Apple Final Cut Pro 7 - Manual (Page 1947)

• Using an anamorphic lens: An anamorphic lens is a wide-angle lens that optically
distorts the 16:9 image to fit into a 4:3 frame before sending it to your camcorder’s
CCD. Because this is done optically, the result is clean and clear and takes advantage
of the full resolution of the DV frame. This method is recommended by some for users
looking for the best possible quality.
If you use an anamorphic lens, the camera does not need to be in a special mode when
recording. In the camera’s viewfinder, the image appears stretched vertically; you should
be aware that the recorded clips will only look correct on an NTSC or PAL monitor with
a 16:9 setting, or in Final Cut Pro with the Anamorphic option selected.
• Using the 16:9 Wide button found on most camcorders: Although easy and inexpensive,
this method yields lower resolution than other methods. The camcorder crops the top
and bottom of the screen and then stretches this smaller widescreen image vertically
to fit the full 4:3 aspect ratio, producing the necessary anamorphic distortion before
recording the image to tape.
Many camcorders embed information in the video signal that indicates whether or not
it was recorded in 16:9 anamorphic mode. Final Cut Pro can read this information and
automatically capture and output the video in the correct mode.
Capturing Anamorphic Media
When you capture video, Final Cut Pro uses the settings in the currently selected capture
preset. If your footage was shot anamorphically, you can select the Anamorphic 16:9
option. For more information, see
“General Settings for Capture Presets.”
Make sure this
checkbox is selected
if you’re capturing
16:9 media.
Some cameras embed an anamorphic “flag” in the video signal that indicates the aspect
ratio of your footage. For example, if you press the 16:9 Wide button on a camcorder, the
DV signal recorded on tape includes the 16:9 anamorphic “flag.” During capture,
Final Cut Pro detects this and marks the resulting clip as Anamorphic 16:9. This happens
regardless of whether or not the Anamorphic 16:9 option is selected in your current
capture preset.
Footage recorded with an anamorphic lens is not flagged as 16:9 anamorphic, so
Final Cut Pro does not automatically turn on the Anamorphic property for captured clips
recorded this way.
1947 Appendix E Working with Anamorphic 16:9 Media