ProRes 2K in Editorial White Paper

8/12/2019 ProRes 2K in Editorial White Paper

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ProRes 2K in Editorial

Date: 6 December 2012

W H I T E P A P E R


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ProRes 2K in Editorial White Paper Page 2 of 17

Table of Contents

1. Introduction ....................................................................... ............................................ 3

1.1 ALEXA Capture Aspect Ratios ........................................................................... 3

1.2 Typical Delivery Aspect Ratios ........................................................................... 3

1.3 Sample Footage ................................................................................................. 6

1.4 Framing Charts ................................................................................................... 7

2. Apple Compressor ............................................................. ........................................... 8

Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) .................................. 8

Re-format 2K 16:9 (flat) to 2.39 Widescreen ............................................................ 8

Re-format 2K 4:3 anamorphic to 2.39 Widescreen .................................................. 8

3. Blackmagic Design DaVinci Resolve .......................................................................... 9

Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) .................................. 9

Re-format 2K 16:9 (flat) to 2.39 Widescreen ............................................................ 9

Re-format 2K 4:3 anamorphic to 2.39 Widescreen .................................................. 9

4. Avid Media Composer 6 ............................................................................................. 10

2K 16:9 Footage ..................................................................................................... 10

2K 4:3 Footage ....................................................................................................... 10

Using pre-formatted Material .................................................................................. 11

5. Adobe Premiere CS6 .................................................................................................. 12

2K 16:9 Footage ..................................................................................................... 12

2K 4:3 Footage ....................................................................................................... 13

6. Final Cut Pro 7 ............................................................................................................ 14

2K 16:9 Footage ..................................................................................................... 14

2K 4:3 Footage ....................................................................................................... 15

Third Party Plugins ................................................................................................. 15

7. Final Cut Pro X 10.0.5 ................................................................................................. 16

2K 16:9 Footage ..................................................................................................... 16

2K 4:3 Footage ....................................................................................................... 17


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1. Introduction

With the release of SUP 7.0, all ALEXA cameras will be capable of internally recording QuickTime/ProRes2K files. The ALEXA and ALEXA Plus offer 2K recording in 16:9 aspect ratio while the ALEXA Plus 4:3,

ALEXA M and ALEXA Studio can also capture increased vertical resolution with the 4:3 aspect ratio.Capturing with the 4:3 aspect ratio is essential for cinemascope productions as it allows using regular 2:1anamorphic lenses. Additionally, productions shooting with standard spherical lenses can benefit from the4:3 "open gate" capture mode.

This document provides information on how to correctly re-format ALEXA originated QuickTime/ProRes 2Kfootage to typical delivery aspect ratios using common editing software or utilities. In many cases, ALEXAfootage will also require a conversion from Log C color space for editing, which is not available for all ofthese tools and should be considered when you plan your dailies and editorial workflow.

1.1 ALEXA Capture Aspect Ratios

ARRI ALEXA cameras capture images in either a 16:9 (1.78:1) or a 4:3 (1.33:1) aspect ratio. Other formats,like 1.85:1 US widescreen or 2.39:1 widescreen need to be created in postproduction, typically by adding aletterbox or by cropping the image. 4:3 footage shot with 2x anamorphic lenses is converted to 2.39:1

widescreen using a combination of scaling and cropping.

Sensor Mode and Recording Resolution

The camera offers three options to select the captured aspect ratio (sensor mode) and recording resolution:

2K 16:9: 2K recording resolution and 16:9 sensor mode produces QuickTime clips with 2048 x 1152image size, using any ProRes codec at 0.75 to 60 fps.

2K 4:3: 2K recording resolution and 4:3 sensor mode produces QuickTime clips with 2048 x 1536 imagesize, using any ProRes codec at 0.75 to 48 fps.

HD 16:9: HD recording resolution is only available in 16:9 sensor mode. This setting creates QuickTimeor DNxHD clips with 1920 x 1080 image size, using any codec in regular speed (0.75 to 60 fps)and any 4:2:2 codec in high speed (60 to 120 fps).

