{"id":232227,"date":"2022-04-06T14:51:52","date_gmt":"2022-04-06T12:51:52","guid":{"rendered":"https:\/\/www.cined.com\/anamorphic-on-169-sensor-workflow\/"},"modified":"2022-04-06T21:08:56","modified_gmt":"2022-04-06T19:08:56","slug":"anamorphic-on-169-sensor-workflow","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/es\/anamorphic-on-169-sensor-workflow\/","title":{"rendered":"Flujo de trabajo con un sensor anam\u00f3rfico en 16:9"},"content":{"rendered":"\n

Con la \u201crevoluci\u00f3n digital\u201d de las c\u00e1maras, apareci\u00f3 la nueva relaci\u00f3n de aspecto de grabaci\u00f3n de video de 16:9 que representa un campo de visi\u00f3n m\u00e1s natural y m\u00e1s cercano a la visi\u00f3n humana en comparaci\u00f3n con el anterior 4:3. Este art\u00edculo te mostrar\u00e1 c\u00f3mo trabajar con material anam\u00f3rfico 16:9 de principio a fin.<\/strong><\/p>\n\n\n\n

Cuando colocas un lente anam\u00f3rfico de 2x en una c\u00e1mara que graba video de 16:9, si bien grabas la resoluci\u00f3n completa del sensor de 16:9, la imagen se extrae de los elementos anam\u00f3rficos del lente. Despu\u00e9s de la necesaria descompresi\u00f3n, obtienes una imagen con una relaci\u00f3n de aspecto mucho m\u00e1s amplia que si hubieras grabado una imagen anam\u00f3rfica de un sensor 4:3 (para el que se dise\u00f1aron lentes anam\u00f3rficos 2x).<\/p>\n\n\n\n

\u00bfQuieres saber m\u00e1s sobre la historia de la relaci\u00f3n de aspecto<\/a>? MZed ofrece un excelente curso sobre El arte de la Narraci\u00f3n Visual<\/a>, que tambi\u00e9n aborda la tem\u00e1tica de la captura anam\u00f3rfica.<\/p>\n\n\n\n

Entonces, veamos c\u00f3mo se ve la imagen y c\u00f3mo podemos trabajar con ella para obtener buenos resultados.<\/p>\n\n\n\n

Para este estudio de caso, utilic\u00e9 un lente anam\u00f3rfico Kowa de 50mm y 2x en una Canon C300 Mark II y grab\u00e9 en 4K UHD 3840 x 2160.<\/p>\n\n\n\n

\"A
Imagen comprimida directamente de la c\u00e1mara. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Imagen anam\u00f3rfica en un sensor 16:9 \u2013 C\u00f3mo obtener la configuraci\u00f3n correcta para tu proyecto<\/h2>\n\n\n\n

Cuando trabajes con el material grabado de 3840 x 2160 16:9 en la posproducci\u00f3n, primero tendr\u00e1s que descomprimir las im\u00e1genes para que se vean correctamente. Para ello, deber\u00e1s crear una l\u00ednea de tiempo personalizada con las dimensiones de 7680 x 2160 p\u00edxeles cuadrados. Ten en cuenta que 7680 es el ancho de 4K UHD (3840) multiplicado por 2, ya que el factor de compresi\u00f3n del lente es de 2x. Sin embargo, el factor de compresi\u00f3n solo se aplica a la imagen horizontal, por lo que la resoluci\u00f3n vertical se mantiene en 2160.<\/p>\n\n\n\n

Despu\u00e9s de insertar el clip original en la nueva l\u00ednea de tiempo, deber\u00e1s extender la imagen para eliminar la compresi\u00f3n y las barras negras en ambos lados. Para hacerlo, deber\u00e1s escalar el clip en el eje X en un 200 %, pero dejar el eje Y intacto en una escala del 100%.<\/p>\n\n\n\n

Sensor anam\u00f3rfico en 16:9 : La descompresi\u00f3n<\/h2>\n\n\n\n
\"De-squeezing
Descomprimiendo la imagen 16:9. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

De esta manera, obtenemos un cuadro con una resoluci\u00f3n de 7680 x 2160 p\u00edxeles<\/strong>, que es el campo de visi\u00f3n m\u00e1ximo que puedes alcanzar con el sensor (con la “apertura abierta”). Esto significa que obtendr\u00e1s 8K UHD horizontal y 4K verticalmente (como referencia: 8K UHD es 7680 x 4320 p\u00edxeles y 4K UHD es 3840 x 2160 p\u00edxeles). La imagen resultante tiene una relaci\u00f3n de aspecto extremadamente amplia de 3.55:1<\/strong>.<\/p>\n\n\n\n

