and thumbnail references. **JSON Report Viewer** *(Tin Man Pro & Tin Man Server)* Open and proof Tin Man JSON reports just like HTML reports. * Feature-for-feature parity with HTML reports * Includes search, themes, collapse/expand, thumbnails, and print support **PDF Reports** PDF reports now support custom headers and dual-theme logos. * Custom report headers with logo placement, four customizable text lines, and a comments field * Logo support for light and dark themes **Smart Bins** Project-independent Smart Bins provide live-updating filtered views of your clips based on custom criteria. **Camera & Lens Metadata** New metadata fields for pan, tilt, roll, focus distance, and focal length are now available in File List columns, the Inspect panel, and reports. **Export Queue** The export queue now supports queuing multiple export jobs from the same source file. **RED RAW SDK** Updated to RED RAW SDK 9.2.0 **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.3.1 – March 10, 2026** **New Features** * Added compiled Python MCP Server for Tin Man Server. * Added the ability to maximize or minimize floating windows. * Updated Sony RAW SDK * Added macOS Tahoe compatible app icon **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.2.4 – February 26, 2026** **New Features** * **RAW Settings Persistence** – RAW decode settings (white balance, ISO, color space, resolution, tone mapping, etc.) are now saved per-clip in the project database for all supported RAW formats: BRAW, RED, ARRI, Canon RAW, Sony RAW, DNG, and ProRes RAW. Settings are automatically restored when reloading a project. * **Floating Window Transparency (macOS)** – Adjustable transparency for floating dock widgets is now available on macOS, matching existing Windows functionality. * **Updated Qt Framework** – Updated to Qt 6.10.2. **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements. **Version 26.2.3 – February 22, 2026** **New Features** * **New Project Format** – Projects are now self-contained .tmprjt folder bundles containing the database and all associated assets. Legacy .tmfilelist projects are automatically migrated on first load and shown with a "(legacy)" label in the project manager. On macOS, .tmprjt folders appear as single items in Finder. Save As copies the entire project folder including all subfolders and assets. * **Marker Annotation**s – Draw freeform lines, arrows, rectangles, and ellipses directly on marker thumbnails. The annotation canvas supports configurable position (Right, Left, Top, Bottom) alongside the marker list, with a delete tool for removing annotations by selection rectangle, and full undo/redo support. * **Marker Report Thumbnails** – Row thumbnails (small, in the Name cell) and large thumbnails below rows, with display modes for None, Annotated Only, or All. Thumbnails and annotations are composited into both PDF and HTML marker reports. * **Marker Database Storage** – Marker metadata is now stored in the project database. Thumbnails and annotations are stored in a project-local markerthmb/ folder with automatic one-time migration of existing markers on first clip load. * **HTML Reports** – Self-contained single-file HTML output for both marker reports and clip/camera reports, with inline CSS and embedded images. Supports dark and light mode, print-friendly styling via CSS media queries. * **JSON Reports (Pro, Server)** – JSON clip reports with structured metadata, embedded base64 thumbnails, and clip summary. JSON marker reports (Pro) with grouped-by-file and flat modes, annotation thumbnails, and marker summary. * **Tin Man JSON Report Viewer** – A standalone HTML utility included with Tin Man for viewing JSON clip and marker reports in any browser. * **Clip Color Labels** – Apply color labels to files, matching DaVinci Resolve workflow. * **Colorspace Settings per Clip** – Source and destination colorspace settings are now saved and restored per-clip in the project database. * **Apply Settings to Selection** – Apply RAW settings, source colorspace, or destination colorspace to all selected files at once. * **Inspect Panel Improvements** – 14 new metadata fields are now available in the Inspect panel: Episode #, Roll Card #, Sound Roll #, Clip Number, Shoot Day, Director, DOP, Production Company, Production Name, Location, Camera Operator, Environment, and Day/Night. Individual rows can be hidden to customize the view. * **Extended DaVinci Resolve Scripting (Pro**) – The above 14 metadata fields are available for Resolve scripting and CSV export, all configurable via the Scripting Options dialog. **Fixes & Improvements** * Fixed a crash when deleting markers that were created in a previous version. * Miscellaneous bug fixes and stability improvements. **Version 26.2.1 – February 10, 2026** **New Features** * **Audio Sync (Tin Man Pro feature)** – Sync up to 16 external audio files to a video clip using timecode or in/out points. Optionally use audio file metadata. Synced audio is preserved when saving and loading file lists. * **Audio Channel Names** – Audio channel names are now extracted from iXML and BWF metadata in WAV files. Channel names appear in the Inspect panel, File List, Audio Mapping source column, and PDF/XLSX/CSV reports. * **Sync Audio Column** – A new Sync Audio column in the File List shows the filenames of externally synced audio files. Available in reports as well. * **DaVinci Resolve Integration (Tin Man Pro feature)** – Send synced video and external audio clips to DaVinci Resolve Studio, with an option to include audio metadata. * **File List Save & Save As** – File lists now save to the currently loaded list when closing Tin Man or switching to another list. The Save As option lets you create new named file lists. The File List dock title shows the name of the currently loaded list. * **Thumbnail Scrub Bar** – A new thumbnail scrub bar in the player lets you visually scrub through clips for quicker navigation and review. * **Calibrated QuickLook Timecode Overlay** – Hovering over the thumbnail scrub bar in Calibrated QuickLook now displays timecode or frame count for easier reference. * **Updated ARRI SDK** – Tin Man now includes the latest ARRIRAW SDK, improving compatibility and performance with current ARRI cameras. **Fixes & Improvements** * Fixed Calibrated QuickLook white screen issue when switching clips quickly. * PDF reports now word wrap long metadata fields instead of running off the page. * Saved layouts now preserve File List column widths, order, and visibility. * Ctrl+A (Cmd+A on macOS) now selects all items in the File List. * Multi-select delete for file lists and layouts in their manager windows. * Miscellaneous bug fixes and stability improvements. **Version 26.1.5 – January 28, 2026** **New Features** * Playback and scrubbing speed improvement