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DI from digital anamorphic: Is it possible?


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#1 dan harris

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Posted 03 May 2010 - 11:30 AM

I am shooting a low budget feature with the GH1 and anamorphic adapters and lenses (Iscorama's)
with the possibility of later making a DI.

how would the DI process differ from normal aspect ratio's since anamorphic is unsqueezed on projection and digital anamorphic is unsqueezed in post?

I guess the question is what would the lab use to make your eventual 35mm print?
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#2 David Mullen ASC

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Posted 03 May 2010 - 11:51 AM

I am shooting a low budget feature with the GH1 and anamorphic adapters and lenses (Iscorama's)
with the possibility of later making a DI.

how would the DI process differ from normal aspect ratio's since anamorphic is unsqueezed on projection and digital anamorphic is unsqueezed in post?

I guess the question is what would the lab use to make your eventual 35mm print?


Depends on what format you want to master to. I'm assuming that the point of this special anamorphic is to squeeze a 2.40 image onto a 16x9 recording.

You could make a 16x9 HD master in the D.I. session that is letterboxed, not squeezed, to the 2.40 ratio, and then they just record the picture area to 35mm anamorphic, adding the standard 2X squeeze in the film-out by basically doubling the horizontal lines to create an image with a 2X squeeze.

Or you could make a 16x9 HD master with the squeeze built-in, full frame image, and let the film recorder handle the conversion to 2X 2.40 anamorphic. In that case, either you just go through the D.I. session watching the image with an odd squeeze to it, or you figure out a way for the display system to temporarily remove the squeeze.

But eventually you are still going to want to make an unsqueezed/letterboxed 16x9 HD master for HD and SD versions.

Since you are not shooting on a Log camera, but a broadcast HD (Rec 709) camera, you'll probably be just doing a standard HD color-correction session and letting the people doing the film-out deal with the Rec 709-to-Log conversion. At that point, the only difference between that and a D.I. might be the type of room you're in (HD monitor versus large projector screen) and the type of color-corrector they will use (DaVinci/Pogle versus Lustre/Baselight, etc.) though all of that is merging these days.
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#3 Adrian Sierkowski

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Posted 03 May 2010 - 11:51 AM

David beat me to posting so no need to add same info.
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#4 dan harris

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Posted 04 May 2010 - 05:56 AM

Thanks David, that was blazing fast, will forward to my local lab for quotes.

Any filmmakers out there gone this route to make a poor man's scope feature with Lomo's or Iscorama's and finish with a DI to 35 out?
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#5 mohana

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Posted 15 February 2011 - 11:41 AM

But y using anamorphic lens? Wouldn't we miss the valuable pixels squeezed? Why not crop top and bottom?
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#6 Adrian Sierkowski

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Posted 15 February 2011 - 12:23 PM

They have a look and feel which is hard to replicate later on (i'd say impossible).
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#7 Phil Rhodes

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Posted 15 February 2011 - 01:29 PM

Do Isco make a 1.33 morph?

P
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