1.2 Typical Delivery Aspect Ratios2K 16:9 for 1.78:1 (16:9) HDTV

When a production is framed and mastered for a 1.78:1 (16:9) aspect ratio, the camera material generallydoes not need to be converted. The benefit of shooting 2K for a production that will be mastered in HD is theability to make slight framing-adjustments for 2D productions or alignment correction for 3D productions.


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2K 16:9 for 1.85:1 US Widescreen

1.85:1 for TV or 35mm print:For an HDTV release or release as 35mm print, original camera footage maysimply be re-formatted to a 1.85:1 aspect ratio by applying a letterbox or cropping the image height.

1.85:1 DCP:Creating a 1.85:1 release for digital cinema needs some more consideration however. Theframe size of a 2K image, cropped to a 1.85:1 aspect ratio, is 2048 x 1108 pixels. The frame size of the 2K

DCP container however, is 2048 x 1080 pixels. As a result, a 1.85:1 2K DCP is limited by the height of the2K container, resulting in a frame size of 1998 x 1080 pixels.

There are two methods that deliver the correct frame size for a 1.85:1 DCP. For both methods, there is anindividual frame line available in the ALEXA user menu.

1.85:1 DCP Center Cropped

The full 2K frame is cropped to 1998 pixels width and 1080 pixels height. Cropping the image without scalingmaintains the original image quality, but influences the field of view (FOV). This is the preferred method andwill be described in the application examples below.Frame line: ARRI 1.85 2K DCI

1.85 DCP Scaled and Cropped

The full 2K frame is down-scaled to 1998 x 1124 pixels and then cropped to 1080 pixels image height.Down-scaling typically provides better results than up-scaling. Depending on the scaling algorithm, however,it may introduce an undesirable loss in sharpness. This method will not be further discussed below.Frame line: ARRI 1.85


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2K 16:9 Flat for 2.39 Widescreen

Creating a 2K 2.39:1 DCP from 16:9 footage that was shot on any ALEXA with standard spherical lensescouldn't be easier. Simply crop the 2048 x 1152 image to height of 858 pixels and you are done.The resulting frame size of 2048 x 858 fits perfectly inside the 2K DCP container negating any special

treatment or re-formatting of the material in order to work with typical distribution formats.Frame line: ARRI 2.39

2K 4:3 for Anamorphic 2.39 Widescreen

Shooting with standard anamorphic lenses on an ALEXA Studio, ALEXA Plus 4:3 or ALEXA M in the 2K 4:3mode, delivers 33% more capture resolution compared to the same lenses with in a 2K 16:9 aspect ratio.

Frame line: ARRI 2.39 Scope 2x

The digital cinema standard does not provide for scope projection to optically de-squeeze anamorphic

images, therefore the material needs to be mastered with a square pixel aspect ratio:

! 2.39 2K DCP, 2048 x 858 pixel frame size

! 2.39 4K DCP, 4096 x 1716 pixel frame size


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De-Squeezing the Image

When an anamorphic image is de-squeezed with by a factor of 2, the resulting image will have an aspectratio of 2.66:1. In order to get to the standard 2.39 aspect ratio, the image then needs to be cropped in width.

To see the output from a 2K DCP with a 2.39:1 aspect ratio, the following steps need to be taken on thecaptured 2048 x 1536 anamorphic frame:

1. Scale the image height to 858 pixels.2. Scale the image width to 2288 pixels.3. Crop the image to 2048 pixels width.

Most applications offer several adjustments to apply a 2.0 anamorphic de-squeeze for individual clips, asequence of clips or an entire project. Please refer to your specific applications operations manual fordetailed instructions on applying a de-squeeze. The only thing to remember is that in addition to the de-squeeze, the frame needs to be cropped on the sides to bring it to the proper 2.39:1 aspect ratio.