for RED RAW R3D files on macOS. * Playback and scrubbing speed improvement for Blackmagc BRAW files on macOS. **Fixes & Improvements** * Fixed Calibrated QuickLook white screen issue when switching clips quickly. * Fixed Calibrated QuickLook playback continuing in background when switching to another clip. * Miscellaneous bug fixes and stability improvements for a smoother, more reliable user experience. **Version 26.1.4 – January 12, 2026** **Calibrated QuickLook *****(Free Plugin for macOS):*** View video playback previews and thumbnails of MXF files and professional camera RAW formats directly in Finder without launching Tin Man. Calibrated QuickLook is powered by a streamlined version of the Tin Man Decoding Engine for native-quality playback and accurate color reproduction. * **Playback Preview & Thumbnail support:** * Blackmagic RAW (BRAW) * RED RAW (R3D) * ARRIRAW (MXF/ARI/ARX) * Sony RAW (MXF) * Nikon RAW (NEV) * Canon RAW (CRM/RMF) * DPX sequences * MXF files supported by Tin Man * **Playback Preview features:** * Real-time color space conversions for RAW and Log media * Metadata and timecode overlay * Thumbnail scrub bar * Frame-by-frame stepping (with hold-to-repeat) * Resolution selection for RAW decode quality * Audio scrubbing * Audio playback with volume control * Automatically installed and registered with macOS during Tin Man installation. * Can be enabled/disabled in System Settings → General → Login & Extensions → QuickLook. * macOS loads Apple’s native MXF QuickLook provider at startup. To allow Calibrated QuickLook to handle video previews for supported MXF files, **Finder must be restarted after each system startup**. **New Features** * Added support for 32-bit Floating Audio support for Nikon ZR R3D files. **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements for a smoother, more reliable user experience. **Version 25.12.2 – December 16, 2025** **Calibrated QuickLook *****(New Free Plugin for macOS):*** Free native macOS QuickLook integration for MXF and professional camera RAW formats—see thumbnails and previews directly in Finder without launching Tin Man. * **Thumbnail support:** MXF (all variants supported by Tin Man), Blackmagic RAW, RED R3D, ARRIRAW (ARI/ARX), Nikon RAW (NEV), Canon RAW (CRM/RMF), DPX sequences. * **Preview support:** Blackmagic RAW, RED R3D, ARRIRAW (ARI/ARX), Nikon RAW (NEV), Canon RAW (CRM/RMF), DPX sequences. (displays a high-quality frame; video playback preview for MXF and Camera RAW planned for a future update but no ETA) * Automatically installed and registered with macOS during Tin Man installation. * Can be enabled/disabled in System Settings → General → Login & Extensions → QuickLook. **New Features** * Added DNxHD/HR 422 decoding for free trial and Tin Man standard edition using FFmpeg. *Tin Man Pro and Tin Man Server use Avid's SDK for maximum quality and compatibility.* **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements for a smoother, more reliable user experience. **Version 25.12.1 – December 3, 2025** **Tin Man Server *****(New Application):*** Command-line interface (CLI) for automating professional video workflows on macOS and Windows. *(Requires a Tin Man Server license.)* * Automated exports and transcodes using 50+ built-in system presets, including ProRes, DNxHR, H.264, H.265, DPX, and MXF formats—plus support for user-defined custom export presets. * Automated metadata report generation in PDF, CSV, XLSX, and JSON formats, with fully customizable field configurations. * Automated JPEG thumbnail generation, with position-based or time-based extraction, resolutions up to 1024px, and optional Rec.709 color conversion. ***(Currently a free feature.)*** * Automated media copying with SHA-256 checksum validation for secure and reliable transfers. ***(Currently a free feature.)*** * Multi-threading support for running up to 5 concurrent operations for faster batch processing. * Structured JSON progress output for scripting, automation, and integration into pipeline tools. * Command chaining to execute multiple operations in a single invocation. * Support for all media file types that can be imported into the Tin Man desktop application. * A Tin Man Server license includes a Tin Man Pro license at no additional cost. **Calibrated Spotlight *****(New Free Plugin for macOS):*** Free macOS Spotlight integration for MXF and professional camera RAW formats. * Supported formats: MXF (all variants supported by Tin Man), RED R3D, ARRIRAW (ARI/ARX), Nikon RAW (NEV), Canon RAW (CRM/RMF), DPX sequences. * Search camera files directly from Spotlight (⌘ + Space) or Finder. * Search by the following metadata categories: *Format, Video Codec, Resolution, Color Space, Frame Rate, Timecode, Audio Codec, Audio Channels, Date Created, Reel, Scene, Shot, Take, Good Take, Company, Production, Director, DP, Location, Description, Comments, Keywords, Camera Model, ISO, White Balance, Tint, Shutter Angle, Aperture, Lens Model, Camera Name,* and *Camera Operator.* * Automatically installed and registered with macOS during Tin Man installation. * Can be enabled/disabled in System Settings → General → Login & Extensions → Spotlight. **Fixes & Improvements** * Miscellaneous bug fixes and stability improvements for a smoother, more reliable user experience. **Version 25.11.1 – November 14, 2025** **New Features** * **Tonemapping for RAW → Rec.709 Conversions** \ Added a new Tonemapping option when converting Sony RAW, Blackmagic RAW, and Canon RAW to Rec.709 for improved dynamic-range handling. * **Highlight / Midtone / Shadow Adjustments for Canon RAW & BRAW** \ You can now fine-tune Highlights, Midtones, and Shadows when processing Canon RAW and Blackmagic RAW clips. * **Automatic Thumbnail Rec.709 Conversion in PDF Reports** \ Added an option to automatically convert thumbnails in PDF camera reports to Rec.709, with or without Tonemapping. **SDK Updates** * RED RAW SDK updated to 9.1.2 * Blackmagic RAW SDK updated to 5.1 * CUDA acceleration added for ProRes RAW processing on Windows (NVIDIA GPUs) **Fixes & Improvements** * Various bug fixes and stability enhancements for a smoother user experience **Version 25.10.3 – October 23, 2025** **Fixes & Improvements** * Fixed Samsung APV in MP4 format full range flag not being read correctly. **Version 25.10.2 – October 23, 2025** **New Features** * **Drag & Drop to Export**\ You can now drag clips directly from the File List or Bins into the Export panel for a faster, more intuitive workflow. * **“Add to Export Queue” from Bins**\ Added a convenient Add to Export Queue option for selected bins via the drop-down menu. * **Samsung APV (OpenAPV) Decode Support**\ Added full decoding support for all the below **Samsung APV** formats. * **Samsung APV (OpenAPV) Encoding Support**\ Tin Man now supports **Samsung APV** encoding to MOV or MP4 files in the following formats: * 10-bit YUV 4:2:2 * 12-bit YUV 4:2:2 * 10-bit YUV 4:4:4 * 12-bit YUV 4:4:4 * 10-bit YUV 4:4:4:4 (with Alpha) * 12-bit YUV 4:4:4:4 (with Alpha) **Includes:** * **Flexible Bitrate & Quality Controls**\ Encode using either: * *Variable Bitrate (VBR)* — choose from HQ, SQ, LQ, or UQ quality families or set a custom target bitrate. * *Constant QP (CQP)* — manually specify quantization parameter values for consistent quality control. * **Color Space & Range Preservation**\ Samsung APV encodes now embed color space and color range (video or full) metadata directly into the file. **Fixes & Improvements** * Various bug fixes and stability enhancements for a smoother user experience. **Version 25.10.1 – October 10, 2025** **New Features** * Added Bin support in File List (create bins, rename bins, assign files to bins) * Added save/load functionality for Bins and File Lists * Added the ability to send Bins with files along with metadata and markers to Resolve Studio **SDK Updates** * • RED RAW SDK updated **Fixes & Improvements** * Various bug fixes and stability enhancements for a smoother user experience. **Version 25.9.4 – September 26, 2025** **New Features** * Added Apple Log Colorspace for ProRes RAW * Added Apple Log 2 Colorspace for ProRes RAW * Added Blackmagic Wide Gamut/Film Gen 5 Colorspace for ProRes RAW * Added As Shot White Balance setting for ProRes RAW **SDK Updates** * ProRes RAW SDK Updated **Fixes & Improvements** * Various bug fixes and stability enhancements for a smoother user experience. **Version 25.9.3 – September 24, 2025** **New Features** * UI Layout Saving – You can now save and recall custom UI layouts (workspaces) for a personalized workflow. * Marker Reports Enhancements – new options to include Scene, Shot, Take, Comments, and Description fields in reports * Samsung APV Decode Support- added support for decoding 10-bit YUV422 APV in MOV or MP4 files **SDK Updates** * REDRAW SDK updated to v9.1.0 * ARRIRAW SDK updated to v9.0.0 * ARRI MXF SDK updated to v4.4.9 * FFMPEG SDK updated to v8.0 **Fixes & Improvements** * Added fix for Colourlab Ai REDRAW workflows * Various bug fixes and stability enhancements for a smoother user experience. #### **Version 25.9.2 – September 10, 2025** **Fixes & Improvements** * Minor UI updates * General performance optimizations and stability improvements across the app. #### **Version 25.9.1 – September 9, 2025** **New Features** * **Video Thumbnails for Imported Files** – See your clips at a glance with automatically generated video thumbnails, now with adjustable quality settings. * **Flexible File List Views** – Toggle between a traditional List View (with optional inline thumbnails) or a dedicated Thumbnail View for a more visual browsing experience. * **Interactive Thumbnail Scrubbing** – In Thumbnail View, click and drag across thumbnails to quickly preview video content without opening the file. * **Enhanced PDF Reports** – Camera Clip PDF reports now support adjustable thumbnail quality for sharper, more tailored exports. **Fixes & Improvements** * General performance optimizations and stability improvements across the app. **Version 25.8.3 – August 27, 2025** **New Features** * Generate PDF Clip reports with thumbnails and customizable metadata, available in both Light and Dark themes. * Added Dark theme support option when creating PDF Marker reports. **Fixes & Improvements** * General performance improvements and stability enhancements. **Version 25.8.2 – August 20, 2025** **New Features** * Marker Reports can now be sorted by their starting timecode. * Create Markers and Clips reports at the same time. * Send markers for selected clips in the Tin Man File List directly to DaVinci Resolve Studio. * Added support for “Open With” on macOS and Windows. * Camera Real-Time Metadata now shows as the default for the Real Time Metadata panel if available for a clip. * Added support for Apple Log gamma and reading/writing Apple Log colorspace in MOV files. **Fixes & Improvements** * General performance improvements and stability enhancements. **Version 25.8.1 – August 15, 2025** **New Features** * Markers for Clips – Set, edit, and save timecode-based markers for your clips. * Marker Reports – Export detailed marker data in CSV, XLSX, or PDF formats. * ARRICORE MXF Support – Added compatibility for the new ARRICORE MXF files. **SDK Updates** * ARRIRAW SDK updated to v9.0rc1 * ARRI MXF SDK updated to v4.4.5 * Blackmagic RAW SDK updated to v5.0 **Licensing Update** * One license now covers two computers — applied retroactively to all active subscriptions. **Fixes & Improvements** * Various bug fixes and stability enhancements for a smoother user experience. **Version 25.7.1 – July 22, 2025** **New:** * (Tin Man Pro) Added ability to send files from the File List to DaVinci Resolve Studio with metadata * (Tin Man Pro) Added option to export DaVinci Resolve File Metadata as a CSV file from the File List * Updated Blackmagic RAW SDK to 4.6.1 **Fixed:** * Miscellaneous bug fixes and stability improvements **Version 25.6.4 – June 27, 2025** **New:** * NVIDIA CUDA GPU acceleration on Windows enabled for ARRIRAW, Blackmagic RAW, Canon RAW, CinemaDNG, and RED RAW formats. *Note: OpenCL remains the default on Windows. You can switch to CUDA manually via Preferences.* **Fixed:** * Miscellaneous bug fixes and stability improvements **Version 25.6.2 – June 12, 2025** **New:** * Updated Blackmagic RAW SDK to 4.6 * Updated RED RAW SDK to 9.0.1 * Added support for Kinefinity MOV Metadata **Fixed:** * Miscellaneous bug fixes and stability improvements **Version 25.6.1 – June 5, 2025** **New:** * Added support for Export Presets (system-defined and user-created) * Export engine now supports up to five concurrent export jobs (default: 2) **Improved:** * Faster RAW to ProRes export performance * Faster RAW to DNx HQX and DNx 444 export performance * DaVinci Resolve–style 709 (Display) gamma is now detected on MOV import. Writing DaVinci Resolve–style 709 (Display) gamma on MOV export is supported but disabled by default. * Updated OpenCL programs on Windows (note: first launch after update may take longer as OpenCL kernels are compiled) * Optimized Histogram, VectorScope and Waveform performance during playback **Fixed:** * Resolved a crash on Intel Macs when setting monitor display depth to 10-bit extended range * Fixed an issue where exporting MXF OP1a files for ProRes CBR and DNxHD/HR could create invalid files when video frames exceeded 16.7MB in size. * "Video Codec", "Resolution", "Field Type", "Color Space", "Audio Codec", "Channels" columns were missing from XLSX/CSV reports and have been added * Miscellaneous bug fixes and stability improvements **Version 25.5.3 – May 15, 