1. Create a new sequence at the desired resolution and open it in the timeline
2. For each still you want to output:
   1. Open the clip or sequence in the viewer
   2. Cue to the frame to export
   3. Mark in/out (type “IO”) on the frame
   4. Cut it into the timeline (press F9)
3. Select all the clips in the timeline
4. Add a “de-interlace” filter to them
5. From the File menu, choose “Export > Using QuickTime Conversion”
6. Change the format to “Image sequence”
7. Click options
8. Choose the desired file format
9. Make sure the frame rate matches the frame rate of the sequence
10. Click ok

Strange that there isn’t really a more convenient way, but there you go.

(For more tips and tricks, see my book Fix It In Post)

Hard drives fail, and they do it much more often than we’d like to think. Even if you’ve set up automated hard drive backups, you’re not necessarily getting the best backup bang for your buck—especially if your operating system’s main hard drive fails. Even if you’ve been backing up your important files, you’ll still need to reinstall your OS and go through the pain of copying your files back to your new hard drive, installing new applications, and setting up your system to how you had it. There’s a better way, my friends. With a RAID 1 array, you’ll always have a perfect backup of your hard drive so that—in the event that one drive fails—the other will seamlessly pick up where it left off. That means no reinstalling your operating system, no reinstalling applications, and no time lost in the event of a hard drive failure.

However, don’t think of it as completely bulletproof as they suggest: the basic idea of RAID assumes that only one disk will fail at a time. In theory this is great, but in practice I’ve had 3 disks in a RAID set fail simultaneously, rendering the system useless.

A letterbox retains the original shape of the footage, typically filling the rest of the frame with black (in the case of Final Cut Pro and Motion, the underlying layers provide the rest of the frame, or if there are no underlying layers, the background colour is used). By default FCP will letterbox any footage that doesn’t fit the timeline completely, automatically scaling it so that either the top and bottom or the left and right edges fit completely within the frame. This means that ordinarily you don’t need to do anything to letterbox footage. If for some reason you do (and are happy to use FCP’s scaling process to do it), the easiest way is to adjust the scaling parameter until it looks right. If you need it pixel-accurate, you’ll have to get your calculator out and plug in some numbers to get the exact percentage:

( width of timeline output / width of footage ) x 100

Repeat this for the timeline output and footage heights and compare the two results. For a perfect letterbox, use the lower percentage. Conversely, for a perfect crop, use the larger percentage.

Starting with your original image–

 
–crop to fill the frame–

–or letterbox to keep the whole image.

Tip: To have FCP letterbox everything in a sequence use: Modify / Scale To Sequence

The only sure-fire way to check which shots Final Cut Pro has seen fit to resize automatically is to look at the motion tab for each shot. Make this easier for yourself by setting the canvas sync to Open, then quickly spool through the timeline with the Motion tab open.

The next part of this series will look at aspect ratios.

(Images featured in this article are Copyright 2007 BBC Worldwide Inc.)

Sometimes you need to adjust footage to fit into a different size frame. For instance, you may need to add high definition material to a standard definition timeline. In these situations Final Cut Pro will automatically scale the footage up or down to fit the timeline. However, any form of scaling (and particularly FCP’s default scaling) will reduce image quality. If you find yourself in this situation, calmly open the motion tab for the shot and set the scaling back to 100%. This will ensure you get a pixel-perfect rendition of the original shot, and FCP will instead crop the footage to fit, instead of scaling it.

What this means is that all the pixels that don’t fit within the frame are discarded, in the same way you use the crop tool on an image in iPhoto, or a pair of scissors on a disappointing article based around Final Cut Studio.

What becomes important at this point is the region of interest, that is, the part of the image you want to keep. Final Cut Pro will keep the image centred by default (performing what’s known in the trade as a centre cut-out), but that doesn’t mean you have to keep it this way. Instead you can use the Center control to reposition the image (we’ll be covering the “Pan & Scan” technique that dynamically repositions a shot over time in a future article).

There is another situation which may require the use of a crop, which is when you mix footage which is a different shape. The most common example of this is adding widescreen-formatted (16:9) material to a fullscreen (4:3) sequence (or vice versa). In this case, the procedure is exactly the same, except that you may only need to crop the top and bottom of the image (or left and right sides), keeping the rest.