1.3 Sample Footage

On the ALEXA downloads webpage www.arri.com/alexa/downloads, we have provided reference frameleader clips that you can be used to test each of the aspect ratio conversions described in this document.


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1.4 Framing Charts

There are various combinations of one or more image aspect ratios and alignments (center, common top).

Shooting a framing chart as a reference is the most reliable method to identify the intended framing in post.

Always ask the camera department to shoot a framing chart as a reference for proper framing!You can download a sample framing chart at www.arri.com/alexa/downloads.


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2. Apple Compressor

ALEXA QuickTime ProRes 2K material can be re-formatted and prepared for editorial using AppleCompressor. Start by creating a custom setting based on a QuickTime Movie. Select the desired video/audiocompression, e.g. ProRes 422, in the encoder tab. Then apply the settings described below in the geometrytab. Finally, select your new custom setting and create a droplet for quick and easy conversion of cameramaterial.

All image adjustments in Compressor apply to the original file before it is scaled to the output dimensionsFor that reason, the numbers stated here differ from those stated above.

Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped)

To convert ProRes 2K 16:9 footage to a1.85 cropped DCP aspect ratio, applythe following geometry settings:

Crop the image by 25 pixels on bothsides and 36 pixels on top and bottom.Set the output frame size to1998 x 1080 pixels.

Re-format 2K 16:9 (flat) to 2.39 Widescreen

To convert ProRes 2K 16:9 footage to a2.39 aspect ratio, apply the followinggeometry settings:

Crop the image by 147 pixels on top andbottom. Set the output frame size to2048 x 858 pixels.

Re-format 2K 4:3 anamorphic to 2.39 Widescreen

To convert 2x anamorphic ProRes 2K4:3 footage to a 2.39 aspect ratio, applythe following geometry settings:

Crop the image by 106 pixels on bothsides. Set the output frame size to2048 x 858 pixels with square pixelaspect.


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3. Blackmagic Design DaVinci Resolve

The full version of DaVinci Resolve can handle frame sizes greater than HD. Resolve lite is limited to HDresolution and therefore requires some adjustments to the methods described below. For more informationabout using this software with ALEXA footage, please refer to the dedicated white paper "Creating Dailies

with Resolve".

Re-format 2K 16:9 to 1.85:1 USWidescreen DCP (cropped)

Create a new timeline with a frame size of 1998 x1080 pixels. In the project settings, make sure that theInput Scaling Preset is set to Center crop with no

resizing.

All clips added to the sequence will automatically becenter-cropped to the 1.85:1 aspect ratio with thecorrect field of view. The individual clips can be re-framed by moving them within the sequence frame.

Re-format 2K 16:9 (flat) to 2.39Widescreen

Create a new timeline with a frame size of 2048 x 858pixels. In the project settings, make sure that the Input

Scaling Preset is set to Center crop with no resizing.

All clips added to the sequence will automatically becenter-cropped to the 2.39:1 aspect ratio with thecorrect field of view. The individual clips can be re-

framed by moving them within the sequence frame.


Create a new timeline with a frame size of 2048 x 858 pixels. In the project settings, make sure that the Input

Scaling Preset is set to Center crop with no resizing.

All clips added to the sequence will be center-cropped to the 2.39:1 aspect ratio, but without being de-squeezed.

Create an Input Sizing Format Presetand scale the image to 1.1172 times width and 0.5586 times height.

Select the clips in the timeline and apply the preset to show them in the correct aspect ratio and filed of view.The individual clips can be re-framed by moving them within the sequence frame.


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4. Avid Media Composer 6

Avid Media Composer versions 6.0.x and prior will allow 1920 x 1080 as the maximum image size in thesource and record monitor. Custom project frame sizes are not supported. Images with higher resolution arere-formatted and scaled down to 16:9 HD resolution without respect to the original aspect ratio.

