Mismatched audio channels results in warning dialogs and are not allowed.
#Arri look converter full
The supported workflow allows attachment of Proxies with other frame sizes & PAR (pixel aspect ratio) combinations that are divisible by the Full Res clip (for example, 1920x1080 1.0 PAR Full Res and 960x540 1.0 PAR Proxy or 1440x1080 1.33 PAR Proxy), but other parameters such as fielding, frame rate, duration, and audio channels must match. Or for broadcast, lay black with mask for letterbox then 803 doesn't really matter as its composited with black to 1080. most people do AR 2.4 800(Bluray scope) because some codecs don't support an odd number of pixels. It's always best to work in and export same AR so your text isn't offset. set Input scaling preset - scale to comp widthĢ.39 would be 1920/2.39 or 803. Open Gate 3424x2202 we have to keep in mind that a) if you're using the same lens when comparing these formats Open Gate offers a larger field of view - ergo you have to move your camera to get the exact same shot.ī) Open Gate offers a greater resolution (if your lens covers the Open Gate sensor area), but with the known downsides you already mentioned: filesize, conversion from ARRIRAW to ProRes for editorial I'd suggest shoot a test at your local rental house.Īs you have surmised, going from anamorphic to 16:9 won't be pretty for 1080p.Īspect Ratio = (Horizontal Resolution / Vertical Resolution) × Pixel Aspect Ratio(anamorphic ratio)Ģ944x2160 is a ProRes format with black padding left/right, the active image is 2880x2160. Due to the in-camera scaling the data rate is reduced, allowing recording speeds up to 120 fps. records a 2.39:1 standard 2K format (2048 x 858), which does not require any cropping or scaling in post. It offers frame rates up to 50 fps and an optional 2x anamorphic de-squeeze for the EVF and SDI monitoring paths.
#Arri look converter 1080p
No problem to do the creative side go the editing but I need to get clear on this subjects too.Ģ) If our delivery goal is on HD 1080p then what is the best camera setting for the goal? and Relative PP workflow?
#Arri look converter pro
What is the point in transcoding if then you want to use the raw file in premier pro for wider image manipulation range? As far as I know the arrow converter converts files in different formats but then (at least if transcoded to PreRess) the extra parameter (exposure index, white balance and tint) are lost?Ĭan you transcode in a non raw format and retain all the extra parameter when importing in PP? The crew is talking to have a data manager on set to get the card from the Arri to transcode the footage. So I suppose the correct way is to 'interpret the footage' and give it a 2x de squeeze? Scale to frame size do not affect the image. Is it to import via the raw files directly into premier pro and then go to Modify, Interpret Footage and give it a 2x squeeze? If I import the footage raw the change sequence setting to double the horizontal size nothing happen, well the frame on the program monitor get wider and the footage stay the same. Now if we go for this settings, then how is the correct Premier Pro workflow? 39:1 2K ana (OG 3.4), or 4:3 2.8K (OG 3.4) but then I would have to crop some pixels as the latter is a 2.66:1 right? I am going to edit a music video which will be shot in 2 days so I would appreciate some advise on the best camera settings for two scenarios:ġ) we deliver the final master in 2.39:1 anaĢ) we deliver the final master in HD (1080p)ġ) If we use 2x ana lenses to deliver 2.39:1 aspect ration, the the only ArriRaw setting that make sense is 2. I would like some advice on the best workflow when planning a shoot with alexa mini and anamorphic Cooke 2x Lenses.