2025** **New:** * Support for creating Camera Reports in CSV or XLSX formats using the new ‘Report’ panel * Report panel allows users to select which metadata fields to include in each reporta **Improved:** * All docked panels now retain their size more reliably when toggling between maximized and normal UI states **Fixed:** * Various miscellaneous bug fixes and stability improvements **Version 25.5.2 – May 12, 2025** **New:** * Added Nikon N-RAW support (.NEV file) thru RED RAW R3D SDK * Updated to RED RAW R3D SDK 9.0 **Fixed:** * White Balance adjustments were not working for CinemaDNG files * Fixed a rare crash when importing untiled, compressed CinemaDNG files * Various miscellaneous bug fixes and stability improvements **Version 25.5.1 – May 2, 2025** **New:** * Added Blackmagic RAW Real-Time Metadata support * Introduced new ‘Inspect’ panel for viewing and editing key metadata * Added auto metadata mapping for exports using metadata from the Inspect panel and/or file source * Integrated SQLite database to retain edited Inspect panel metadata across sessions and re-imports **Improved:** * Enhanced File List panel with additional column options (e.g., Scene, Shot, Take, Keywords, Shutter Angle, Aperture, etc) **Fixed:** * Resolved OpenCL error affecting AMD GPUs during RAW decode * Fixed rare Blackmagic RAW import crash on Windows when loading large file sets * Various miscellaneous bug fixes and stability improvements **Version 25.4.1 – April 2, 2025** –Added – Ability to Display Video to 2nd Monitor for Windows – Tin Man Pro Version only –Fixed – misc bug fixes **Version 25.3.4– March 24, 2025** –Updated – Blackmagic RAW SDK to 4.5 with support for the new Blackmagic URSA Cine 17K 65 camera –Updated – Faster importing for CinemaDNG, Cineon, DPX, ARRIRAW (.ARI and .ARX), .EXR and Canon RAW (.RMF) sequential image sequences –Added – CinemaDNG support for lossy and lossless compressed DNG files –Added – Support for Sigma FP 12-bit CinemaDNG files –Added – Gamma Tone Mapping for SDR colorspaces in ProRes RAW and CinemaDNG –Added – Rec.709 and Rec.2020 in display gamma as colorspace outputs in ProRes RAW, Sony RAW and CinemaDNG –Added – Ability to adjust Highlights, Midtones and Shadows for ProRes RAW and CinemaDNG –Fixed – misc bug fixes **Version 25.3.3– March 17, 2025** –Added – Ability to Display Video to 2nd Monitor (macOS Pro Version only) –Added – Support for macOS Sequoia –Added – Keyboard shortcut to take snapshots –Updated – minor optimizations for GPU playback on Windows –Fixed – IMX-style Metaglue MXF files not opening –Fixed – misc bug fixes **Version 25.3.1 – March 5, 2025** –Updated – minor optimizations for RAW file loading –Updated – minor optimizations for GPU playback on macOS –Fixed – misc bug fixes **Version 25.2.1 – February 25, 2025** –Added – Support CinemaDNG Files (specifically Blackmagic Design and DJI) –Added – Take a quick Snapshot from the Player controls (JPG, PNG, Tiff, DPX) –Updated – Blackmagic RAW SDK to 4.4 –Updated – minor optimizations for GPU playback of RAW –Fixed – issue with ProRes RAW crashing when exposure adjusted to quickly –Fixed – misc bug fixes **Version 25.1.1 – January 13, 2025** –Added – Support for new ColorVersionBC – new Color Version for RED RAW R3D files –Added – Ability to adjust Highlights, Midtones and Shadows for Sony RAW –Updated – RED RAW SDK to 8.6.0 –Fixed – license issue on Windows that could give an expired license error in certain instances –Fixed – misc bug fixes **Version 24.12.5 – December 23, 2024** –Updated – Zooming and panning of video files in the Player Window has been updated for a smoother experience –Updated – Sony RAW SDK to 5.1.0 –Fixed – misc bug fixes **Version 24.12.4 – December 12, 2024** –Fixed – Importing too many Blackmagic RAW files at once could potentially crash –Updated – minimum version for macOS is now 12.0 –Fixed – misc bug fixes **Version 24.12.3 – December 10, 2024** –Fixed – ARRIRAW files with Embedded Custom DRT LUT but no Embedded Log2Log LUT would crash **Version 24.12.2 – December 9, 2024** –Fixed – Canon RAW files not opening in certain conditions (Windows Only) **Version 24.12.1 – December 9, 2024** –Updated – ARRIRAW SDK to 8.3.1 –Updated – ARRI MXF SDK to 4.3.5 –Added – Text to show what is updated in new release in Tin Man app –Added – Ability to Rotate Blackmagic BRAW files using GPU –Fixed – Blackmagic BRAW files that had a GPU Aspect default to a number greater than 1 from crashing when opening the file. –Fixed – misc bug fixes **Version 24.11.4 – November 19, 2024** –Added – Support for ARRIRAW Monochrome files. –Updated – Codex HDE SDK to 5.2.0 (for ARRIRAW HDE files) –Fixed – misc bug fixes **Version 24.11.3 – November 13, 2024** –Added – Playback speed improvements for ARRIRAW for macOS and Windows. –Updated – Blackmagic RAW SDK updated to 4.3.1 –Updated – Canon RAW SDK updated to 2.9 R5 –Fixed – misc bug fixes **Version 24.11.1 – November 11, 2024** –Added – Playback speed improvements for RED RAW, Canon RAW, Blackmagic RAW, ProRes RAW, Sony RAW on macOS. –Added – Options for slightly lower quality but faster playback for ARRIRAW on Windows and macOS. –Fixed – misc bug fixes **Version 24.10.6 – October 30, 2024** –Added – OpenCL Caching for Windows on startup of Tin Man. This can speed up startup times when opening Tin Man with AMD and Intel GPU’s. –Fixed – misc bug fixes **Version 24.10.5 – October 22, 2024** –Added – Playback speed improvements for RED RAW, Canon RAW, Blackmagic RAW, ProRes RAW, Sony RAW on Windows. –Updated – Blackmagic RAW SDK updated to 4.3 –Fixed – misc bug fixes **Version 24.10.4 – October 10, 2024** –Added – Support for embedded audio in RED RAW R3D files –Fixed – misc bug fixes **Version 24.10.2 – October 8, 2024** –Added –BETA support for RED RAW R3D files. Currently awaiting a new RED RAW SDK to fix a mem problem on Windows and embedded audio is not supported as of yet.All other features should be fully functional. –Fixed – misc bug fixes **Version 24.10.1 – October 4, 2024** –Added –BETA support for RED RAW R3D files. Currently awaiting a new RED RAW SDK to fix a mem problem on Windows and embedded audio is not supported as of yet.All other features should be fully functional. –Fixed – misc bug fixes **Version 24.8.2 – August 12, 2024** –Added – RAW Properties of one file can be copied, pasted, or reset among all selected files in the File List –Added – Audio Channel Mix of one file can be copied, pasted, or reset among all selected files in the File List –Updated – Blackmagic RAW SDK to 4.2 –Updated – ARRI MXF SDK to 4.2.5 –Fixed – misc bug fixes **Version 24.8.1 – August 6, 2024** –Added – CDL for Canon RAW –Added – Pre/Post CDL 3D LUT for Canon RAW –Added – Canon RAW GPU image cropping –Added – Canon Wide DR and ACES (AP0)/Linear for Canon RAW –Added – Audio Channel or Audio Speaker mapping for Audio Export –Fixed – misc bug fixes **Version 24.7.2 – July 24, 2024** –Updated – Blackmagic RAW SDK to 4.1 –Updated – FFMPEG SDK to 7.0.1 –Added – Show current ARRI Image SDK and ARRI MXF SDK in Tin Man –Added – Link to online manual in Tin Man –Fixed – Color output for ARRIRAW MXF Files that have a Custom DRT with a LUT Design Value –Fixed – misc bug fixes **Version 24.7.1 – July 11, 2024** –Added – 10-bit monitor playback support for Windows and macOS –Fixed – misc bug fixes **Version 24.6.3 – June 26, 2024** –Added – Support for Blackmagic RAW BRAW files –Added – Support for Leica L-Log –Added – Support for the colorspaces SGamut3.Cine/S-Log3 and SGamut3/S-Log3 for Blackmagic RAW –Added – CDL for Blackmagic RAW –Added – Pro/Post CDL 3D LUT for Blackmagic RAW –Added – Official ARRI, Sony, and Panasonic 3D LUT’s for Blackmagic RAW –Added – Speed up for exporting Blackmagic RAW to multiple formats including ProRes, H264 and H265 –Added – Ability to change the color level of Blackmagic RAW files using GPU –Fixed – misc bug fixes **Version 24.6.2 – June 12, 2024** –Added – Updated ProRes RAW SDK –Added – Support for Fujifilm F-Log2 –Added – Support for the colorspaces ACES2065-1, ACEScg, ACEScc, and ACEScct for ProRes RAW MOV files –Added – Contrast Pivot when adjusting contrast for Sony RAW and ProRes RAW files –Fixed – misc bug fixes **Version 24.6.1 – June 6, 2024** –Added – Support for ProRes RAW CDL and Pre-CDL/Post-CDL Custom 3D LUTs –Added – Speed up for exporting ProRes RAW to multiple formats including ProRes, H264 and H265 –Added – Support for official Sony and Panasonic 3D LUTs for ProRes RAW MOV files –Added – Ability to change the color level of ProRes RAW files using GPU –Fixed – misc bug fixes **Version 24.5.2 – May 28, 2024** –Added – Speed up for exporting Sony RAW to multiple formats including ProRes, H264 and H265 –Added – Speed up for exporting ARRI RAW to ProRes –Added – Ability to change the orientation of Sony RAW files using GPU –Added – Ability to change the color level of Sony RAW files using GPU –Added – Ability to change the color level of ARRI RAW files using GPU –Updated – ARRI SDK to 8.2 –Fixed – misc bug fixes **Version 24.5.1 – May 17, 2024** –Added – Support for official Sony 3D LUTs for Sony RAW MXF files –Added – Read/Write MOV metadata for color spaces for Panasonic V-Gamut/V-Log, Canon Cinema Gamut/Canon Log2/Log3, Nikon N-Log, and DJI D-Gamut/D-Log –Added – ProRes ARRI LogC3/LogC4 MXF/MOV files with incorrectly labeled color spaces from other applications can be reinterpreted correctly in Tin Man to use the ARRI SDK workflow in Tin Man –Fixed – misc bug fixes **Version 24.4.4 – April 30, 2024** –Added – Support for GPU exporting Sony RAW as 16-bit YUV 444 Full Range for Apple ProRes 4444/4444XQ encoding –Fixed – ProRes RAW decoding fixed for Apple M1 –Fixed – misc bug fixes **Version 24.4.3 – April 25, 2024** –Added – Support for Sony RAW Pre-CDL/Post-CDL Embedded LUTs and Custom LUTs –Added – Support to export Apple Pro Res 4444/4444 XQ from either YUV 4444 or RGB 4444 sources –Added – Ability to switch decoding Apple Pro Res 4444/4444 XQ to either YUV 4444 or RGB 4444 –Changed – Export Window can now be docked into the main application window –Changed – Displaying ‘Video Level’ video as ‘Full Level’ was made into a global option – previously it was a per file option –Fixed – importing Audio Only MXF files would lead to an application crash (bug was introduced previous release) –Fixed – misc bug fixes **Version 24.4.2 – April 4, 2024** –Added – Support for Sony Burano –Added – Support for Sony RAW Embedded ASC CDL –Added – Support for adjusting Brightness/Contrast in Sony RAW –Fixed – misc bug fixes **Version 24.4.1 – April 1, 2024** –Added – Support for additional Sony RAW color conversions to 709, 2020, 2020/HLG, 2020/PQ, ACES and more –Fixed – misc bug fixes **Version 24.2.1 – February 28, 2024** –Added – Support for embedded 3DLUT’s, custom 3DLUT’s, and CDL's for ARRI created ProRes LogC3/LogC4 MOV/MXF files –Added – Support for ARRI Custom Color Management for ARRI RAW LogC4 files and ARRI created ProRes LogC4 files –Added – Support for importing .alf4c files for ARRI RAW LogC4 files and ARRI created ProRes LogC4 files –Added – Global 3DLUT and Global Color Conversion options when importing ARRI RAW files and ARRI created ProRes LogC3/LogC4 files –Added – Support for exporting .alf4, .alf4c, .aml, and .cube 3DLUTs for ARRI RAW and ARRI created ProRes LogC3/LogC4 files –Added – Support for ATOMOS QuickTime Metadata tags for Gamut/Gamma in ProRes RAW MOV files –Fixed – misc bug fixes **Version 24.1.4 – January 17, 2024** –Changed – Windows Tabs for Video Image, Video Inspect, and Export are now at the top of the windows –Fixed – Issue with QT User Interface crash when macOS Accessibility is enabled ([QTBUG-120469](https://bugreports.qt.io/browse/QTBUG-120469)) –Fixed – misc bug fixes **Version 24.1.1 – January 9, 2024** –Added – Support for Canon RAW .RMF and .CRM files –Fixed – misc bug fixes **Version 23.12.1 – December 15, 2023** –Added – ARRI RAW support for Embedded and Custom 3D LUTs. Custom 3D LUT support includes .cube, .alf4, and .aml –Added – Sony RAW support for Sony Burano Camera –Fixed – misc bug fixes **Version 23.11.2 – November 25, 2023** –Fixed – on macOS new RAW Color Space and CDL controls were not present in the User Interface –Fixed – misc bug fixes **Version 23.11.1 – November 20, 2023** –Added – Support for CDL for ARRIRAW files. This can be accessed in the Video Image -> Source -> ARRI RAW Properties window –Fixed – Exporting EXR files would convert between Scene Linear Normalized and Scene Linear Reflection for all files – now this conversion is only done for RAW files as defined by ACES –Fixed – misc bug fixes **Version 23.10.3 – October 31, 2023** –Added – Support for exporting of EXR 16-bit half/32-bit float RGB(A) single image files with compression types of None, RLE, ZIP, ZIP16, PIZ, PXR24, B44, B44A, DWAA, DWAB –Added – Support in export to adjust Sequence Index Numbering size, start offset and character prefix –Fixed – misc bug fixes **Version 23.10.1 – October 19, 2023** –Added – Support for reading/playback of EXR 16-bit half/32-bit float RGB(A) single image files –Added – Support for the colorspaces ACES2065-1, ACEScg, ACEScc, and ACEScct –Added – Support for colorspace SGamut3/Linear for Sony RAW Formats –Added – Support for colorspaces AWGamut3/Linear and AWGamut4/Linear for ARRIRAW formats –Added – Ability to read Binary Color Temperature metadata in ProRes RAW MOV files –Fixed – misc bug fixes **Version 23.9.3 – September 20, 2023** –Added – Hardware decoding/encoding of ProRes and ProRes RAW on supported Apple Silicon computers (requires macOS 12.3 or greater) –Fixed – misc