2K 16:9 Footage

Linking 2K 16:9 camera material into a 1080p Avid project with the ALEXA AMA Plug-in will automaticallydownscale the image size to 1920x1080 pixels. No image reformatting is required. The aspect ratio in theSource/Record monitor is correctly displayed.


Apply an Avid Maskeffect to cover up the area outside the 1.85:1frame. Set scaling Wid to 98 and Hgt to 95.


Apply an Avid Maskeffect to cover up the area outside the 2.39:1frame. Set scaling Wid to 100 and Hgt to 74.

2K 4:3 Footage

Linking 2K 4:3 camera material into a 1080p Avid project with the ALEXA AMA Plug-in will downscale andreformat the image size to 1920x1080 pixels. This causes the Source/Record monitor to show a distortedaspect ratio which needs to be corrected.


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Re-format 2K 4:3 to 4:3 HD Letterbox Display

To remove the image distortion and show the image with its original 4:3 aspect ratio, apply the 4:3 Sidebarreformat effect. This scales the frame to the correct width and displays it with a black bar on both sides.

Re-format 2K 4:3 to 16:9 Crop

To display an undistorted, center-cropped 16:9 image out of the captured 4:3 frame, apply the Pan & Scanreformat effect with Aspect ratio source set to 1.33 (4:3) and Aspect ratio target set to 16:9 Anamorphic.


To correctly display material that was captured with standard 2x anamorphic lenses as a preview of the final2.39:1 output, apply the Resizeimage effect with the following scaling settings: X 110 and Y 75.

Using pre-formatted Material

If material was pre-formatted to the correct aspect ratio using, for example, Apple Compressor as describedabove, Avid Media Composer will re-scale the frame size to 1920 x 1080 and re-format the image to a16:9aspect ratio, resulting in a distorted image. Use the Resizefilter to correct the image distortion:

For 1.85:1 material, apply a Y scaling of 96.

For 2.39:1 material, apply a Y scaling of 75.


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5. Adobe Premiere CS6

Adobe Creative Suite 6 can handle frame sizes greater than HD. Premiere automatically prompts the user toapply the parameters from the first used clip (e.g. frame rate and image size) to the new sequence. It is alsopossible to manually specify a frame size for the sequence.

When clips with a different aspect ratio or resolution than the first clip are added to the sequence, they will beshown in the original frame size and aspect ratio within the sequence frame. Smaller image size clips areshown as an image window in the center of the frame. Larger image size clips are center-cropped to thesequence frame size and can be panned & scanned to fine-tune the framing of the material.

Note: The monitor image over an HD-SDI I/O card will be scaled to fit the 1920 x 1080 HD frame size.

2K 16:9 Footage

Using 2K 16:9 footage in a new sequence will display the material in its original size with original aspectratio. No image reformatting is required if the target aspect ratio is 1.78:1.


Create a new sequence with a custom frame size of 1998 x1080 pixels and square pixel aspect ratio (1.0). Whenprompted, do not apply the clip settings to the sequence.

All clips added to the sequence will automatically be center-cropped to the 1.85:1 aspect ratio with thecorrect field of view. The individual clips can be re-framed by moving them within the sequence frame.

Alternatively, you could create a new sequence using the original 2K16:9 frame size of 2048 x 1152 pixels and crop, or scale and crop theimage to see a correct preview. Select and copy the Motionand/or Cropeffect and apply it to the other clips in the sequence.

! Use Video Effects > Transform > Crop, to cut off 3.125% (36 px)from top and bottom and 1.221% (25 px) from both sides.

! To fill the full frame width, use Motion > Scale in the effectspanel to scale the image to full frame width (102.5%) and Crop3.125% from top and bottom.


Create a new sequence with a custom frame size of 2048 x858 pixels and Square Pixels (1.0) aspect ratio. Whenprompted, do not apply the clip settings to the sequence.

All clips added to the sequence will automatically be center-cropped to the 2.39:1 aspect ratio. The individual clips canbe re-framed by moving them within the sequence frame.

