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2:35 anamorphic mastering to HDCAM-SR from 16:9 HDCAM-SR shoot

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Anthony Bairstow
2:35 anamorphic mastering to HDCAM-SR from 16:9 HDCAM-SR shoot
on Apr 20, 2010 at 4:07:25 pm

Hello all.

Before I start thanks to all the people who post and answer here, I have found many useful answers throughout the years.

Question-

I am working on a short film, shot on ARRI D-21, with 16:9 anamorphic lenses(are they called spherical lenses?) on to a HDCAM-SR tape

However, the DOP and director shot with a 2:35 ratio - I guess using a 2:35 view finder or taping off the monitor. They did not use 2:35 lenses.

However- we want to master the film as 2:35 HDCAM SR tape but WITHOUT any letterboxing. I have heard this is possible by-

1. Online in a 16:9 1920x1080 sequence
2. Apply a 2:35 stretch onto the picture, which cuts into the 2:35 area and stretches it out to fill the full 16:9 frame (much like a 16:9 FHA picture fills a 4:3 frame on digibeta)
3. Leaving a 2:35 anamorphic picture inside a standard 16:9 1920x1080 sequence
4. The projector (when film is shown in festivals) will apply the correct 'squeeze' to the 2:35 picture, displaying it at the correct ratio- without any letterboxing.

This is what I have been told is possible if you do not shoot with a 2:35 lens in the first place to obtain a 2:35 master on HDCAM SR tape without bars.

Can anyone confirm this process?

Second part of the question is - is this possible in FCP 6 or 7? I will be moving to an online facility which can online HDCAM 4:4:4 for this short and need to know how I will apply this 2:35 anamorphic stretch to my 16:9 picture for the HDCAM SR master.

Yes, you might cry, you are cutting into the middle of the 16:9 frame and expanding it - you are loosing quality.

Well thats what I want an opinion on and for anyone to help me answer how this could be done in FCP 6/7 or should I advise against it or go another root?

Thanks for help

ant


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gary adcock
Re: 2:35 anamorphic mastering to HDCAM-SR from 16:9 HDCAM-SR shoot
on Apr 20, 2010 at 4:45:31 pm

[Anthony Bairstow] "I am working on a short film, shot on ARRI D-21, with 16:9 anamorphic lenses(are they called spherical lenses?) on to a HDCAM-SR tape "

OK I am REALLY CONFUSED.

Spherical lenses are the straight old kind like digiprimes and super speeds.
Anamorphic Lenses fill the frame area- but require processing to fit a specific frame size.

The D-21 has what is called Mscope mode that outputs 2:35 out via HDSDI with letterboxing.
or did they use the New HAWK 1.3 anamorphics that capture fullframe 16x9 that is expanded to 2:35 when properly output?

GIVE ME A FULL FRAME IMAGE TO SEE


"4. The projector (when film is shown in festivals) will apply the correct 'squeeze' to the 2:35 picture, displaying it at the correct ratio- without any letterboxing."

that would be doubtful unless you made sure that they were prepared ahead of time to handle anamorphic master content and you had the correct optical ratio inplace for projection.

This is MORE COMPLICATED than just outputting to tape and may take multiple masters to handle the content for a variety of situations.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

http://blogs.creativecow.net/24640



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Anthony Bairstow
Re: 2:35 anamorphic mastering to HDCAM-SR from 16:9 HDCAM-SR shoot
on Apr 20, 2010 at 4:54:42 pm

Hi
Thanks for responding.

OK - lenses - Im getting my terminology mixed up.
Basically, its a normal 16:9 full frame picture. I dont know much about lenses unfortunately, but I can see its a full frame picture and is not distorted in any way. I was told they are spherical lenses.

The picture is not letterboxed, its full frame but on set they were only viewing the 2:35 area.

Im not sure about the HAWK lenses... sorry

"that would be doubtful unless you made sure that they were prepared ahead of time to handle anamorphic master content and you had the correct optical ratio inplace for projection. "

Well, if its a festival and the SR tape is labelled as 2:35 that shouldnt be a problem?
Thats assuming the festival spec allows 2:35 on SR tape. If not it will have to be a 16:9 with 2:35 letterboxed tape

i.e. yes i agree there will be multiple masters- but for the full frame SR master - how can this be done on FCP?

Sorry for the mega complex post and not knowing all the info..!

ant



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Anthony Bairstow
Re: 2:35 anamorphic mastering to HDCAM-SR from 16:9 HDCAM-SR shoot
on Nov 5, 2010 at 8:49:14 pm

I worked this out in the end.

Here is how to make a 2:35 FHA layoff for HDCAM or HDCAM SR

1/ Take a 16:9 1920x1080 sequence and edit your footage/add effects/grade etc etc. Re-frame any shots you want using a 2:35 matte (best to make one in photoshop - 1920x816 open space in the middle of a 1920x1080 canvas). Make sure you add any extra graphics you need here such as credits, titles, subtitles etc but dont add anything to the letterboxed area- you will loose this.

2/ Export it in your mastering codec (Pro Res 4444 in this case)

3/ Make a new Pro Res 4444 sequence (load setup from FCP) and then change the frame size to custom - 1920x816 (this is the desired 2:35 aspect ratio). Load in your Export. Remove any Distort or Motion changes and check there are no filters added by FCP automatically. The picture should fill the canvas width wise but have the top and bottom cut off.

4. Drop this sequence in to your Mastering Layoff sequence (1920x1080 Pro Res 4444) which you will use to master your new 2:35 full height anamorphic sequence into. It will appear letterboxed.

5. Change the properties of this nested 2:35 sequence (click on it once, then hit enter) in the Distort setting to (note '-' signs):
UL: -960 -540
UR: 960 -540
LR: 960 540
LL: -960 540.

This should make the corners pop out to the maximum edge of the 1920x1080 frame without loosing any of your 2:35 picture
This is a 2:35 FHA picture in a 16:9 (1920x1080) frame

6. Render

7. Lay off to HD CAM or HD CAM SR


Hope this helps someone... it confused me for ages!

ant


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