Working 2k Amamorphic from RED

[Joakim Ziegler]

Why do you want to finish 2k Anamorphic in DCP resolution? If you want to finish 2k scope, you either use 2048×858 square pixel for DCP, or 1828×1536 anamorphic for film out.

What is it you’re trying to accomplish?

—
Joakim Ziegler – Postproduction Supervisor

[Eugene Lehnert]

I’m merely trying to work at a 2k resolution that retains the anamorphic aspect ratio. Working at 2048×1716 would allow me to resize the image to the DCP resolution and the 2k film out resolution.

What is the typical workflow for Anamorphic 2K projects?

[Prathvish Hegde]

i don’t find a reason to work on stretched footage . i think u should squeeze the footage to 2.35(2.39) and work on it and render out as 2.35 for DCP.

prathvish hegde
colorist
(DaVinci Resolve and 2Kplus)

https://www.youtube.com/playlist?list=PLRPJQ3fIEoojI3JMa4rHKb9gqq8VeIZ81

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Eugene Lehnert]

If my client gets a film out that is a substantial loss in quality no? It’s almost half the vertical resolution and about a million pixels less then the anamorphic film resolution. If I work in 1828×1536 then I’m working in a lower horizontal resolution. I thought working in 2048×1716 would be a good mezzanine resolution.

[Joakim Ziegler]

It’s not a horrible idea, although I would first of all decide what deliverable is the most important for the project, 35mm or DCP. This also affects things like how you would work with LUTing, etc. In films we work on, the answer to this question today is DCP in 95% of cases.

Also, consider that you can change your project resolution later. If you’re working with 5k material, and always use the highest debayer quality, you can change resolution and render directly to whatever output resolution you need. Another option would be to work in something like 3k square pixel.

However, you should be aware that there are some bugs in Resolve when working with anamorphic, particularly related to tracking, as I remember (windows would track all wrong), but it’s been a while since I did a project in anamorphic, so these may have been fixed.

—
Joakim Ziegler – Postproduction Supervisor

[Eugene Lehnert]

I know the film will be screened as a DCP if it gets theatrical distribution. Film is few and far between for my clients these days. My client is on a budget and trying to keep his options open. I also do not have a RED Rocket card so I need to debayer to DPX before the color grading can begin. He’s also on a tight budget so I’m trying to figure out the most efficient workflow. I also only have a Rec709 monitor.

Thanks!

[Joakim Ziegler]

Your setup isn’t really well suited for what you’re trying to do, as debayering the Red files to DPX before you start is very far from ideal.

But what I’d do in this case would be to debayer to DPX at 2048 wide and wh in RedLogFilm and RedColor3, work with that using curves, no LUT unless you definitely want a distinct film look (with the difficulties that implies for grading), make it work in rec.709, and then experiment with different LUTs to convert that rec.709 to DCI P3/DCI X’Y’Z’ afterwards. The advantage of this is that the files are fairly light weight.

If the client wants a 35mm film out, just do it from the same render, using a LUT to take you from P3 to the native film space. Yes, it’s slightly lower resolution, but no one will see the difference.

Or, as an alternative, if you’ve got the disk space/speed and GPU capacity, debayer to 3k (3072×1278) or 4k (4096×1716) and work from that, that’ll give you sufficient resolution for anything you might want to do.

I would not bother to work anamorphic in Resolve, it just makes your files twice as big for a very theoretical quality improvement that’s only relevant for film out. 3k would be roughly the same bandwidth, and would give you freedom to reframe with little quality loss, and be relevant for both film out and DCP.

—
Joakim Ziegler – Postproduction Supervisor