Alternatively, you could create a sequence using the original2K 16:9 frame size of 2048 x 1152 pixels, apply a 12.76%(147 px) Cropon top and bottom, then copy and paste the

effect to the other clips in the sequence.


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2K 4:3 Footage

Using 2K 4:3 footage in a new sequence will display the material in its original size with the original aspectratio. No image reformatting is required if the target aspect ratio is 1.33:1.


Create a new sequence with a custom frame size of 1836 x1536 pixels and an Anamorphic 2:1 (2.0) pixel aspect ratio.

When prompted, do not apply the clip settings to thesequence.

Next, select the clips in the project bin go to Clip > Modify >

Interpret Footage, and set Conform to: Anamorphic 2:1(2.0) to automatically de-squeeze all clips.

The clips will automatically be center-cropped to the 2.39:1

aspect ratio. The individual clips can be re-framed bymoving them within the sequence frame.


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6. Final Cut Pro 7

Apple Final Cut Pro 7 can handle frame sizes greater than HD. FCP automatically prompts the user to applythe parameters from the first used clip (e.g. frame rate and image size) to a new sequence. It is also possibleto manually specify a custom frame size for the sequence.

When clips with a different aspect ratio or resolution than the first clip are added to the sequence, they will bescaled up or down proportionally to fit the sequence frame size.

2K 16:9 Footage

Using 2K 16:9 footage in a new sequence will display the material in its original size with its original aspectratio. No image reformatting is required if the target aspect ratio is 1.78:1.


Create a new sequence, drag a clip onto the timeline and let FCPchange the sequence settings to match the clip settings. To manuallyset up the sequence, use a frame size of 2048 x 1152 pixels.

Two methods will show the correct framing. Double-click the clip in thetimeline and access the Motiontab.

! Crop the clip by 1.221% on left and right and 3.125% on topand bottom. This will show the image with a surrounding blackframe.

! Or scale the clip to 102.5% and crop top and bottom by3.125%. This will scale the clip to full width and apply aletterbox.

In the timeline, select and copy the clip you just edited, then select allclips in the sequence, right click and select Paste AttributesSelect the Basic Motion and Cropattributes and apply them to allother clips.

Re-formatting clips using one of these methods allows realtimeplayback in the timeline.

Note: It is also possible to create a sequence with a 1.85:1 frame size of 1998 x 1080 pixels, then drag clipsonto the timeline and reset the Motion > Scale to 100%. This method requires clips in the timeline to berendered for playback.


Create a new sequence, drag a clip onto the timeline and let FCPchange the sequence settings to match the clip settings. To manuallyset up the sequence, use a frame size of 2048 x 1152 pixels.

Double-click the clip in the timeline and access the Motiontab. Cropthe top and bottom of the frame by 12.76%.

In the timeline, select and copy the clip you just edited, then select allclips in the sequence, right click and select Paste AttributesSelect the Cropattributes and apply them to all other clips.

Re-formatting clips using this method allows realtime playback in thetimeline.

Note: It is also possible to create a sequence with a 2.39:1 frame size of 2048 x 858 pixels, then drag clipsonto the timeline and reset the Motion > Scale to 100%. This method requires clips in the timeline to berendered for playback.


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2K 4:3 Footage

Using 2K 4:3 footage in a new sequence will display the material in its original size with its original aspectratio. No image reformatting is required if the target aspect ratio is 1.33:1.


Re-formatting 2x anamorphic 4:3 footage for editing in 2.39:1 widescreen require rendering. Depending on

the speed of your machine, processing may be fairly quick.

Create a new sequence, with a frame size of 2048 x 858 pixels and squarepixel aspect ratio.

Drag a clip onto the timeline but do not apply its settings to the sequence.

Double-click the clip in the timeline and access the Motiontab. Change the

Scale to 111.72% andAspect Ratio(Distort) to -100.

