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I've been reading around the internet and it seems like this is a question which's already been asked lots of time, and it's frustrating to see there's never a precise complete answer as for the perfect workflow to follow for a roundtrip Premiere-Davinci. A. We shot in 3.2K with the Arri Mini, (so 3200x1800 1.77). Final release will be in 2K 2.39 scope DCP. B. The proxy in Premiere are: 1280x720. The editor sent me the XML of 2048x1080 where he also added the the 2.39 letterbox. In Davinci I'm setting up a 2048x858 timeline - scale full frame to crop. Is it correct? And I relink my original footage to it and do the grading. When it comes to export, I export on the same 2048x858 scale full frame to crop and XML? Back in Premiere for the final export, the editor connects the xml with the original file, on a timeline of 2048x1080, adds credits and such, and then export. Is it a correct workflow? Thank you! S.

I'm throwing ideas out because I'm interested in shooting 2.39 with standard 16mm film, which would thus require 2x Anamorphic Lenses with a 1.19 Frame on a standard 16mm strip, specifically this means fitting the largest 1.19:1 rectangle possible on 16mm, single perf or double, whichever gives more room efficiently without compromising steady feed. 1. Is it possible? 2. Who could manufacture such a film? 3. What would it cost? Thanks for reading this madness. -Steven