[Tig] When to Crop the full gate sacn dpx
jeffcee at shaw.ca
Sat Jan 23 18:05:01 GMT 2010
Your reasoning is correct. You should shoot only what you want the
audience to see, therefore you should letterbox/crop the areas
outside of the intended aspect ratio.
I was involved in a 1.85 4K project and we made the choice to scan
all of the full app camera negative to give us the freedom to tilt a
lot and pan a little. We paid for it with space. We rendered 1.85 DPX
files for the filmout which at least saved some space on that side.
( currently at the Sundance Film Festival. )
+1 (403)708.3452 ( GSM Canada )
+32 (0)479.959.950 ( GSM Belgium )
On 22-Jan-10, at 6:37 PM, tig-request at colorist.org wrote:
> From: Carl Skaff <carl at stopp.se>
> Date: January 22, 2010 8:38:00 AM MST (CA)
> To: "tig at colorist.org" <tig at colorist.org>
> Subject: [Tig] When to Crop the full gate sacn dpx
> I know of one movie that they scaned the S35mm 4perf (non
> anamorphic) in an ArriScan CROPPED
> The scan/grade company said, "If you want it in 4K we can scan it
> in 4K but then we will crop it to 2,35 directly in the scanner...
> to save storage, and that limits you from tilting shots in grading"
> worked fine as a bargening thing, that saved them a sh*t lot of
> storagenot having the 4K 4:3 image in the SAN for the whole post.
> When there normal chain is built for 2K.
> Do you really shoot-out a 4:3 image to neg after the grade/online?
> I though that you would either put a letterbox/crop the "output-
> dxp" or stretch it to anamorphic so the release-print is projected
> using a anamoph lens in the theatre.
> Why shoot-out image that is ment for no-one to ecer be seen. Lets
> say the projectionist f*ck up in the theatre and layses the film
> one perf wrong so everybody sees a mic-boom in all the shots and
> Carl Skaff
> Head of Telecine
> Stockholm Postproduction
> phone: +46 8 50 70 35 00
> fax: +46 8 32 77 22
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