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Anamorphic 16:9 Question
Hello all-
I’ve got an independent feature film shot on the panasonic DVX/letterboxed/24p. We are getting ready to deliver the master to the post house for replication, etc. The guys at the post house suggested that we deliver the film in Anamorphic 16:9, rather than letterboxed.
What is the benefit of going anamorphic 16:9? The film will be released direct to DVD so we don’t know how most people will be viewing it…I am going to run some tests out of FCP and view the anamorphic footage on both HD and SD televisions, but does anyone have any advice in dealing with anamorphic 16:9 in the direct to dvd market, and do you think it’s a necessary step to take? Thanks
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6 Replies
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if it’s anamorphic it will display correctly on both widescreen and normal tv sets when playing from dvd. letterboxed video is double letterboxed (sides too), or worse squeezed, on widescreen displays. (yes, i know you can change the tv settings to zoom but few do/bother)
make sure you use high quality scaling to create the anamorphic since new lines will be created. compressor with frame controls at high quality should do a good job. in either case make sure it’s progressive scaling and not interlaced.
/matt
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Thanks Matt-
A follow up question would be- What would be the best way to create anamorphic 16:9. When I check the Anamorphic 16:9 box in the sequence settings and drop my letterboxed test clip in the timeline, the clip doesn’t even fill the title safe guides.
Do you suggest creating anamorphic in FCP (if so, what are the correct steps to take), or should I stretch in compressor using a 16:9 encode?
Thanks
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If you filmed with letterbox mode switched on at the camera end you’re not really going to gain anything by creating an anamorphic version. You’ll only degrade your image quality by trying to do it in post.
-Simmie
2 G5 – Kona LH
3 G4s – Cinewave
1 xbox360, 1 PSP, 1 PS2 & a Gamecube
https://www.speak.co.uk -
I don’t understand even why cameras even have the letterbox option.
You either need 4×3 full frame (if that is indeed your required broadcast delivery format and there is no need for future 16×9 delivery) or 16×9 anamorphic – which gives you more delivery options: 4×3 full frame (either centre-cut extraction or pan & scan), 4×3 letterbox (for broadcasters which don’t mind the black bars on top and bottom), and especially, 16×9 anamorphic, where you are future-proofed for upconverting to HD which is 16×9 anamorphic.
The letterbox feature only seems to create a headache for post.
I had a young cameraman deliver a bunch of 2nd unit shots to me in this letterbox format – after he was specifially told to shoot anamorphic – and he had to go out and re-shoot everything. Mind you he did learn a harsh lesson about the differences between letterbox and anamorphic.
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DK Davis / Editor/ Post Super
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[Daryl K Davis] “Mind you he did learn a harsh lesson about the differences between letterbox and anamorphic. “
There are altogether too many camera-ops out there who don’t understand the difference…
-Simmie
2 G5 – Kona LH
3 G4s – Cinewave
1 xbox360, 1 PSP, 1 PS2 & a Gamecube
https://www.speak.co.uk -
My favorite is the Producer who wanted to put the black bars on the top and bottom of a full frame 4×3 program to make it “widescreen” – and even after much educational discussion – one week later he comes back all upset because his show doesn’t look ‘right’ on his newly acquired HD plasma TV… “Why does everyone look squished and fat, and why are there bars on there… I thought we made the show widescreen?” he laments.
Oh brother, there are many more stories like that.
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DK Davis / Editor/ Post Super
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