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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 :)

Build 20 Animorphic

So I want to use the Hawk lenses with the 1.33 Squeeze to fill the hole sensor. Is it possible to get a mode in camera viewing and unsqueezing in RA ?

thx
rainer
 
Rainer Fritz said:
So I want to use the Hawk lenses with the 1.33 Squeeze to fill the hole sensor. Is it possible to get a mode in camera viewing and unsqueezing in RA ?

thx
rainer
Click to expand...
not currently
 
Anamorphic de-squeeze monitoring

Anamorphic de-squeeze monitoring

So I want to use the Hawk lenses with the 1.33 Squeeze to fill the hole sensor. Is it possible to get a mode in camera viewing and unsqueezing in RA ?
Click to expand...

No, we support 1.2:1 lenses only with the 2k / 3K / 4K ANA de-squeeze monitoring.
 
Big fan of the RED + Anamorphic combo, my preferred route for feature film making on the RED. We have a Set of HAWKs here in NYC if anyone looking for a package let me know. We are the only show in town that I know of. Cheers.
 
Thanks for clearing that up for me.



David Mullen ASC said:
Not really true -- it would be closer to normal 35mm depth of field, but not 16mm depth of field.

In spherical 35mm framed for cropping to 2.40, you'd use a 20mm lens to get the same view as a 40mm anamorphic lens due to the 2X horizontal squeeze of the lens. With a 2X anamorphic lens on a RED camera, because the sensor more like 3-perf 35mm in height instead of 4-perf, you'd use something more like a 28mm anamorphic lens to get the same view as a 40mm anamorphic lens on a 4-perf 35mm camera.

So there's more depth of field, but it's just closer to being like 35mm spherical, and even then, it's still a bit more shallow in focus. Not even close to being like 16mm.
Click to expand...
 
So, is there a workflow for using Build 20 + ANAs, but working with the RAW files using the RED plug-in for Adobe Premiere Pro (ona PC)? Thanks
 
mikeburton said:
I actually make my ProResHQ files 720p usually. This keeps the editorial process quick without any hiccups. Knowing that it is only going to be offline anyhow cause I will reconform to my final finishing resolution like 2K or 1080p later in Color.

This is my workflow,

1. RedRushes batch export all my clips to 720p ProResHQ files.

2. Batch Rename all the ProRes Files with an _H.mov at the end of the files name with A Better Finder Renamer. This tricks color into thinking your editorial files are proxies. NOTE: you must rename the ProRes files with the _H at the end or the conform won't work.

3. Edit, export EDL from FCP.

4. Open EDL in Color and point color to the original RED R3D Files source directory. Tell Color which resolution and frame rate I would like to work in up to 2K and presto, your edit is conformed into Color with access to the RED Tab and 12 bits of data information.

Color doesn't care about your editorial resolution so why not have more realtime performance? 2k is just too much overhead and honestly 720p looks fantastic at a half res debayer. Well worth the time you save compared to transcoding 2K.
Click to expand...

Hey Mike.

I've been playing around with your workflow (which seems great b.t.w.) I'm stuck on this though:

How do you "point color to the original RED R3D Files source directory"? The Reconnect media command does'nt seem to be working for me, nor does the default media dir. in the user prefs. tab.

Thanks!
/e
 
I'm doing workflow tests right now with footage shot in 4K Anamorphic with anamorphic lenses using build 21. We're finishing in 2K.

I'm a bit confused as to how to generate the images. Scaling the image to 2048 x 1024 then ticking anamorphic in FCP results in an image that is not the incorrect aspect ratio.

Using the Width X2 option out of rocketcine produces an image with the correct aspect ratio, but it has black bars burned into it.

What's the proper way to generate a 2K image that does not have black bars, yet correctly scales to the proper aspect ratio?
 
Canon FD (24,28,35,55,85,100,135,200,24-35,28-50,35-70,55-135)
Super Baltar (20,25,35,50,75,100,150)
Lomo Standard Speed (18,22,28,35,50,75,100,150,200,250,300)
Lomo Super Speed (18,22,28,35,50,75)
Lomo Anamorphic (35,50,75,150, 40-240 zoom)
Lomo Zooms (20-120, 28-80)

Wow! What a set of great lenses! How do you like the Lomo Super Speeds and the zooms?
 
Erik Nordlund said:
Hey Mike.