In the timeline, select and copy the clip you just edited, then select all clips inthe sequence, right click and select Paste Attributes

Select the Basic Motion and Distortattributes and apply them to all otherclips.

Alternative:

Create a new sequence, drag a clip onto the timeline and let FCP changethe sequence settings to match the clip settings. This will create a sequencewith a frame size of 2048 x 1536 pixels.

Go to the sequence settings and assign pixel aspect ratio HD (1440 x 1080)and check Anamorphic 16:9.

Double-click the clip in the timeline and access the

Motiontab. Set the Scaleof the clip to 111.72%

and use anAspect Ratio(Distort) of -11.

In the timeline, select and copy the clip you justedited, then select all clips in the sequence, right

click and select Paste AttributesSelect the BasicMotion and Distortattributes and apply them to allother clips.

Note: As none of the above methods allows realtime playback from the timeline, clips always need to berendered.

Third Party Plugins

The conversions described above can also be performed using a third party filter plugin. Antler Post-Production Services http://www.antlerpost.com offers a filter plugin for FCP 7 with a clear interface. As for

the manual re-formatting, all conversions except for 4:3 anamorphic to 2.39:1 will allow real time playback.Filter effects can be applied, copied and pasted as attributes onto other clips as described above.


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7. Final Cut Pro X 10.0.5

Apple Final Cut Pro X can handle frame sizes greater than HD, but is limited to a number of default framesizes and aspect ratios. When clips with a different aspect ratio or resolution are added to the sequence, bydefault, they will be scaled up or down proportionally to fit the sequence frame size. This behaviour can bechanged per clip using the Spatial Conform settings Fit, Fill or None.

2K 16:9 Footage

Using 2K 16:9 footage in a new sequence will display the material in its original size and original aspect ratio.No image reformatting is required if the target aspect ratio is 1.78:1.

Re-format 2K 16:9 to 1.85:1 US Widescreen DCP

(cropped)

Create a new sequence with Video Properties basedon first video clip or use Custom > 2K > 2048 x 1152to manually set the frame size.

Drag a clip to the timeline and access the Inspectorwindow.Two methods will show the correct framing.

! Crop the clip by 25 pixels on left and right and 36pixels on top and bottom. This will show the imagewith a surrounding black frame.

! Or scale the clip to 102.5% and crop top and bottomby 36 pixels. This will scale the clip to full width andapply a letterbox.

In the timeline, select and copy the clip you just edited, then

select all clips in the sequence and use Edit > Paste Effects toapply them to all other clips.


Create a new sequence with Video Properties based on first video clip or use Custom > 2K > 2048 x 1152tomanually set the frame size.

Drag a clip to the timeline and access the Inspectorwindow. Crop the clip by 147 pixels on top and bottom toapply a 2.39:1 letterbox to the image.

In the timeline, select and copy the clip you just edited, then select all clips in the sequence and use Edit >Paste Effects to apply them to all other clips.


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2K 4:3 Footage

FCP X currently does not support the ALEXA 2K 4:3 frame size of 2048 x 1536 pixels. Instead, it expectsmaterial with 2048 x 1556 pixels and will ask the user it this is the setting that should be applied to a newsequence. If ALEXA 2K footage has to be edited in 1.33:1 aspect ratio, make sure to set Spatial ConformtoNone.


Create a new sequence with Video Propertiesset to Custom2K > 2048 x 1556. If you use automatic settings, FCP X willprompt to select a video property as the ALEXA 2K 4:3 framesize is not recognized.

Drag a clip to the timeline and access the Inspectorwindow.Expand the Scalesetting in the Transformsection and scalethe clip to 111.72% in the X-Axis and 55.86% in the Y-Axis.

In the timeline, select and copy the clip you just edited, thenselect all clips in the sequence and use Edit > Paste Effects toapply them to all other clips.

All methods shown in this document are described to the best of our knowledge. If you find errors, have

suggestions or have questions about the general process, please send an email to [email protected].

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ProRes 2K in Editorial White Paper