![]() ![]() We basically have to crop 1258 pixels off both sides. As a workaround, we can use another custom timeline with a resolution of 5164 x 2160 pixels to receive the common cinemascope aspect ratio of 2.39:1 for example. You can use this extremely wide image for special projects, although viewing footage with such a wide aspect ratio might not be desirable on many devices because you will have thick black bars at the top and bottom. ![]() From a technical standpoint, this will result in an inferior picture but when shooting anamorphic the goal is to achieve a more artistic-looking image instead of the most perfect picture in the first place, technically speaking. Image credit: Florian Milz / CineDĮssentially what we did is stretch the horizontal pixels and therefore interpolated or duplicated a second pixel to every horizontal pixel. De-squeezed anamorphic image with 3.55:1 aspect ratio. ![]() The resulting image has an extremely wide aspect ratio of 3.55:1. This means 8K UHD horizontally and 4K vertically (for reference: 8K UHD is 7680 x 4320 pixels and 4K UHD is 3840 x 2160 pixels). What we now have is a frame that is 7680 x 2160 pixels in resolution which is the maximum field of view you can record on the sensor (like “Open Gate”). Anamorphic on 16:9 sensor: the de-squeeze De-squeezing the 16:9 image. To do this you need to scale the clip on the X-axis by 200% but leave the Y-axis untouched at 100% scale. That’s why the vertical resolution remains at 2160.Īfter inserting the original clip into the new timeline you need to stretch the image to get rid of the squeeze and the black bars on both sides. The squeeze factor only applies to the horizontal image though. Note that 7680 is the width of 4K UHD (3840) multiplied by 2 because the squeeze factor from the lens was 2x. ![]() To do this you have to create a custom timeline with the dimensions of 7680 x 2160 square pixels. When you bring the recorded 3840 x 2160 16:9 footage into post-production you will first have to de-squeeze the footage in order for it to look correct. Image credit: Florian Milz / CineD Anamorphic on 16:9 sensor: the correct project settings Squeezed image straight out of the camera. So let’s see what the recorded image looks like and how we can work with it in order to get good-looking results.įor this case study, I used a Kowa 50mm 2x anamorphic lens on a Canon C300 Mark II and recorded in 4K UHD 3840 x 2160. Want to learn more about the History of Aspect Ratio? MZed offers a great course on The Art of Visual Storytelling, which also touches on anamorphic capture. After the necessary de-squeeze, you receive an image with a much wider aspect ratio than if you would have recorded an anamorphic image from a 4:3 sensor (which 2x anamorphic lenses were designed for). When you attach a 2x anamorphic lens to a camera that records a 16:9 video you still record the full 16:9 sensor resolution but the image is squeezed from the anamorphic elements in the lens. This article will show you how to work with anamorphic 16:9 material from start to finish. With the “digital revolution” for cameras, the new video recording aspect ratio of 16:9 came along which represented a more natural field of view that comes closer to human vision compared to the former 4:3. ![]()
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