I've been looking in DCP requirements, etc. and I've been told and have read that 2.39 is the norm.
I shot a short on the RED Epic at 4K.
All my r3d files from the shoot say they're 2:4:1. I'm mastering at 2K 2.39 (for DCP). So that would be 2048x858. But using that resolution with my r3d files, or even bumping to 4K to check the same 2.39 ratio, it gives me black slivers on the top and bottom. These only go away when going to 2048x853 which is true 2:4:1.
I've contacted RED to clear this up, but I'm assuming now that this was a setting chosen by the DP in camera. So it can't be changed.
If this is the case, and it's not something I'm overlooking with the r3d files, then should I stick with the 2.39 and just deal with the slivers of black (they're pretty small, but probably larger on a big screen :-) ). Or is there another option?
I have little experience with creating DCP myself, but this note comes from the RED site:
Note: many say 2.39:1, 2.40:1 (“two-four-oh”) or 2.35:1, but nowadays these typically all refer to the same 2.39:1 aspect ratio. 2.35:1 was an earlier SMTPE widescreen standard prior to 1970, and two-four-oh is just an incorrect rounding from 2.39:1 to 2.40:1 instead of to 2.4:1. http://www.red.com/learn/red-101/video-aspect-ratios
Unfortunately I've found out that the 2.4:1 (WS) is actually in fact, 2.4:1 and is a setting in the RED Epic. I've contact RED as well as spoken to a few different people, and I'm going to have to either punch in a percent or so to get rid of the lacking pixels in a 2.39 timeline, or crop the sides (therefore pushing in).
DCP has to be 2.39, and while I guess you could drop the clip in that timeline and export. If you did play it in the theater everyone would see the black pixels on the top and bottom. While it's not a huge deal, does look kind of dumb, and because of some other rescaling reasons, I'll have to get rid of all of them.