\"De-squeezed
Imagen anam\u00f3rfica descomprimida con una relaci\u00f3n de aspecto de 3.55:1. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

B\u00e1sicamente, lo que hicimos fue extender los p\u00edxeles horizontales y, por lo tanto, interpolar o duplicar un segundo p\u00edxel por cada p\u00edxel horizontal. Desde un punto de vista t\u00e9cnico, esto dar\u00e1 como resultado una imagen de calidad inferior, pero cuando trabajas en anam\u00f3rfico el objetivo es lograr una imagen con un look m\u00e1s art\u00edstico en lugar de la imagen perfecta, t\u00e9cnicamente hablando.<\/p>\n\n\n\n

Podr\u00e1s usar esta imagen extremadamente ancha para proyectos especiales, aunque ver im\u00e1genes con una relaci\u00f3n de aspecto tan amplia podr\u00eda no ser la mejor opci\u00f3n para determinados dispositivos porque aparecer\u00e1n barras negras gruesas en la parte superior e inferior. Como soluci\u00f3n alternativa, podemos usar otra l\u00ednea de tiempo personalizada con una resoluci\u00f3n de 5164 x 2160 p\u00edxeles<\/strong> para recibir la relaci\u00f3n de aspecto Cinemascope com\u00fan de 2.39:1<\/strong>, por ejemplo. B\u00e1sicamente, tenemos que recortar 1258 p\u00edxeles de ambos lados.<\/p>\n\n\n\n

La relaci\u00f3n de aspecto correcta<\/h2>\n\n\n\n
\"Cutting
Recortando los lados para una relaci\u00f3n de aspecto Cinemascope de 2.39:1. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

La imagen resultante es un Cinemascope con una relaci\u00f3n de aspecto est\u00e1ndar de 2.39:1 y una resoluci\u00f3n personalizada de 5164 x 2160 p\u00edxeles. L\u00f3gicamente, si comienzas el proyecto sabiendo que la imagen terminar\u00e1 en 2.39:1, puedes crear tu l\u00ednea de tiempo original con las dimensiones ya recortadas de 5164 x 2160 p\u00edxeles y omitir el paso donde creamos la l\u00ednea de tiempo de 7680 x 2160.<\/p>\n\n\n\n

\"Final
Imagen final descomprimida. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

El monitoreo adecuado<\/h2>\n\n\n\n

Al momento de escribir este art\u00edculo, hay muy pocas c\u00e1maras con sensores 16:9 y modos anam\u00f3rficos dedicados que te permitan descomprimir la imagen directamente en la c\u00e1mara.<\/p>\n\n\n\n

Esto implica que deber\u00e1s utilizar visores o monitores externos para este prop\u00f3sito. Para enmarcar tu imagen en 2.39:1, puedes optar por ver la imagen completa descomprimida y usar l\u00edneas de cuadro personalizadas. De hecho, podr\u00e1s obtener una vista envolvente en los lados despu\u00e9s de configurar las l\u00edneas del cuadro como una “caracter\u00edstica adicional”.<\/p>\n\n\n\n

\"frame
Gu\u00edas de cuadro para una relaci\u00f3n de aspecto de 2.39:1 con “vista envolvente”. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Otro m\u00e9todo consiste en utilizar la funci\u00f3n “recortar y escalar” que se encuentra en los monitores SmallHD, por ejemplo, para obtener un recorte “ampliado” de la imagen descomprimida que se asemeje a la imagen final de 2.39:1. Cualquiera que sea la herramienta que elijas, estas har\u00e1n que componer tu imagen sea mucho menos frustrante, eliminando las suposiciones.<\/p>\n\n\n\n

\"zooming
Haciendo zoom con la funci\u00f3n Recortar y Escalar para obtener una relaci\u00f3n de aspecto de 2.39:1. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

La exportaci\u00f3n<\/h2>\n\n\n\n

En las tablas a continuaci\u00f3n, podr\u00e1s encontrar tres recomendaciones para exportar tus im\u00e1genes. Las dos primeras columnas te muestran la resoluci\u00f3n y la relaci\u00f3n de aspecto despu\u00e9s descomprimir la imagen (ver cap\u00edtulo \u201cLa Descompresi\u00f3n<\/em>\u201d). Las columnas tercera y cuarta te indican a qu\u00e9 resoluciones puedes recortar para obtener tres relaciones de aspecto comunes para tu entrega. La \u00faltima columna representa el m\u00e9todo que he descrito en este art\u00edculo; Consulta el cap\u00edtulo “La Relaci\u00f3n de Aspecto Correcta”.<\/p>\n\n\n\n

