cinemascope to HD exact info ?

a friend was shooting (dp) tv show using alexa with anamorphic lenses cause showrunner wanted horizontal flare look but network didn't want black bars on top and bottom so they lopped off the sides and broadcast HD.
I got sample footage from arri as follows:
Alexa LF 3.9:1 scope 4.5k 4446 x 1856.
I'm using resolve 15.

I want to duplicate what they did at network but need exact numbers for it, cause the same material, in theory, may go to titles, visual effects, colorist, trailers, etc.... so everyone would need the same exact info....

any ideas ??
Thanks !

Do I understand this correct? You have 2.39 footage stretched even further with a 3.9:1 lens? You have essentially 9:1 final result?

Hi Jim, no....I will explain more. I got a computer with full hd screen and use resolve 15 to edit. I put the cinemascope stuff in natively and see it in my program monitor with black bars on top and bottom which is correct and expected.
I edit the 4.5k stuff ( with proxy in my case ) but in the very end I export HD only.

Now I want to deliver the HD stuff without the bars which means I have to lop off the sides and I am thinking that means I need to scale the 4.5k stuff UP maybe for correct delivery to get rid of bars, but I want exact numbers or percentage and not just guessing cause I don't want to crop ANYTHING on top and bottom of frame the DP composed with.

hard to explain.

sorry, last mssg was incorrect. I don't see black bars until I export to hd but think I figured out how to do this stuff.
when I edit native stuff it's a timeline space for cinemascope, to I don't see black bars then. I just work with the 4.5k stuff for edit and color etc.
but when I export to hd is see the bars on top and bottom ( normal ).

soooo, what I figured out is I need two timelines ( like a mirror ) but one is for editing ( full cinemascope for flare stuff etc.) and for export I need a new timeline space ( full hd ) where I see the bars....

now it's a naming convention thing to keep track of what's what...one for edit and color, and one for delivery to get rid of bars...

for my source stuff it turned out to be ( transform ) 1.345

One thing we always request from a client is a framing chart so that we understand exactly what was seen on set and what they intended to be seen in the final film. One like this can work:



Note that even though this was made with the free Arri Alexa utility, the concept can work with any camera. The link to make the chart is here:

https://www.arri.com/en/learn-help/lear ... ation-tool

The key is that all the circles have to be perfect circle,s and you need to make sure the de-anamorph ratio is absolutely correct and nothing is being cut off or distorted. This gets even more complicated when different cameras are used to shoot a single project. We've had cases where filmmakers used both spherical lenses and anamorphic lenses on the same production, and yet the ultimate release was all 2.39 scope. Without a framing chart, we'd be lost in terms of getting the right framing. Worst case, they can borrow the camera and shoot some charts (most rental houses will do this for free), then give you the files so you have a solid reference.

It is possible in Resolve to work without a matte (or perhaps with a translucent matte top and bottom) and reframe as you go. And then once you're set, output the file in 2.39 and crop it to the correct size without any letterbox at all. Normal 4K scope sizing is 4096x1716, and it's 3840x1607 for UHD (though we often lean towards 3840x1600 because the math is easier for 2.40).

Thanks, Marc. That's the sort of info I was hoping for and now I have to digest it and think about it and see how I can use it so I understand what's possible on a pro level.
I have a horrible feeling I'd need to go to an equipment house and 'check out' the arri camera with anamorphic lenses ( the LF camera ) for a day to really get where I want to be in my head.
I'm retired grip and just got into editing to keep brain functioning as hobbyist. But I do know some people in the business, including camera dept., so I can get help that way if they aren't busy working.
Thanks again... I didn't know all the right numbers and choices to make for a chart but that's very helpful, especially the top and bottom for going to full HD export from scope.

wrote to arri yesterday re: this issue and this morning I got mssg from really nice man who told me what to do ( using resolve ) with 4 screenshots to illustrate exactly what to do. what a great company !
I would share but don't know how to include screenshots on this forum.
thanks for help everyone.

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thanks Jim,

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couldn't upload last one ( 4th ) cause it's more than 1 meg.... was just comparison of the two image results ( full anamorphic and full hd )