4k UHD > 1:2.35 method A vs method B

All footage is shot in 4k UHD (1:1.77).
Now, in Resolve there's 2 ways of bringing that into the 1:2.39 aspect ratio.

Method A
Just set the "Timeline resolution" to "4096x1716 DCI Scope 2.39" and set Image scaling > Mismatched resolution files to "Scale full with frame with crop".
That way, when you place a clip on the timeline, it's already scaled to the right witdh. They height is centered. You can still adjust Y up and down.
But when you make a compound clip or a multicam clip and then place that on a new timeline and then want to change the Y position, you cannot, since it's already cropped. You have to go into the compound clip or multicam clip and adjust it there.

My question: Why is this set up like this? Why crop the image inside the compound clip? It would leave you with more flexibility if the full image height was available.

Method B
Set the Timeline resolution to the 4k UHD, then use Output blanking in the timeline.
Not ideal, since your output format will have black bars. Cumbersome, since you have to add the bars on each timeline.

What are your thoughts on this?

Method C
Set the "Timeline resolution" to "4096x2160 DCI", uncheck Image scaling > "Match timeline settings", and set Mismatched resolution files to "Customized" for "4096 x 1716" processing. Now your timelines should all be 17:9 while your output is scope without having to resort to blanking.

Note that with all three methods (including your Method A and B) you are slightly blowing up your UHD source footage from 3840 to 4096, which is probably a bad idea. Unfortunately as far as I know there is no DCP delivery resolution that is UHD width (3840) while also being in scope aspect ratio. Someone else may want to weigh in on this.

I will use probably version A

If you’re doing this more than once in a lifetime, consider shooting on a camera that shoots in 4096x2160 like the soon to be released Blackmagic Pocket Cinema Camera 4K. Another good option: the URSA Mini 4.6K/Pro and shoot raw in 4K or better 4608x2592 and either downscale in post or don’t scale but use the extra real estate for reframing or stabilizing on the 4096x1716 Timeline. If it’s for cinema, use a cinema camera.


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I second that. Any scaling from a value that is very close will look not so great.

Yep. It's really irrelevant if you scale to 80/90% or 110/120%- at all cases it's re-scaled and will always look different than source.

Thanks for all the answers.

My main question was unter Method A:
Why is this set up like this? Why crop the image inside the compound clip? It would leave you with more flexibility if the full image height was available.

Thanks for all the answers.

My main question was unter Method A:
Why is this set up like this? Why crop the image inside the compound clip? It would leave you with more flexibility if the full image height was available.

The compound clip render at the resolution of the timeline, but as you know, you can airways reopen the compound

I hope you don't mind if I attach a couple of questions to this one, as they are is very similar to the original one.
I would like to deliver in HD resolution but still with aspect ratio 1:2.35
I have set the timeline to resolution 1920x803, Output Scaling to "Match timeline setting" and Mismatched resolution files to "Scale full with frame with crop". If I'm not wrong, I am in the case of Method A.
My questions are: with the settings above, if I use the Transform tool to zoom-in a clip during the Edit, do I lose quality in the delivery output? If yes, what is the right method to avoid quality loss? Thanks a lot for any help

803 is an odd resolution that may have some artifacts or other guirks because of that. I’d suggest you do 1920x800 2.4:1 aspect ratio if that’s feasible as that should achieve your desired results in terms of quality.


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for 2.39 (dcp) we approximate at 1920x804

I'd use method B, and when it come time to deliver, remove the blanking and set the resolution to 3840x1607 (or whatever res you want).

I'd use method B, and when it come time to deliver, remove the blanking and set the resolution to 3840x1607 (or whatever res you want).

Don't usr odd number, but multiple of 2.

Walter at one time I was thinking the resolutions should be multiples of 16 for best results in Resolve. Is there any truth to that?


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[Peter Chamberlain]

That was correct a decade ago Rick.

Thanks, Peter. I don’t get out enough!


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Not sure it's still relevant.

But if I want to deliver 2.4 crop from BMPCC to UltraHD timeline (and output) I just use Adjustment Clip on the whole project. Crop 280p both top and bottom in this clip and you can render in UltraHD with proper borders even if you do transformations on the footage.

I'd use method B, and when it come time to deliver, remove the blanking and set the resolution to 3840x1607 (or whatever res you want).

Don't usr odd number, but multiple of 2.

For high-end delivery (444 YUV or RGB) there is really no need to be mod 2 either.
There is no need to be mod 2 vertically for 4:2:2 based formats either.

There is no need to be mod 2 vertically for 4:2:2 based formats either.

Until a software decide to center the image and halve the vertical resolution....

If I want to deliver a video edited in 4:3 for DCP the best thing is to set my timeline to 1.85 and then use output blanking for 1.33 and deliver in 4:3, correct?

If I want to deliver a video edited in 4:3 for DCP the best thing is to set my timeline to 1.85 and then use output blanking for 1.33 and deliver in 4:3, correct?

Yes, set the timeline to 1998x1080 (or 4K equivalent) and blank 4/3 and it should just works.