bug fixes **Version 23.9.2 – September 14, 2023** –Added – Support for LogC3 to LogC4 conversion with ARRIRAW –Added – Support for ARRIRAW SDK GPU color conversion of ARRIRAW LogC3/LogC4 to 709, 2020, 2020/HLG, 2020/PQ –Fixed – misc bug fixes **Version 23.9.1 – September 11, 2023** –Added – Title and Action Safe Areas, and Display Mask –Changed – Gamut Warning and Channel Isolation were made global instead of per file –Fixed – misc bug fixes **Version 23.8.4 – August 21, 2023** –Added – Apple Silicon GPU decoding support for the following 10-bit YUV 4:2:2 Progressive compressed formats: Sony XAVC-Intra 2k/QFHD/4k, Sony XAVC-Long GOP, Sony XAVC-S, Sony XAVC-Intra HD 100Mb & 200Mb, Panasonic AVC-Intra 2k/QFHD/4k, Panasonic AVC-Intra HD 100Mb & 200Mb, Panasonic AVC-LongG, Canon XF-AVC Intra 2k/QFHD/4k, Canon XF-AVC-Long GOP, H264 10-bit YUV 4:2:2, H264 10-bit YUV 4:2:0 –Fixed – misc bug fixes **Version 23.8.3 – August 16, 2023** –Added – ability to rewrap Canon XF-HEVC MXF 10-bit YUV 4:2:2 to HEVC 10-bit YUV 4:2:2 MOV/MP4 files **Version 23.8.2 – August 14, 2023** –Added – export HEVC 8-bit YUV 4:2:2 MOV on macOS 12.3 and up (requires Apple Silicone) –Fixed – issue that prevented exporting to H265 8/10-bit YUV 4:2:0 –Fixed – removed ability to export H265 10/8-bit YUV 4:2:2 on macOS Intel - this is an Apple Silicon only feature –Fixed – require GPU only encoding for HEVC 10/8-bit YUV 4:2:2 on Apple Silicone –Fixed – issue when rendering SLog2 to another colorspace on export **Version 23.8.1 – August 3, 2023** \--Added - licensed ProRes RAW support for Windows and macOS \--Added - support for HEVC 10-bit YUV422 MOV export on macOS 12.3 and up (GPU encode requires Apple Silicone) \--Added - support for HEVC 8-bit YUV422 MOV playback \--Added - DJI D-Gamut/D-Log colorspace \--Added - Nikon 2020/N-Log colorspace \--Added - Blackmagic Design Camera Wide Gamut Gen 5/Film Gen 5 Log colorspace \--Added - Canon Cinema Gamut plus Canon Log, Canon Log 2 and Canon Log 3 colorspace \--Fixed - misc. bug fixes \--Deprecated – macOS 15 should still will work with Tin Man but is no longer supported and has been deprecated – recommended macOS version is 13 (Ventura)- min macOS version is 11 (Big Sur) **Version 23.7.2 – July 26, 2023** \--Added – Monitor Look and LUT (Pro version required) \--Updated – ARRI SDK \--Updated – OpenGL 4.5 required for Windows \--Fixed – macOS Export failure if failed library link \--Fixed – macOS when exporting h265 - last frame sometimes did not export properly **Version 23.5.3 – May 18, 2023** \--Added - ARRIRAW HDE playback support \--Fixed - Windows installer now adds a shortcut to the desktop and the Start Application Folder \--Fixed - reading ARRI Dynamic Metadata during playback did not close MXF file handle **Version 23.5.2 – May 14, 2023** \--Fixed installer error on macOS \--Fixed - Windows Only - during playback if using ARRI LogC3 as a video look then video would be washed out \--Fixed - Audio Export Channel Mapping - if export audio number of channels was greater than source channels then export audio mapping would revert to the lesser number of source channels **Version 23.5.1 – May 4, 2023** \--Added in Pro version - export with AAF for MXF-OP Atom \--Added in Pro version - export with FCPXML for MOV, MP4, MXF OP1a, MXF OP-Atom \--Removed platform/toolkit labeling in MXF OP-Atom export \--Updated display/sample width for XAVC Intra 50 in MXF OP-Atom (was 1920 now 1440) \--Fixed issue where extra silent audio was padded to exports for MOV, MP4 and MXF OP-Atom \--Fixed sampled width tag in MXF OP1a and MXF OP-Atom for AVC-Intra 50 (was 1920 now 1440) \--Fixed issue with green line on right side when encoding from source AVC-Intra 50 to destination AVC-Intra 50 # Calibrated QuickLook plugin (macOS) The Calibrated QuickLook Plugin is a free macOS extension that enables Finder to play previews and display thumbnails for MXF and professional camera RAW formats. Calibrated QuickLook is powered by a streamlined version of the Tin Man Decoding Engine for high-quality playback and accurate color reproduction. * **Playback Preview & Thumbnail support:** * Blackmagic RAW (BRAW) * RED RAW (R3D) * ARRIRAW (MXF/ARI/ARX) * Sony RAW (MXF) * Nikon RAW (NEV) * Canon RAW (CRM/RMF) * DPX sequences * MXF files supported by Tin Man * **Playback Preview features:** * Real-time color space conversions for RAW and Log media * Metadata and timecode overlay * Thumbnail scrub bar * Frame-by-frame stepping (with hold-to-repeat) * Resolution selection for RAW decode quality * Audio scrubbing * Audio playback with volume control # Installation & Requirements ## **System Requirements** Below are the minimum and recommended system specifications. *** ### **Operating System** * **macOS 12 or newer** * *Virtualized macOS environments are not supported* *** ### **Processor** * **Recommended:** Apple Silicon **M1 or newer** *** ### **Memory (RAM)** **Apple Silicon systems:** * **Recommended:** 32 GB for 4K workflows * **Minimum:** 16 GB *** ### **GPU** **Apple Silicon systems:** * **Recommended:** 16 GB unified memory * **Minimum:** 8 GB unified memory * Requires **Metal 2** support *** ### **Storage** * **Installation:** 1GB * **Recommended:** SSD or NVMe/M.2 drive for fastest thumbnail creation *** ## **Installation** The Calibrated QuickLook plugin is included automatically with the Tin Man application. *** ### **How to Install** 1. **Install or update Tin Man.** 2. During installation, the **Calibrated QuickLook plugin is registered with macOS**. 3. **Launch Tin Man at least once** to complete the **QuickLook** integration. 4. To have full Video Preview Playback of MXF files - you need to Force quit and restart Finder every time you start your Mac. No additional setup should be required. *** ## **How to Disable the Calibrated QuickLook Plugin** If you prefer not to use Spotlight integration: 1. Open **System Settings**. 2. Navigate to **General → Login & Extensions**. 3. In the *QuickLook* section, click the **ⓘ (info icon)** next to **Calibrated Tin Man.app**. 4. Toggle *QuickLook off* for the Tin Man extension for Thumbnails and/or Preview. You may re-enable it at any time using the same steps. # Preview Playback Features
