Arri Mini 2.39 Anamorphic workflow arriraw

[Felix]

Hello everyone,

I would like to know some information on Arri Mini's workflow. I plan to shoot my feature film in 2.39 using Anamorphic len on entirely on Arri Mini. The end delivery format will be cinema. I also want so shot in Arriraw format.

ProRes:
S16 HD: 1920 x 1080 (up-sampled from 1600 x 900)
HD: 1920 x 1080
2K Cine 16:9: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160 (up-sampled from 3.2K)
4:3 2.8K: 2880 x 2160 (padded to 2944 x 2160)

Anamorphic ProRes formats with 2x in-camera de-squeeze:
HD Anamorphic: 1920 x 1080*
2.39:1 2K Anamorphic: 2048 x 858*

MXF/ARRIRAW (in-camera recording to MXF-wrapped ARRIRAW files):
2.8K 16:9: 2880 x 1620**
Open Gate: 3424 x 2202***

MXF/ARRIRAW Open Gate modes with active image area matching 4:3 ProRes modes:
4:3 2.8K (OG 3.4K): 2880 x 2160 (Recording in Open Gate 3.4K)***
2.39:1 Ana. (OG 3.4K): 2560 x 2145 (Recording in Open Gate 3.4K)***
16:9 HD Ana. (OG 3.4K): 1920 x 2160 (Recording in Open Gate 3.4K)***

I would like to know more information this work flow. If I go 2.39:1 Ana. (OG 3.4K), will i get a in-camera de-squeeze? Or do I only can do it in post. If I can only do in post, what is the exact settings for this for resolve. What resolution will I end up with after de-squeeze? It is 2048 x 858?

Thank You.
Please advice.

[Jan Heugel]

Dear Felix,

ARRIRAW is always spherical, a metadata information will tell that it has to be de-squeezed.
Generally speaking: double the width and you end up with a native format timeline.

See here for more on cinematic releases as DCP ("Scope DCPs"):
http://www.arri.com/?eID=registration&file_uid=16895

For Resolve:
- set your project as you need to deliver (e.g. 4K scope DCP)
- if Resolve doesn't automatically recognize the clips as anamorphic, set their clip parameters to 2.0
- you might have to readjust "image scaling" to fit how you intend it to.

Please Note: Resolve (depending on the version) might offer the full Open Gate resolution (which you did not frame to). So you might have to "throw away" more image information than you might expect.

See our resolution overview and in your case look out for the "Active Image Resolution" vs. "Sensor Resolution (photosites used)":
http://www.arri.com/?eID=registration&file_uid=16668

Cheers,
Jan

[Felix]

Hello Jan,

Thank you for your reply.

2K DCI


4K DCI


You mention that :

Please Note: Resolve (depending on the version) might offer the full Open Gate resolution (which you did not frame to). So you might have to "throw away" more image information than you might expect.

What is the best approach for retaining image information as much as possible? 2K DCI or 4K DCI? Or there is no difference.

Thank you

Please Advice.

[Jan Heugel]

Dear Felix,

in that regard, 2K or 4K does not matte since the aspect ratio is the same;
it is more like this:

Anamorphic_in_OG.png

Taken form here:
http://www.arri.com/?eID=registration&file_uid=14917


Best,
Jan

[Felix]

Hello Jan Heugel,

I have some question on 4K DCI Anamorphic delivery and workflow using prores codec verse arriraw.

I have downloaded the test footage from Arri.
I am particularly looking at "M001C009_161207_R00H.mov"
I understand that the footage is shot on Anamorphic with a Lens Squeeze Factor: 2.0.

Now I bring the footage in FCPX for offline editing. What resolution should my sequence be? 4096×1716?
I notice there is Anamorphic setting in FCPX. Once I have done that, the clip looks like it should.

My question is, can I shoot my all the footage in "4:3 ProRes 4:3 2.8K" in Anamorphic Lens and desqueeze the footage in FCPX?

In terms of achieve the best image quality (preservation) how is this compared with shooting on "MFX/ARRIRAW 3.4K" in Anamorphic Lens?

In both, I need to desqueeze the footage in FCPX or Resolve. The advantage is using 4:3 prores, I can natively start editing it in FCPX without conversation. Saves a lot of steps and storage space. If I were to use ARRIRAW, I would need a tool like resolve or ARRIRAW converter to render a Prores version for offline editing? Please correct me if I am wrong.

If my intended delivery is 4K DCI/DCP cinema, ProRes shot in 2.8K upscale to 4K and ARRIRAW 3.4K upscale to 4K, is there going to be noticeable difference in terms of quality?

Please Advice.
Thank You.

[Jan Heugel]

Dear Felix,

your timeline/editing-proxy size does not matter that much as long as you are not doing your final export from that.
But you can use 4K/DCI resolution for that.

Yes you can use the de-squeeze in Final Cut and reposition/reframe if needed.

To compare 2.8K (2880x2160) vs. 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.
b) yes 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.

Your ProRes workflow is correct.

Noticeable differences: Well, if I remember correctly Skyfall was shot 4:3 ARRIRAW at the time and they did a 4K DCP (also IMAX screenings).

Cheers,
Jan