Epic Anamorphic Resolution in Resolve - 2K

[Eugene Lehnert]

If I want to work in an anamorphic project in Resolve in 2K. What resolution do I work in?

 

[Alan Gordon]

2k Scope resolution is 2048x858. Set your timeline to this resolution.

Hope that helps.

Cheers,
-Alan

 

[Eugene Lehnert]

If the client wants to maintain a 1.19 aspect essentially keeping the image anamorphic would you work in 2048x1716?

 

[Alan Gordon]

The only reason you would want that is if you are printing out to film to be projected with scope lenses. But even still while grading you should monitor with everything de-squeezed so you can actually see what you have.

Set the pixel aspect ratio of all your clips to 2x anamorphic and your timeline resolution to 2048x858. If you want to render anamorphic squeezed images at the end, change your timeline resolution to 2048x1716 and set the clips back to square pixels.

But if your final out is DCP (or any digital medium) 2048x1716 is useless.

Cheers,
-Alan

 

[Eugene Lehnert]

I have a client that wants to protect the image for a possible film out for foreign distribution, so I wanted to use a resolution higher then all my deliverables. I would obviously want to see the image unsqueezed while I work. I was interested to find out the typical workflow when working with 2K anamorphic workflows keeping all distribution options open.

Thanks!

 

[David Mullen ASC]

If you are going to do a film-out, then one master should be 2048 x 1716-ish, yes. But the file might have to be resized for 1828 pixels across for the ARRILASER. See:

http://reduser.net/forum/archive/index.php/t-14502.html

 

[Marc Wielage]

I have a client that wants to protect the image for a possible film out for foreign distribution, so I wanted to use a resolution higher then all my deliverables. I would obviously want to see the image unsqueezed while I work. I was interested to find out the typical workflow when working with 2K anamorphic workflows keeping all distribution options open.

That's pretty standard for the film-out process. What we did at Technicolor and Cinesite was to create a viewable P3 color space version that would translate to film color space, then once that was done, pull the color-corrected file into an empty color-correction session and change only the sizing as a render, going to the film recorder. The data ops would verify the sizing was right, and they'd run off a minute or two as a test to be screened the next day, A/B'ing it next to the digital image (or as a "butterfly" test) to verify color and sizing. Once that was approved, then the entire reel would be handed off. We'd verify exact settings so that everything was 100% precise for every single reel.

Note that it still takes about 40 hours + developing & printing time per 2000' film reel on the film recorder, assuming Arrilaser at 4K.