Cinemartin introduces PLIN, an NLE plugin for ProRes and H.265 export on Windows.
Cinemartin introduces PLIN, an NLE plugin for ProRes and H.265 export on Windows.

DISCLOSURE: I am not employed by or otherwise affiliated with Cinemartin.  Please do not post support requests for their products here.

UPDATE: Plin is now available for purchase for Adobe Premiere.  A trial version can be downloaded so you can try it before you buy.

Cinemartin of Barcelona, creators of the Cinec video encoding software, have increased the value of their offerings by adding an NLE plug-in to their products.  Named “Plin,” the new plug-in adds ProRes and H.265 export capability to NLEs running on Windows computers.

Why is this exciting? Apple’s QuickTime for Windows can play back ProRes files (if you have the codec installed), but cannot encode ProRes; Apple reserves that functionality for Mac OS systems, licensed camera systems and professional file-based video recorders.  Editors on Windows have been unable to deliver ProRes output without either using Cinec as a post-export step, or copying the project or exported deliverable to a Macintosh and transcoding it using Compressor.  Now, with PLIN, it has become possible to export your final deliverable directly to ProRes from your NLE. Plin will be shipped for Adobe Premiere Pro 5.5, 6.0 and CC versions initially, with support for Avid Media Composer, Sony Vegas, and Resolve to come sometime after.  The plugin supports using up to 6 CPU cores to speed up encoding, and can encode ProRes 4444 and 422, as well as the new HEVC H.265 codec, at resolutions up to DCI 4K.

Installing the plugin adds an option to the Export menu, as shown in these screenshots of Plin in Premiere Pro:

adobe-premiere-export-to-prores adobe-premiere-cs5_5-scr adobe-premiere-cs5_5-scr3 cinec_3_x_scr

The addition of ProRes encoding to Windows-based workflows is significant and very exciting.  I do most of my color grading on a Windows machine, because that machine is really big and beefy, significantly more powerful than my Mac, and the inability to encode ProRes has been a real pain-point for me.  Being able to deliver ProRes without having to move files among my computers will be a huge time-saver for me.  The full Cinec software has even more features, and is intended for transcoding of footage independently of an NLE (your DIT might use it on-set to create proxies for editorial, or you might use it for converting a final deliverable to multiple formats for multiple delivery mechanisms).

My thoughts? Because ProRes is pretty much “THE” format of choice – Alexa and Amira record it, Cion records it, Blackmagic’s cameras record it and it’s supported by pretty much every file-based external recorder on the market – I can see this being an essential add-in for professional editors on Windows.  Hopefully they have the Avid plug-in ready very soon, because I know several Avid editors who will want this.  The Cinec software is likewise an essential tool for Windows workflows that need ProRes encoding, since it can accept almost any input format.  The sample videos available from Cinemartin show that the output is of at least equal quality to Apple’s Compressor output.

Like Cinec, Plin will be available at multiple feature levels, with pricing starting at 49 Euros.  Plin is available now for Adobe Premiere CS 5.5, CS 6, and Premiere Pro CC.

For more information about Plin, visit

For more information about Cinec, visit

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