Howdy all, I recently finished a campaign where all the footage was anamorphic (in my commercial setting it doesn’t happen everyday) and it made me really question my workflow and wonder if there is a “more correct” way of dealing with anamorphic footage than what I was doing. In the past I’ve don…

Just load the images with their own Aspect Ratio. Once in Flame activate this button: [Screen Shot 2021-01-29 at 20.06.16]

Hey @schmagen I find that with commercials, when I am the final step of the process, removing the anamorphic nature of the pixels makes everything much easier to deal with. In the past I have worked on long form projects where changing the plate size was not an option. Things might have improved b…

My head hurts a little when I get deep into the maths of it all which is why is highly recommended doing some research into the particular type of lens used. The traditional 2 x anamorphic squeeze came from film. Trying to get a wider image from a 4 perf 35mm film which was squarish in shape. The i…

It’s a fuck on. As Rich Betts points out some of the nodes misbehave with anamorphic. Especially paint. Pressing the view with ratio doesn’t fix the bug with paint. You need to resize before and after paint to be safe. Added to that, the lens distortion is bugger too and needs to be removed for cg…

[image] johnt: Now if we could get that Disney research thing to remove chromatic aberration and reapply after that would help too. While i’m sure it’s not as multifaceted as the Disney system (those people are amazing), but I’ve been using Julik’s syntheyes matchbox to remove chromatic aborr…

I generally remove anamorphic squeeze for tracking, roto, and CG plates by scaling horizontally to full resolution. A framing chart is essential so hopefully your camera department shot one. I always aspire to composite on the pristine plate without any modification (resize, degrain, etc.) unless th…

These are some great things to consider. I appreciate all of your replies!

Very helpful. I’m about to work on a few shots on a long-form project that get round-tripped, I’m not the last step. Similar to the stabilize - paint - unstabilize workflow, one option could be to render de-squeezed plates, work on them in traditional workflow, then re-squeeze them, possibly with a…

The only gotcha other than perhaps some filtering goofiness etc that you alluded to above is that you’re working on a plate that is kind of significantly larger than you really need. And I like to go fassst if I can. I’ve worked on plenty of anamorphic shows, I just keep that use ratio on by default…

Thx for the perspective. It’s a combination of work - quite a bit of paint that can be isolated to region of interest, stabilization, and lots of comps. It was the paint issues folks mentioned that made me think of this.

Is there a "more correct" anamorphic workflow

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ytf September 19, 2022, 3:17pm 15

You might want to have a look at this thread: How to use Highpass

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Is there a "more correct" anamorphic workflow

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