\"4K
Resoluciones de captura y exportaci\u00f3n 4K UHD y relaciones de aspecto. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Si eliges grabar en 4K DCI (4096 x 2160 px) en tu c\u00e1mara, estos son los n\u00fameros correctos para ti:<\/p>\n\n\n\n

\"4K
Resoluciones de captura y exportaci\u00f3n 4K DCI y relaciones de aspecto. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

La carga<\/h2>\n\n\n\n

Al subir tu trabajo a plataformas para compartir videos como YouTube, la imagen final debe caber dentro de un cuadro con una resoluci\u00f3n m\u00e1xima de 3840 x 2160 px UHD con una relaci\u00f3n de aspecto de 16:9.<\/p>\n\n\n\n

Para lograr esto, necesitamos reducir el tama\u00f1o del cuadro de 5164 x 2160 px 2.39:1 a 3840 x 1606 px para cumplir con los requisitos de carga UHD. Despu\u00e9s de cargar nuestras im\u00e1genes, se agregar\u00e1n barras negras autom\u00e1ticamente para completar el cuadro de YouTube de 16:9 3840 x 2160.<\/p>\n\n\n\n

\"Downsizing
Reducci\u00f3n de tama\u00f1o para que alcance los 16:9 requeridos. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Este art\u00edculo se public\u00f3 originalmente en Medium y se ha movido a CineD.<\/p>\n\n\n\n

Espero que este art\u00edculo te ayude a filmar contenido anam\u00f3rfico con una c\u00e1mara con sensor 16:9. \u00bfTienes otros consejos y trucos para este tipo de flujo de trabajo? \u00a1Si\u00e9ntete libre de compartirlos con nosotros!<\/strong><\/p>\n<232227-main-buylinks\/>","protected":false,"clean_render":"

Con la \u201crevoluci\u00f3n digital\u201d de las c\u00e1maras, apareci\u00f3 la nueva relaci\u00f3n de aspecto de grabaci\u00f3n de video de 16:9 que representa un campo de visi\u00f3n m\u00e1s natural y m\u00e1s cercano a la visi\u00f3n humana en comparaci\u00f3n con el anterior 4:3. Este art\u00edculo te mostrar\u00e1 c\u00f3mo trabajar con material anam\u00f3rfico 16:9 de principio a fin.<\/strong><\/p>\n\n\n\n

Cuando colocas un lente anam\u00f3rfico de 2x en una c\u00e1mara que graba video de 16:9, si bien grabas la resoluci\u00f3n completa del sensor de 16:9, la imagen se extrae de los elementos anam\u00f3rficos del lente. Despu\u00e9s de la necesaria descompresi\u00f3n, obtienes una imagen con una relaci\u00f3n de aspecto mucho m\u00e1s amplia que si hubieras grabado una imagen anam\u00f3rfica de un sensor 4:3 (para el que se dise\u00f1aron lentes anam\u00f3rficos 2x).<\/p>\n\n\n\n

\u00bfQuieres saber m\u00e1s sobre la historia de la relaci\u00f3n de aspecto<\/a>? MZed ofrece un excelente curso sobre El arte de la Narraci\u00f3n Visual<\/a>, que tambi\u00e9n aborda la tem\u00e1tica de la captura anam\u00f3rfica.<\/p>\n\n\n\n

Entonces, veamos c\u00f3mo se ve la imagen y c\u00f3mo podemos trabajar con ella para obtener buenos resultados.<\/p>\n\n\n\n

Para este estudio de caso, utilic\u00e9 un lente anam\u00f3rfico Kowa de 50mm y 2x en una Canon C300 Mark II y grab\u00e9 en 4K UHD 3840 x 2160.<\/p>\n\n\n\n

\"A
Imagen comprimida directamente de la c\u00e1mara. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Imagen anam\u00f3rfica en un sensor 16:9 \u2013 C\u00f3mo obtener la configuraci\u00f3n correcta para tu proyecto<\/h2>\n\n\n\n

Cuando trabajes con el material grabado de 3840 x 2160 16:9 en la posproducci\u00f3n, primero tendr\u00e1s que descomprimir las im\u00e1genes para que se vean correctamente. Para ello, deber\u00e1s crear una l\u00ednea de tiempo personalizada con las dimensiones de 7680 x 2160 p\u00edxeles cuadrados. Ten en cuenta que 7680 es el ancho de 4K UHD (3840) multiplicado por 2, ya que el factor de compresi\u00f3n del lente es de 2x. Sin embargo, el factor de compresi\u00f3n solo se aplica a la imagen horizontal, por lo que la resoluci\u00f3n vertical se mantiene en 2160.<\/p>\n\n\n\n

