Okay, check my logic on this one:
I'm producing and editing a doc shot entirely on DVX-100s. Our director has an anamorphic adapter which he always uses on his, the primary camera. Many times we have two or three-camera shoots. We don't have anamorphics for the additional cams. Given that the primary cam is anamorphic and that we are shooting with hopes of a possible film (or digital) theatrical blow-up, I am editing in an anamorphic FCP sequence.
If we shoot with the other cameras in full-frame or letterbox mode, then I must blow those up 34% (roughly) to work in the sequence. That obviously means resolution loss.
My preference is to shoot with the other cameras in Squeeze mode. I figure the res loss there can't be any worse than blowing up the footage in post, and it makes my edit much less complicated. (With 50-60 hours of footage, most of it multi-angle and synced with CD audio sources, I need as few complications as possible.)
Thoughts?
I'm producing and editing a doc shot entirely on DVX-100s. Our director has an anamorphic adapter which he always uses on his, the primary camera. Many times we have two or three-camera shoots. We don't have anamorphics for the additional cams. Given that the primary cam is anamorphic and that we are shooting with hopes of a possible film (or digital) theatrical blow-up, I am editing in an anamorphic FCP sequence.
If we shoot with the other cameras in full-frame or letterbox mode, then I must blow those up 34% (roughly) to work in the sequence. That obviously means resolution loss.
My preference is to shoot with the other cameras in Squeeze mode. I figure the res loss there can't be any worse than blowing up the footage in post, and it makes my edit much less complicated. (With 50-60 hours of footage, most of it multi-angle and synced with CD audio sources, I need as few complications as possible.)
Thoughts?