I've been playing around with your workflow (which seems great b.t.w.) I'm stuck on this though:

How do you "point color to the original RED R3D Files source directory"? The Reconnect media command does'nt seem to be working for me, nor does the default media dir. in the user prefs. tab.

Thanks!
/e
Click to expand...

Use Clipfinder to change an XML from FCP so that it looks at Proxy files instead of your transcoded files.

C Miller, use RCX 221 and use the framing tool and click the fitwidthx2 option, then set your output ProRes file to 2048x838, but really if you are not doing any letterboxing, you could also use fit width and height if you have the proper square pixel output size. Why don't you want letterboxing though? It's really common to put burn-in in the black so that you've got clip and timecode information easily available even on exports. You can always crop it off on export or put a matte up if it distracts you in editing.

2048/(2816*2/2304)=838 this gives you the 2.4444 aspect ratio, to get 2.35 or 2.40 you'll end up doing a slight center crop, but honestly I wouldn't worry about it, If I were you, I'd use fitwidthx2 and then do burn-in with clipname on lower left and TOD timecode on lower right and use the matte to your advantage. Unless your exporting straight from FCP without going to a coloring platform, I'd highly recommend do 1920x1080 ProRes because unless you have a 2k monitor even the might Kona card can't show you your full image on a 1080p monitor, it has to crop. Again, using Clipfinder, you can take any size editorial XML and reconnect your media in just a few seconds, so unless your doing a lot of repositioning or titles in FCP, then save yourself the headache and cut in 1080p (and FCP likes normal frame sizes such as 1920x1080 vs 1920xsomething smaller)
 
Steve Freebairn said:
C Miller, use RCX 221 and use the framing tool and click the fitwidthx2 option, then set your output ProRes file to 2048x838, but really if you are not doing any letterboxing, you could also use fit width and height if you have the proper square pixel output size. Why don't you want letterboxing though? It's really common to put burn-in in the black so that you've got clip and timecode information easily available even on exports. You can always crop it off on export or put a matte up if it distracts you in editing.
Click to expand...

Why would I want black bars? I'm not sure why I should give up so much vertical resolution. I mean, when working in SD anamorphic there's no black bars since the image takes up the entire frame. Does it not work that way when working with the red? Maybe I'm just thinking about it wrong.
 
Well, for example, if you don't work with one of FCP's native resolutions like 1280x720
or 1920x1080 (all 16x9 frame sizes) than you will have a pretty terrible offline edit and be forced to render a lot! This is one reason to keep a 16x9 frame (which when rendering RED anamorphic gives you black letterboxing). Another reason is if you are going to carry any visual timecode or other metadata info burned into the file you can
put it in the black letterbox area rather than the image. Now whenever I render out of FCP to QuickTime for example I will crop the image to save storage space and get a perfect 2.44 image without bars. This way when I have an edit complete I can send my edits to people for review without any burn in info and in it's regular 2.44 aspect
without bars. It ends up being around 1280x525 or 540 rather than 1280x720 if your working in 720p for example. 1920x1080 becomes 1920x805 or 803 something like that. Make sure to use custom aspect ratio and crop instead of Letterbox in the QuickTime output of FCP.
Hope that helps!
 
C Miller said:
Why would I want black bars? I'm not sure why I should give up so much vertical resolution. I mean, when working in SD anamorphic there's no black bars since the image takes up the entire frame. Does it not work that way when working with the red? Maybe I'm just thinking about it wrong.
Click to expand...

In SD you use non square pixels, that's not so much the case in finishing highend HD.

While Mike's preference of cropping off the black is probably more pleasing and less distracting for clients, there are advantages to having a client be able to say "I don't like A047_C004 at 08:03:22" instead of "the shot where the guy walks into the room"


Anamorphic movies on Blu-ray are 1920 pixels wide so the vertical resolution is 1920/(aspect ratio)
 
Steve Freebairn said:
In SD you use non square pixels, that's not the case in HD.

While Mike's preference of cropping off the black is probably more pleasing and less distracting for clients, there are advantages to having a client be able to say "I don't like A047_C004 at 08:03:22" instead of "the shot where the guy walks into the room"


Anamorphic movies on Blu-ray are 1920 pixels wide so the vertical resolution is 1920/(aspect ratio)
Click to expand...

Yes, completely agree. Often times this is very important for client preview and if they are not in your edit bay and you are sending files over the web than I would suggest keeping the timecode and metadata burn in, in play.
 
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