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

[Gary Adcock]

[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 16×9 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

https://blogs.creativecow.net/24640

[Anthony Bairstow]

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

[Anthony Bairstow]

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 1920×1080 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 – 1920×816 open space in the middle of a 1920×1080 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 – 1920×816 (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 (1920×1080 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 1920×1080 frame without loosing any of your 2:35 picture
This is a 2:35 FHA picture in a 16:9 (1920×1080) frame

6. Render

7. Lay off to HD CAM or HD CAM SR

Hope this helps someone… it confused me for ages!

ant