Keep Aspect Ratio 1.90:1 for proxie in DNxHD

Hello!
I'm transcoding MXF OP-Atom proxies and they asked me to keep the 1.90:1 aspect ratio, they also asked me to use DNxHD codec with 1080 36 8-bit type
The original footage is in 1.90:1 aspect ratio
When I hit Render the timeline (2048 x 1080 DCI) transforms itself in 16:9
There is a way to get around it?

How is your timeline and your scaling set for the project?
What do you see on the Deliver page?

I don't think you can have anything else than 1,77 ratio with DNxHD. You should use DNxHR instead.

How is your timeline and your scaling set for the project?
What do you see on the Deliver page?

Timeline is 4096 x 2160 DCI
The scaling is "scale entire image to fit"
The delivery page is normal, I'm setting like this:
- Format: MXF OP-Atom
- Coded: DNxHD
- Type: 1080p 36 8-bit

I don't think you can have anything else than 1,77 ratio with DNxHD. You should use DNxHR instead.

I did, went with DNxHR LB and it worked, but it didn't shrink the file to be a proxie

By "shrink" do you mean the image size or the amount of data?

By "shrink" do you mean the image size or the amount of data?

the amount of data it only reduced to 80% of original size

What are your settings for proxies? Normally, one would both reduce the resolution and use a codec like H.264. DNxHR LB is easier on the machine, but larger in file size.

I would simply create a 1920x1080 timeline. Bring the footage in, and adjust your scaling settings for the letterbox you are trying to achieve.

Then deliver a 1920x1080 at what ever codec they are asking for.

It can certainly be done from a 4k timeline, but why bother. You are only making proxies.
With an HD timeline, what you see, is what you get in this situation.

By "shrink" do you mean the image size or the amount of data?

the amount of data it only reduced to 80% of original size

To me, saving 80% of the size is a proxy. Maybe we have different ideas of what a proxy is. Me, I would just say "buy bigger drives." DNxHR LB is a really, really tiny codec (120MBps), not too far off from ProRes LT (102MBps). You could go ProRes Proxy (45MBps), which is even less. In all cases, you could manually create all these Proxies in Resolve, link your entire project to Proxies, edit the whole thing, lock it, then relink the files to the camera originals for final color and delivery via several methods (either the relink command or Reconform from Bins. It can work.

A big advantage of creating Proxy files manually is you can customize them with Timecode burn-ins, scene & take burn-ins, circled/not-circled status, shoot dates, project names, camera roll/drive, sound roll/drive, all that other kind of stuff. And you can precisely control aspect ratio and letterbox/non-letterbox shots. This is frequently done by the major Hollywood studios: