Now back in the main Media tab all of the footage should display in the proper aspect ratio. Select the Pixel Aspect Ratio dropdown menu and navigate to the Cinemascope option. Scroll to the Clip Attributes tab and click on it. Highlight all of the anamorphic footage in your project and right click in the media pool area to bring up the menu settings. You will notice the footage looks boxed in. Locate the media on your computer and add it to the media pool as per usual. A Simple Fix – Getting Anamorphic Material to Display Properly If you’d like to view the material in it’s proper format there is a quick process that isn’t exactly self evident. If you go through the usual process of locating the media on your computer, loading the source clips into the media pool, and viewing the footage you will notice the problem.Īll of the clips will appear to be letter-boxed. The biggest issue you will have with anamorphic footage inside of Resolve is the software will not automatically recognize the aspect ratio of the source material. If that is the case you may run in to a few newcomer gotchas before you even get started.Įvery finishing software ( DaVinci Resolve, Assimilate Scratch, Baselight, & so on) deals with source material in it’s own way and for our purposes let’s concentrate on DaVinci Resolve. The Anamorphic Conform- The Biggest MistakeĪs budgets at the mid to low end are falling you may find yourself trying to conform anamorphic footage in DaVinci Resolve or, even worse if you are inexperienced, doing a selfie DI. The major players work with digital anamorphic footage on a daily basis so they know how to process the files. In the cinema world the anamorphic format has been around for decades and professionals understand the workflow. Capturing anamorphic footage is easier than ever with most modern high end digital cameras capable of recording in either 4:3 or 6:5 modes. The math gets numbing, but the result will be the possibility of many new exhibition/streaming formats that were never dreamt of in standards committees’ philosophies.Anamorphic imagery can set your project apart and add an extra element to the visual language of your work. Use Ultra Panavison 70 lenses (1.25x) and the resulting ratio is 2.49:1 RED W8K MONSTRO VV and Panavision DXL2 have a 1.99:1 aspect ratio. With Scorpio FFA 2x, the desqueeze ratio is 3:1.Ĭanon’s C700 FF has a native aspect ratio of 1.896:1, which desqueezes to 2.46 with Hawk65. Hawk65 lenses will desqueeze on ALEXA LF and VENICE to 1.95:1, which is very close to Storaro’s beloved 2:1 Univisium and Netflix’s recommended widescreen ratio.With P+S Technik CS 1.5x, the desqueezed result is 2.25:1. The theory should be similar for ARRI ALEXA LF, RED W8K MONSTRO VV, Panavision DXL2 and Canon C700 FF. We used a Scorpio FFA prime and Sony VENICE. Hawk65 anamorphics are 1.3x squeeze. Ultra Panavision 70 lenses have a 1.25x squeeze ratio. Servicevision Scorpio 2x FFA lenses have full-height 24mm coverage and 2x squeeze. With the latest wave of Full Format cameras comes new interest in anamorphic Full Format lenses. Here’s a reprint from the current edition (April 2018) of FDTimes about desqueezing anamorphic images with DaVinci Resolve.
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