The option to crop crops up quite a lot within Final Cut Studio*. You’ll see check-boxes and dialogue boxes with crop options all over the place throughout Final Cut Pro, Motion and Compressor, particularly when working with different kinds of media. Just be aware that in general, cropping will discard the edges of an image in favour of filling the frame.
*Sorry, I couldn’t resist that.

Tip: To crop unwanted parts of a frame, use the Crop parameters in the Motion tab. You can also feather this effect to soften it.

The catch? DirectX rendering doesn’t seem to work, so you’ll have to use software rendering for the viewports.

Anything you can view in QuickTime can be scaled to a different size. Unfortunately this method uses basic interpolation at best, and so the results will almost certainly be lacklustre. However, this can be a good choice to resize a lot of footage where quality is not an issue, and the more technically-minded can put Applescript to work to batch resize lots of clips without needing Compressor.

To scale footage in QuickTime Pro:

1. Open the clip (or an image sequence).
2. Select Window/Show Movie Properties.
3. Select Video Track and click the Visual Settings tab.
4. Type a new height or width (in pixels or percentage) under Scaled Size.
5. Save or export the resized clip.

Tip: QuickTime Pro can also be used to scale image files or sequences

In the next part of the series, we’ll be looking at different cropping methods.

FCP makes it very easy to resize footage directly from within the interface. In fact, this ease can be a bit of a double-edged sword; in many occasions it can be difficult to tell precisely which shots are being scaled and which are not.

The problem with this method is that you don’t have much control over it. There are three different methods available (Linear, Normal and Best), and images will almost certainly fall to pieces with a lot of scaling.

To scale footage in Final Cut Pro:

1. Double-click the shot in the timeline or bin.
2. Tear off the Motion tab so you can see it alongside the image. You should also stretch the canvas out as big as possible so you can see the effects of the changes.
3. Select Sequence / Settings…
4. Under the Video Processing tab, set the Motion Filtering Quality to the desired level (Best is usually the one you’ll want unless you’re in a hurry, and Linear will perform only very basic interpolation, good for fast previews).
5. Adjust the Scale parameter percentage to suit.

Tip: Shake can be used to resize individual QuickTime movies too, and includes a much bigger selection of filters, such as Mitchell and Lanczos, each of which is better for different types of footage.

There are many situations in post-production which require the picture size of a shot to be unchanged. Unfortunately, the process of resizing digital images is far from perfect. Intuitively it should be a very simple process, like using a zoom lens on a camera to get closer to the action, or even like using an enlarger in a photographic darkroom to make the picture fit a bigger page.

Both of these examples use an optical process that magnifies details that were previously too small to see clearly. With digital images however, you’re limited to what’s already there. And because what’s already there is just pixels, tiny coloured square boxes, when you enlarge a digital image too far you get… big coloured square boxes.

Most of the time this effect goes unnoticed in the digital world. Excluding vector images (which we’ll get to later in this series), the main reason you don’t see scaled-up pixels in digital images very often is because almost every image processing application automatically performs some sort of complicated mathematics, called interpolation, on the raw data to produce the resized result.

Being aware of this interpolation is important for several reasons. First of all, it’s a cheat. Not in the sense that it has five aces up its sleeve, but in the sense that it’s making a sort of guess as to what the hidden details might look like. Very occasionally it will guess wrong, making the picture look worse. Most of the time it will produce fairly convincing results that are passable.

This series isn’t about how to get passable results though. It’s about how to get the best possible results out of Final Cut Studio, because there’s one more interesting feature of image interpolation: there are many different ways of doing it, each of which is useful for different situations and types of source footage. Although it’s incredibly convenient to just reach for the scaling control in Final Cut Pro, using other methods can produce much sharper, more vivid results.

Tip: In general, it’s best to avoid resizing footage whenever possible. At best it’s a time-consuming process, and at worst it can really take the shine off of those beautiful images. However, when working with media from different sources, some form of resizing is going to be inevitable.

• A-mode: Sorts by record timecode
• B-mode: Sorts by reel number then record timecode 
• C-mode: Sorts by reel number then source timecode
• D-mode: Sorts by transition (cuts first), then reel number, then record timecode 
• E-mode: Sorts by transition (cuts first), then reel number, then source timecode