Despu\u00e9s de insertar el clip original en la nueva l\u00ednea de tiempo, deber\u00e1s extender la imagen para eliminar la compresi\u00f3n y las barras negras en ambos lados. Para hacerlo, deber\u00e1s escalar el clip en el eje X en un 200 %, pero dejar el eje Y intacto en una escala del 100%.<\/p>\n\n\n\n

Sensor anam\u00f3rfico en 16:9 : La descompresi\u00f3n<\/h2>\n\n\n\n
\"De-squeezing
Descomprimiendo la imagen 16:9. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

De esta manera, obtenemos un cuadro con una resoluci\u00f3n de 7680 x 2160 p\u00edxeles<\/strong>, que es el campo de visi\u00f3n m\u00e1ximo que puedes alcanzar con el sensor (con la “apertura abierta”). Esto significa que obtendr\u00e1s 8K UHD horizontal y 4K verticalmente (como referencia: 8K UHD es 7680 x 4320 p\u00edxeles y 4K UHD es 3840 x 2160 p\u00edxeles). La imagen resultante tiene una relaci\u00f3n de aspecto extremadamente amplia de 3.55:1<\/strong>.<\/p>\n\n\n\n

\"De-squeezed
Imagen anam\u00f3rfica descomprimida con una relaci\u00f3n de aspecto de 3.55:1. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

B\u00e1sicamente, lo que hicimos fue extender los p\u00edxeles horizontales y, por lo tanto, interpolar o duplicar un segundo p\u00edxel por cada p\u00edxel horizontal. Desde un punto de vista t\u00e9cnico, esto dar\u00e1 como resultado una imagen de calidad inferior, pero cuando trabajas en anam\u00f3rfico el objetivo es lograr una imagen con un look m\u00e1s art\u00edstico en lugar de la imagen perfecta, t\u00e9cnicamente hablando.<\/p>\n\n\n\n

Podr\u00e1s usar esta imagen extremadamente ancha para proyectos especiales, aunque ver im\u00e1genes con una relaci\u00f3n de aspecto tan amplia podr\u00eda no ser la mejor opci\u00f3n para determinados dispositivos porque aparecer\u00e1n barras negras gruesas en la parte superior e inferior. Como soluci\u00f3n alternativa, podemos usar otra l\u00ednea de tiempo personalizada con una resoluci\u00f3n de 5164 x 2160 p\u00edxeles<\/strong> para recibir la relaci\u00f3n de aspecto Cinemascope com\u00fan de 2.39:1<\/strong>, por ejemplo. B\u00e1sicamente, tenemos que recortar 1258 p\u00edxeles de ambos lados.<\/p>\n\n\n\n

La relaci\u00f3n de aspecto correcta<\/h2>\n\n\n\n
\"Cutting
Recortando los lados para una relaci\u00f3n de aspecto Cinemascope de 2.39:1. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

La imagen resultante es un Cinemascope con una relaci\u00f3n de aspecto est\u00e1ndar de 2.39:1 y una resoluci\u00f3n personalizada de 5164 x 2160 p\u00edxeles. L\u00f3gicamente, si comienzas el proyecto sabiendo que la imagen terminar\u00e1 en 2.39:1, puedes crear tu l\u00ednea de tiempo original con las dimensiones ya recortadas de 5164 x 2160 p\u00edxeles y omitir el paso donde creamos la l\u00ednea de tiempo de 7680 x 2160.<\/p>\n\n\n\n

\"Final
Imagen final descomprimida. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

El monitoreo adecuado<\/h2>\n\n\n\n

Al momento de escribir este art\u00edculo, hay muy pocas c\u00e1maras con sensores 16:9 y modos anam\u00f3rficos dedicados que te permitan descomprimir la imagen directamente en la c\u00e1mara.<\/p>\n\n\n\n

Esto implica que deber\u00e1s utilizar visores o monitores externos para este prop\u00f3sito. Para enmarcar tu imagen en 2.39:1, puedes optar por ver la imagen completa descomprimida y usar l\u00edneas de cuadro personalizadas. De hecho, podr\u00e1s obtener una vista envolvente en los lados despu\u00e9s de configurar las l\u00edneas del cuadro como una “caracter\u00edstica adicional”.<\/p>\n\n\n\n

