![]() If you want 2.35:1, do your edit on the footage as above, then make a new timeline and drop the 2.4:1 one on that & scale it. You should end up with no lost pixels in either case. If you want true anamorphic, render 4096x1716. Should have a nice 2.39:1 result.Įxport 4096x2160, you’ll be exporting a 16:9 file with black bars baked in. This should interpret/de-squeeze the footage correctly on your timeline. Writing this out from memory, not at PC, but that’s how I dealt with footage I shot with my Vazen 1.8x lens. In your project settings set the scaling to scale to fit. It should apply this to all the clips you selected. Change the pixel aspect from square to 1.33x. In the bins select your files and right-click>clip attributes. ![]() This is what your de-squeeze will end up at from a 1.33x lens on a 16:9 sensor. What settings do you guys use who owns these lenses to desqueeze in resolve? Or since the digital age should I just not care and deliver in 2.4:1 or 2.5:1? So is the idea to deliver in 2.35:1 and crop off the sides a little? Seems like a waste of horizontal resolution. If you stretch that as pixel perfect you get an aspect ratio of 2.52:1 That isn't even close to what I see for standard aspect ratios. ![]() I have the 1.33x desqueeze in camera working perfectly, but my timeline resolution in resolve seems to be a mystery that eludes me.įile video resolution is 4096 X 2160 and a 1.33x desqueeze on 4046 is 5447.68 or rounded down to 5446 to have an even number. I rented a set of 1.33x anamorphic lenses for a shoot this weekend and am using this week to get used to them. Hey guys, I honestly thought this would be alot simpler but I seem to be struggling as the math and everything doesn't quite line up how I think it should. Panasonic H-HS12035 LUMIX G X VARIO 12-35mm/F2.8 ASPH X Series Lens.What is the BMPCC? (archived - product discontinued by manufacturer) This article “Large Format: Ultra Panavision 70” in American Cinematographer magazine is well worth a read too.This is where everything and anything related to BlackMagic Design's Pocket Cinema Camera (BMPCC), Micro Cinema Camera (BMMCC), Pocket Cinema Camera 4K (BMPCC 4K), Pocket Cinema Camera 6K (BMPCC 6K) and Pocket Cinema Camera 6K Pro (BMPCC 6K Pro) will be posted. I like to correct as much of the vertical distortion as possible when using smartphone anamorphic lenses, which I cover with a tutorial video featured later in this article.įind out more by watching the trailer for The Hateful Eight and the Hateful Eight Featurette below. This results in less distortion than you would find with the more extreme squeeze we are dealing with using a 1.33X anamorphic lens or in this particular case, the Beastgrip 1.55X anamorphic. The Ultra Panavision format required a mild anamorphic squeeze of only 1.25X to squeeze the 2.76:1 width image down to the 2.2:1 image area of the 65mm film frame. The extra 5mm on the prints contains the optical soundtrack. Ultra Panavision is a 70mm format, that was shot on 65mm camera negative using anamorphic Ultra Panavision lenses, and projected from 70mm prints. The Hateful Eight was the first film to be shot in Ultra Panavision 70 since 1966. Ultra Panavision is an extreme widescreen format developed and used between 19, and then revived more recently on films such as Tarantino’s The Hateful Eight in 2015.
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