Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Distribution on the Web
Distribution on the Web is only slightly different than distribution on DVD. However, in Web distribution,
there is no authoring, only compression. In this case, the entire project is prepared in Final
Cut Pro and then compressed to one of many Web-compatible codices, frame sizes, and frame rates.
It is possible to export directly from Final Cut Pro by using the Export QuickTime Converted;
however, exporting to Compressor and optimizing the compression produces much better looking
video and faster downloads.
All of the same rules for DVD compression apply here as well. However, the compliant formats and
codices are totally different. Here, too, always compress the best possible media, never compress
video that has already been compressed.
The Web supports many frame rates not used in any video format. A common rate is 15 FPS. Also,
the Web supports both 16 × 9 and 4 × 3 aspect ratios. If the metadata contains a 16 × 9 fl ag, the
QuickTime window will open in 16 × 9. Otherwise, it will open in 4 × 3. If a 16 × 9 sequence is
exported, the fl ag is automatically set. It can also be set in Compressor or whatever compression
software you choose.
A new “edict” has been handed down by some distribution people, saying that fi lmmakers should
refrain from use of wide shots and tell the story in close-ups as much as possible because this works
better when the fi lm is viewed on a cell phone or ipod. And while this is a totally unwanted intrusion
into the fi lmmaking process, it raises an interesting rhetorical question, do people really watch movies
on their cell phone? I’ll bet even Alexander Graham Bell never saw that one coming. And keep using
wide shots, distributors never did have a clue.
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