Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Computer monitors create issues when making pixel-based video titles. Computer monitors use a
progressively scanned picture instead of interlaced, use RGB rather than YUV color space, and use
square pixels. When making titles for the DV formats in CCIR 601 rectangular format, it is necessary
to take this aspect ratio change into account.
Photoshop CS has a video output function that can send the image to a DV device for display in DV
4 × 3 or 16 × 9. On earlier versions of Photoshop, available plug-ins like Echo Fire can accomplish
the same thing. While this can display the image with the proper colors and proportions, it requires
that the image be exported to the fi rewire device, with no real-time feedback. So, while this is a great
way to confi rm that everything looks fi ne, it is no way to actually compose graphics.
The newest versions of Photoshop have a video preview mode that displays the image in the same
aspect ratio as it will have when used in a video project. Older versions, as well other pixel-based
graphic systems that do not have this preview mode, will need to use a workfl ow that involves
rescaling the image.
In the Photoshop new project dialogue there are two preset pull-down menus. One is the Preset pull
down, as seen in Figure 8.3. This menu contains various presets including all common video formats.
And there is a second pull down, the Pixel Aspect Ratio menu. This, too, contains various video
formats. In the Photoshop View menu, there is a setting for Pixel Aspect Ratio Correction. When
this is set, the display changes into a real-time video, aspect ratio preview. This introduces a temporary
artifact, but accurately predicts the fi nal video proportions. Using 72 pixels per inch will open
the title in a good working size on the computer screen.
Figure 8.3 New image dialogue in Photoshop
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