\"frame
Gu\u00edas de cuadro para una relaci\u00f3n de aspecto de 2.39:1 con “vista envolvente”. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Otro m\u00e9todo consiste en utilizar la funci\u00f3n “recortar y escalar” que se encuentra en los monitores SmallHD, por ejemplo, para obtener un recorte “ampliado” de la imagen descomprimida que se asemeje a la imagen final de 2.39:1. Cualquiera que sea la herramienta que elijas, estas har\u00e1n que componer tu imagen sea mucho menos frustrante, eliminando las suposiciones.<\/p>\n\n\n\n

\"zooming
Haciendo zoom con la funci\u00f3n Recortar y Escalar para obtener una relaci\u00f3n de aspecto de 2.39:1. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

La exportaci\u00f3n<\/h2>\n\n\n\n

En las tablas a continuaci\u00f3n, podr\u00e1s encontrar tres recomendaciones para exportar tus im\u00e1genes. Las dos primeras columnas te muestran la resoluci\u00f3n y la relaci\u00f3n de aspecto despu\u00e9s descomprimir la imagen (ver cap\u00edtulo \u201cLa Descompresi\u00f3n<\/em>\u201d). Las columnas tercera y cuarta te indican a qu\u00e9 resoluciones puedes recortar para obtener tres relaciones de aspecto comunes para tu entrega. La \u00faltima columna representa el m\u00e9todo que he descrito en este art\u00edculo; Consulta el cap\u00edtulo “La Relaci\u00f3n de Aspecto Correcta”.<\/p>\n\n\n\n

\"4K
Resoluciones de captura y exportaci\u00f3n 4K UHD y relaciones de aspecto. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Si eliges grabar en 4K DCI (4096 x 2160 px) en tu c\u00e1mara, estos son los n\u00fameros correctos para ti:<\/p>\n\n\n\n

\"4K
Resoluciones de captura y exportaci\u00f3n 4K DCI y relaciones de aspecto. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

La carga<\/h2>\n\n\n\n

Al subir tu trabajo a plataformas para compartir videos como YouTube, la imagen final debe caber dentro de un cuadro con una resoluci\u00f3n m\u00e1xima de 3840 x 2160 px UHD con una relaci\u00f3n de aspecto de 16:9.<\/p>\n\n\n\n

Para lograr esto, necesitamos reducir el tama\u00f1o del cuadro de 5164 x 2160 px 2.39:1 a 3840 x 1606 px para cumplir con los requisitos de carga UHD. Despu\u00e9s de cargar nuestras im\u00e1genes, se agregar\u00e1n barras negras autom\u00e1ticamente para completar el cuadro de YouTube de 16:9 3840 x 2160.<\/p>\n\n\n\n

\"Downsizing
Reducci\u00f3n de tama\u00f1o para que alcance los 16:9 requeridos. Cr\u00e9dito de imagen: Florian Milz \/ CineD<\/figcaption><\/figure>\n\n\n\n

Este art\u00edculo se public\u00f3 originalmente en Medium y se ha movido a CineD.<\/p>\n\n\n\n

Espero que este art\u00edculo te ayude a filmar contenido anam\u00f3rfico con una c\u00e1mara con sensor 16:9. \u00bfTienes otros consejos y trucos para este tipo de flujo de trabajo? \u00a1Si\u00e9ntete libre de compartirlos con nosotros!<\/strong><\/p>\n<232227-main-buylinks\/>"},"excerpt":{"rendered":"

Con la \u201crevoluci\u00f3n digital\u201d de las c\u00e1maras, apareci\u00f3 la nueva relaci\u00f3n de aspecto de grabaci\u00f3n de video de 16:9 que representa un campo de visi\u00f3n m\u00e1s natural y m\u00e1s cercano a la visi\u00f3n humana en comparaci\u00f3n con el anterior 4:3. Este art\u00edculo te mostrar\u00e1 c\u00f3mo trabajar con material anam\u00f3rfico 16:9 de principio a fin. Cuando colocas un lente anam\u00f3rfico de 2x en una c\u00e1mara que graba video de 16:9, si bien grabas la resoluci\u00f3n completa del sensor de 16:9, la imagen se extrae de los elementos anam\u00f3rficos del lente. Despu\u00e9s de la necesaria descompresi\u00f3n, obtienes una imagen con una relaci\u00f3n de aspecto mucho m\u00e1s amplia que si hubieras grabado una […]<\/p>\n","protected":false},"author":18176,"featured_media":230581,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[{"id":42284,"name":"C\u00f3mo se 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