### QuickLook Playback Preview Controls Please note these controls only appear in either Popup Preview or Gallery Mode. In Embedded Window mode (ie in a Finder window) there will only be a circle in the middle of the image to play/still playback. **Timecode Overlay (Top Left)** * Shows the current playback position in either TimeCode, Frame Count or Run Time **Metadata Overlay (Top Right)** * Displays comprehensive file and camera information including: * Tin Man Engine version * Video codec and bit depth * Resolution * Frame rate (playback and capture rate) * Timecode and duration * Color space and range * Camera make/model and firmware * Exposure settings (ISO, white balance, tint, shutter, aperture) * Lens information * Production metadata (company, production, reel) **Scrub Bar (Bottom)** * Thumbnail preview strip showing frames across the timeline * Current position timecode displayed on the left. Right-clicking on the current position timecode will display a menu to switch from TimeCode, Frame Count or Run Time. * End timecode displayed on the right * Playhead indicator shows current position - drag to scrub through the clip **Transport Controls (Bottom Center)** * **Frame Reverse** – Step back one frame; hold to continuously reverse * **Play/Pause** – Start or pause playback. * **Frame Advance** – Step forward one frame; hold to continuously advance **Control Bar (Bottom Left)** * **Color Menu** (eye icon) – Click to access color settings. For RAW files: select color space (Camera Native, Rec.709, Log), enable 709 tone mapping, and enable embedded LUT options. For non-RAW Log files: convert to 709 with or without tone mapping. For Video Range files: toggle conversion to Full Range for display. * **Resolution Selector** (text) – Toggle between available decode resolutions (e.g., Full, 1/2, 1/4, 1/8, etc) for RAW files. **Control Bar (Bottom Right)** * **Playback Speed Selector (text)** - change playback speed in Popup Preview * **Thumbnail Strip Toggle** – Show or hide the scrub bar thumbnail strip in Popup Preview * **Settings Button** – Click to access general settings (1) Show or hide the metadata overlay in Popup Preview (2) Enable/Disable Auto Playback in Popup Preview (3) Enable/Disable Auto Hide Controls in Popup Preview (4) Enable/Disable Audio Scrubbing * **Volume Control** – Adjust audio volume or mute; displays current level as percentage. Right-clicking on the volume control will display a menu to reset the Audio Volume to default. # Supported Formats Calibrated QuickLook supports video preview playback and thumbnails of formats supported by Tin Man, including a wide range of professional camera, broadcast, and archival formats. *** ## **RAW Formats** * **ARRIRAW (MXF/ARI/ARX)** * **Blackmagic RAW (BRAW)** * **RED RAW (R3D)** * **Sony RAW (MXF)** * **Canon Cinema RAW (CRM/RMF)** * **Nikon N-RAW (NEV)** *** ## **MXF Formats** Calibrated QuickLook supports most MXF variants that Tin Man processes, including: * **Sony** * X-OCN * Sony RAW * XAVC * XDCAM * **Panasonic P2** * **Canon XF** * **Avid** * DNxHD/HR YUV422 (using FFMPEG) * DNxHD/HR RGB444(when Apple ProVideo Codecs are installed) * Other Avid-compatible MXF like Meridien * **ARRI MXF** * ARRIRAW * ProRes * DNxHD/HR (using FFMPEG) * **IMF (ProRes and J2K)** * **OP1a / OP-Atom variants** * and other MXF flavors supported by Tin Man *** ## **Other Formats** **DPX Image Sequences** # Troubleshooting ### Supported MXF files are not showing video previews macOS loads Apple’s native MXF QuickLook provider at startup. To allow Calibrated QuickLook to handle video previews for supported MXF files, **Finder must be restarted after each system startup**. Force-quit and relaunch Finder, then preview the MXF file again using QuickLook. ### Supported Files Aren’t Creating Thumbnails 1. **Verify Tin Man is installed in the /Applications folder**\ (the plugin is inside the Calibrated Tin Man.app). 2. Allow **5–10 minutes** after installation for initial thumbnails. Very large media libraries may take longer. 3. Confirm the file format is supported (see Support Formats). 4. Verify drive is writeable by the System and is formatted as APFS 5. **Force QuickLook to reload the plugin and restart Finder:** ```bash qlmanage -r killall Finder ``` 6. **Clear Thumbnail Cache (this will delete all saved thumbnails and force Finder to remake Thumbnails)** ```bash qlmanage -r cache ``` *** ### **How to Disable the Calibrated QuickLook Plugin** If you prefer not to use QuickLook integration: 1. Open **System Settings**. 2. Navigate to **General → Login & Extensions**. 3. In the *QuickLook* section, click the **ⓘ (info icon)** next to **Calibrated Tin Man.app**. 4. Toggle either Preview and/or Thumbnail *off* for the Tin Man extension. # FAQ **Does macOS Finder support Blackmagic RAW (.braw) thumbnails or playback?**\ No. macOS Finder does not provide native thumbnail or playback support for Blackmagic RAW (BRAW) files. **How can I view BRAW thumbnails and playback in macOS Finder?**\ Install the free Calibrated QuickLook extension included with the Tin Man app. It enables Finder thumbnails, space-bar playback, scrubbing, metadata overlay, and timecode overlay for BRAW files. **Does this also work with RED RAW (.R3D)?**\ Yes. Calibrated QuickLook adds thumbnail and playback support for RED RAW R3D files as well. **What other formats are supported?**\ Calibrated QuickLook also supports ARRIRAW (MXF\*/ARI/ARX), Sony RAW (MXF\*, camera-specific variants), Canon RAW (CRM/RMF), Nikon RAW (NEV), DPX, and MXF\* files for thumbnails and playback in macOS Finder. **Is the QuickLook extension free?**\ Yes. It installs automatically with the Tin Man trial and does not require a license. **Does it work on macOS Sequoia and Tahoe?**\ Yes. Calibrated QuickLook supports macOS Sequoia and later. \**Please note – macOS loads Apple’s native MXF QuickLook extension at startup. To allow Calibrated QuickLook to handle video previews for supported MXF files, Finder must be restarted after each system startup.* # Release Notes Calibrated QuickLook Release Notes **Version 26.1.5 – January 28, 2026** **New Features** * Playback and scrubbing speed improvement for RED RAW R3D files on macOS. * Playback and scrubbing speed improvement for Blackmagc BRAW files on macOS. **Fixes & Improvements** * Fixed Calibrated QuickLook white screen issue when switching clips quickly. * Fixed Calibrated QuickLook playback continuing in background when switching to another clip. * Miscellaneous bug fixes and stability improvements for a smoother, more reliable user experience. **Version 26.1.4 – January 12, 2026** View video playback previews and thumbnails of MXF files and professional camera RAW formats directly in Finder without launching Tin Man. Calibrated QuickLook is powered by a streamlined version of the Tin Man Decoding Engine for native-quality playback and accurate color reproduction. * **Playback Preview & Thumbnail support:** * Blackmagic RAW (BRAW) * RED RAW (R3D) * ARRIRAW (MXF/ARI/ARX) * Sony RAW (MXF) * Nikon RAW (NEV) * Canon RAW (CRM/RMF) * DPX sequences * MXF files supported by Tin Man * **Playback Preview features:** * Real-time color space conversions for RAW and Log media * Metadata and timecode overlay * Thumbnail scrub bar * Frame-by-frame stepping (with hold-to-repeat) * Resolution selection for RAW decode quality * Audio scrubbing * Audio playback