Monthly Archives:

March 2017


Overnight – Production Update

March 26, 2017

I’m done with shooting for Overnight and now we’re into post-production. There were a lot of first-time experiences in this project. Are you particularly interested in any of them? Let me know in the comments!


All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Hey guys, Tito Ferradans here! A couple of weeks ago I posted about Overnight, my directing project at school. Shooting went great, the team was awesome and our timeline is flying by. This week we got a locked cut and I’m moving into post-production. There’s a fair amount of visual effects to be done plus all the color correction, sound design and score. For post-production’s sake we shot it RAW on the Blackmagic Cinema Camera using only two lenses – the LOMO Foton-A, mostly at f/5.6 for sharpness, and the Sigma 18-35mm ART provided by Vid-Atlantic for wider shots and some of the VFX plates.

I put a lot of effort in pre-production in order to figure out exactly which shots I needed to tell the story and I was astonished to see the storyboard translating into real life frames. You can find high-res versions of the boards here.

This project involved a bunch of first-time things for me, like directing (heh!), bringing a horror story to the screen, creating concept boards for my monster and main character, not handling the camera, working with actors, lighting it on the fly, with little time between each setup, having a full crew (sort of), special effects make up, anamorphic + CGI (still getting there), and a test-workflow for post, using Resolve to create stretched/cropped proxies from the RAW footage for my editor. Which of these subjects would you like to see better detailed in another video?

To finish off this episode I cut a little bit of the opening sequence as a test. Color is overdone and sound is all temporary. This aims just to create a bit of the feeling of the piece. I hope you enjoy it. I’m Tito Ferradans and I’ll see you next week!


Anamorphic Chop Shop – Anamorphic and DaVinci Resolve

March 26, 2017

A quick tutorial on how to deal with anamorphic footage in DaVinci Resolve. There are other ways, but this one was the simplest for me.


All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Tito Ferradans here for another quick episode of post-production Chop Shop. In this episode I’ll go over adjusting the settings in Resolve for anamorphic. It’s a simple process and you’ll get it going in a few minutes.

First off, start Resolve, go into your project and import the footage to the Media Pool. Now go to File > Project Settings. Here we’ll change the Timeline Resolution. The numbers will vary according to your wish. I wanted a 2.66:1 aspect ratio. You can choose whichever aspect ratio you desire and the math works like this:


For me, the width is 1920, so 1920/2.66 = 720. If it were 2.4:1, 1920/2.4 = 800. The same applies to any resolution. I might make a calculator for that, if you help me out on Patreon!

I prefer reducing the height rather than extending the width in order not to push resolution too far. A 1920×720 frame will hold much more detail than a 2872×1080. But that is my personal preference and you can do whatever you want. Just reverse the math:


Watch that I haven’t mentioned my lens’ stretch factor yet. I was shooting on the Blackmagic Cinema Camera, which is 16:9 and using 4:3 guides for framing. So I HAVE all the information on the sides, but that will be discarded on the final project.

Now that we set our Timeline Resolution, throw in the footage onto a timeline. Resolve is smart and helps out by rescaling the clips a bit. Even though our timeline is 720 pixels tall and our footage is taller than that Resolve doesn’t crop the top and bottom of the image. This can be adjusted by selecting any clip in the timeline, going into the Inspector and then to Retime and Scaling. There you can set different presets. I would stick to Fit, and that is the default setting, because it keeps the entire height of the image.

SIDE NOTE: If you’re shooting spherical and trying to get a wide aspect ratio, set your size and change Retime and Scaling to Fill. That will crop the top and bottom of your non-anamorphic footage into the set aspect ratio.

After dragging all the clips to the timeline, go into the Inspector and in the Transform section, Zoom parameter, disable the chainlink between X and Y. Now change X to your lens’ stretch factor. For me, it is 2x, but for you it could be anything. That leads to one: the image’s correct aspect, two: the sides are cropped out of my composition. That is exactly what I wanted.

The advantage of cropping the sides is that this gives you a lot of room for reframing in post by sliding the image left or right according to your needs.

If your entire workflow is through Resolve you can now edit, color and export! The final render will have the resolution set in the beginning.

That’s it for this week! If this video was helpful to you, like it and subscribe to the channel for even more anamorphic-related content. If you want to support my work even more, join us on Patreon and unlock awesome rewards. I’m Tito Ferradans and we’ll be back to reviews next week!



March 5, 2017

I’ve been working on producing/directing a horror short film for school. Of course it’ll be shot anamorphic. I’ll mate the LOMO Foton-A to the original Blackmagic Cinema Camera and shoot 2.5K RAW!

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Hello friends! Tito Ferradans here for a quick update. I’ve been super duper busy producing and directing a horror short film these past couple of weeks. I’m actually shooting it RIGHT NOW, as you watch this video. I’m attending film school again here in Canada – I have a bachelor’s degree from Brazil as cinematographer and editor – and this is our spring project.

It’s all gonna be done on the Blackmagic Cinema Camera (the original one), shooting 2.5K RAW. The interesting part is that I’m using the LOMO Foton-A to do so. This baby right here, combined with a 4×4 +0.8 diopter for extreme close ups. I’ll use Vid-Atlantic’s modded Sigma 18-35mm for my wide shots. The rig with the Foton is quite heavy and my operators will have a hard time because most of the short is handheld – yeah, I’m not directing and DPing this time.

Adding on to the challenge there is a CG truck in some shots, so I’ll be integrating 3D renders with anamorphic footage. I’ll say there’s a 90% chance you’re gonna watch it here around the end of April. 100% chance to watch it if you’re a patron. The 10% uncertainty is because if the film works out well we’ll send it to festivals and whatnot; then it can’t be released to the public just yet.

After this project is shot I’m picking up the pace and resuming the weekly episodes! Wish me luck, and I’ll see you again soon!