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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Anamorphic 2.35

P

P.Grimsson

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I'm using a Red One and want to shoot 2.35 ratio. Does anyone have an answer how best to approach. Does red have their own lenses?
Thank you
p
 
Hi Grimsson,

You have 2 options basically. Either shoot with normal aspherical lenses like normal (RPP's Master Primes S5i's etc.) and crop to 2.35 (or 2.4:1 as it is nowadays) in post. You can help determine framing by setting up your frame guide lines on the RED EVF/LCD through the menus on the camera.

Your other option is to shoot with anamorphic glass which will "squeeze the image by either 1.33x or 2x if I'm not mistaken. While shooting make sure you're using 4K ANA mode to desqueeze the preview output.

RED have announced that RPAs (Red Prime Anamorphics) are in development but they are still a long way away.

I hope this helped.
 
We graded a feature shot 4K16:9 with lomo lenses. For scope release.... DONT DO THAT!

Thats a story for another thread though...
 
4.5 k is a no go for Color. I shot in 4k 2:1 and croped in post. Be sure to check the scope framing in the release print by testing it. Scope can crop a lot depending on projector and lenses used depending on the theater.
finished in 2k ana.
Pat
 
Okay I'm going to use this opportunity to ask some of my longstanding RED/Anamorphic questions. We're trying to get a hold of an anamorphic package for my next feature and I still have some questions even after researching online and in various books.

There will be quite a few VFX shots involved. I've done quite a few fx shots on the R1 before but never anything originated with anamorphic lenses.

Please correct me if anything is wrong with my presumed workflow:

Shoot 4K Ana mode to view unsqueezed footage through the LCD/EVF
Desqueeze in RedCineX and crop to 2.4:1 (not 2.35:1 as it's an outdated aspect ratio from old film prints with magnetic soundtracks)
1st Light on RCX
Edit on Premiere Pro with native R3D's (keeping the desqueeze metadata from RCX)
Export VFX shots as 2K DPX's (that's all i've done FX on. DPX's generated from RCX)
Do VFX as normal
Export finished timeline as DPX's for final grading.
End up with 2K DCP.

Are there any steps missing here? (sound not withstanding)
 
Eren, are you planing to do a scope film release? that could skew my input a bit.
 
Being realistic, if it get's some kind of theatrical release it'll most likely be a short run on digital screens. I've watched hundreds of films projected digitally and I've never noticed the mask move/projector lens change...

The most likely end result would be BluRay/DVD/Digital distribution so no, I don't predict a scope film print release.

Thanks for taking the time to answer my questions Frank, much appreciated :)
 
Ok, one more Q', are you looking for ANA lenses due to their peculiar dof/flares, or is it more framing "thing"?
 
Frank Cueto said:
We graded a feature shot 4K16:9 with lomo lenses. For scope release.... DONT DO THAT!

Thats a story for another thread though...
Click to expand...
Do PLEASE tell. I'm :bigear:
 
We want to use ANA lenses for the squashed bokeh, flares and some edge softness Frank. I know it's real easy to crop for 2.4:1 in post. we did just that on the last feature I was 2nd unit director/VFX sup on. If all else fails we'll use aspherical lenses (probably RPP's or Zeiss Standards)

Thanks again :)

Is there any major difference between 4K 2:1 and 4K ANA apart from the live de-squeeze?
 
OK, well, if you want the ana "look" you need ana lenses.

You could shoot 4Kana, I would personally try to keep it in that format and not unsqueeze it data wise (for anything that will end up on ur master that is, for dailies and editorial it is ok to desqueeze). Use pixel aspect ratios for display to view it correct. That way towards the end you will have more choices for deliverables.

I just recently finished a movie on ana glass and shot 4k16:9. If you are careful about your framing, it gives you the added flexibility of reframing in post, kinda like shooting 4-perf for a "flat" release, but sideways ;-)
 
Let me add, that it is a personal pet pee3ve of mine to avoid as many transforms as possible on my data until final release. I usually try to only transform from the original to my deliverable in ONE step.
 
Thanks Frank :)

I agree on the transforms. Until now I've always had to work with/deliver what producers/post houses wanted...which was DPX. Since I'm calling the shots on this one I'd just like to stick to R3D's.

Just to recap,
Shoot 4K ANA with 1.33X or 2X squeeze lenses, no restrictions there.
EDIT/VFX 4K ANA with pixel aspect ratio correction
Grade/Conform according to your release platform. Makes sense. I got thrown off a bit by the lack of a 4K ANA preset on my software.

Thank you for your time :)

In the mean time does anyone here have any R3Ds that they could pass along so I can run the process through it's paces? I'll take anything. Even a 2 second long trimmed R3D would be much, MUCH appreciated :)
 
Wait, if you have access to 1.33 Hawk Ana lenses then you HAVE to shoot on 4k16:9 and you will need a special kind of monitor on the set to do the 1.33 unsqueeze, I dont remember the exact brand, but i've seen them on sets.

With 2.0 ANA lenses you should shoot 4Kana if you want to keep it simple)

I would setup redcine-X to unsqueeze and transcode to your favorite codec, and work with that for a while.

Once you get Picture Lock, I would prepare a VFX reel and export that as full debayered and downresed to DPX (redlogfilm and redcolor 2, btw, NO OLPF)

In what system are you planning to grade/finish your project?

If you dont have a massive VFX count, you could grade from your R3D's, process at full 4K and setup the output so it will downconvert your 4K data to your deliverable.
 
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