with volume control * Can be enabled/disabled in System Settings → General → Login & Extensions → QuickLook. * macOS loads Apple’s native MXF QuickLook provider at startup. To allow Calibrated QuickLook to handle video previews for supported MXF files, **Finder must be restarted after each system startup**. **Version 25.12.2 – December 16, 2025** Initial Release! # Calibrated Spotlight plugin (macOS) The **Calibrated Spotlight plugin** allows macOS Spotlight and Finder to perform **deep metadata searches** across professional camera media. \ Instead of manually browsing folders, users can instantly locate clips by: * Reel, Scene, Shot, Take, Good Take * Company, Production, Director, DP, Location, Description, Comments, Keywords * Camera Model, ISO, White Balance, Tint, Shutter Angle, Aperture, Lens Model, Camera Name, Camera Operator * Format, Video Codec, Resolution, Color Space, Frame Rate, Time Code, Audio Codec, Audio Channels, Date Created Spotlight uses the same metadata extracted by the **Tin Man** app, ensuring accurate and consistent results across RAW, MXF, and image-sequence formats. # Installation & Requirements ## **System Requirements** Below are the minimum and recommended system specifications. *** ### **Operating System** * **macOS 12 or newer** * *Virtualized macOS environments are not supported* *** ### **Processor** * **Recommended:** Apple Silicon **M1 or newer** *** ### **Memory (RAM)** **Apple Silicon systems:** * **Recommended:** 32 GB for 4K workflows * **Minimum:** 16 GB *** ### **GPU** **Apple Silicon systems:** * **Recommended:** 16 GB unified memory * **Minimum:** 8 GB unified memory * Requires **Metal 2** support *** ### **Storage** * **Installation:** 1GB * **Recommended:** SSD or NVMe/M.2 drive for fastest indexing and file scanning *** ## **Installation** The Calibrated Spotlight plugin is included automatically with the Tin Man application. *** ### **How to Install** 1. **Install or update Tin Man.** 2. During installation, the **Calibrated Spotlight plugin is registered with macOS**. 3. **Launch Tin Man at least once** to complete the Spotlight integration. No additional setup is required. Spotlight indexing begins automatically. *** ## **How to Disable the Calibrated Spotlight Plugin** If you prefer not to use Spotlight integration: 1. Open **System Settings**. 2. Navigate to **General → Login & Extensions**. 3. In the *Spotlight* section, click the **ⓘ (info icon)** next to **Calibrated Tin Man.app**. 4. Toggle **Spotlight** *off* for the Tin Man extension. You may re-enable it at any time using the same steps. # Supported Formats Calibrated Spotlight indexes metadata from all formats supported by Tin Man, including a wide range of professional camera, broadcast, and archival formats. *** ## **MXF Formats** Spotlight supports all MXF variants that Tin Man processes, including: * **Sony** * X-OCN * Sony RAW * XAVC * XDCAM * **Panasonic P2** * **Canon XF** * **Avid** * DNxHD * DNxHR * Other Avid-compatible MXF metadata structures * **ARRI MXF** * ARRIRAW * ProRes * DNxHD/HR * **IMF** * **OP1a / OP-Atom variants** * Any MXF flavor supported by Tin Man is indexable by Spotlight *** ## **RAW Formats** **RED** * **R3D (REDCODE RAW)** **Canon Cinema RAW** * **.CRM** * **.RMF** **ARRIRAW** * **.ARI** * **.ARX** **Nikon N-RAW** * **.NEV** *** ## **Other Formats** **DPX Image Sequences** # Spotlight Metadata Fields The following fields appear in Spotlight search and Finder’s **Get Info → More Info** panel. *** ### 🔹 **Technical Metadata** | | | | ---------------- | ------------------------------------------ | | **Format** | MXF operational pattern | | **Date Created** | Date created from file metadata | | **Video** | Video codec | | **Audio** | Audio codec, bitrate, sample rate | | **Channels** | Audio channels and tracks | | **Resolution** | Video resolution with aspect | | **Color Space** | Color space and color range | | **TimeCode** | Starting timecode value | | **Frame Rate** | Media frame rate | | **Field Type** | Frame type (only shown if not Progressive) | *** ### 🎬 **Production Metadata** | | | | --------------- | ----------------------------------------- | | **Company** | Production company | | **Production** | Project or production title | | **Reel** | Reel name or number | | **Scene** | Scene number | | **Shot** | Shot name or number | | **Take** | Take name or number | | **Good Take** | Indicates if Take is marked as GOOD | | **Director** | Director name | | **DP** | Cinematographer / Director of Photography | | **Location** | Shooting location or set | | **Comments** | Production notes | | **Description** | Clip or shot description | | **Keywords** | Searchable tags and keywords | *** ### 🎥 **Camera Metadata** | | | | ------------------- | ---------------------------------- | | **Camera Model** | Camera model and firmware | | **Camera Name** | Camera letter (A-Cam, B-Cam, etc.) | | **Camera Operator** | Operator name | | **ISO** | Exposure | | **White Balance** | Kelvin value | | **Tint** | WB tint | | **Shutter Angle** | Shutter angle (degrees) | | **Aperture** | Lens aperture (f-stop or t-stop) | | **Lens Model** | Lens model and specifications | # Searching Media Using Spotlight You can search for metadata in: #### ✔ Spotlight Search (⌘ + Space) #### ✔ Finder Search Bar #### ✔ Smart Folders #### ✔ “Get Info” → More Info Search terms may be: * Full words * Partial words * Field:value pairs * Exact phrases in quotes # Troubleshooting ### Files Aren’t Appearing in Spotlight 1. **Verify Tin Man is installed in the /Applications folder**\ (the plugin is inside the Calibrated Tin Man.app). 2. Allow **5–10 minutes** after installation for initial indexing. Very large media libraries may take longer. 3. Confirm the file format is supported (see Support Formats). 4. Verify drive is writeable by the System and is formatted as APFS (this is needed for metadata to be shown in 'Get Info' Finder windows) 5. Verify folder has indexing enabled: ```bash mdutil -s /path/to/folder ``` 6. **Force Spotlight to reload the plugin:** ```bash mdimport -r /Applications/Calibrated Tin Man.app/Library/Spotlight/CalibratedSpotlight.mdimporter ``` 7. **Reindex specific files or folders:** ```bash mdimport -i /path/to/media/folder/ ``` 8. **Check what metadata would be extracted** *(informational only)*: ```bash mdimport -t -d3 /path/to/file.R3D ``` *** ### **How to Disable the Calibrated Spotlight Plugin** If you prefer not to use Spotlight integration: 1. Open **System Settings**. 2. Navigate to **General → Login & Extensions**. 3. In the *Spotlight* section, click the **ⓘ (info icon)** next to **Calibrated Tin Man.app**. 4. Toggle **Spotlight** *off* for the Tin Man extension. # Release Notes Calibrated Spotlight Release Notes **Version 25.12.1 – December 3, 2025** Initial Release!