7
Table Of Contents
- Final Cut Pro 7 User Manual
- Contents
- Welcome to Final Cut Pro
- About the Post-Production Workflow
- Video Formats and Timecode
- Understanding Projects, Clips, and Sequences
- Overview of the Final Cut Pro Interface
- Browser Basics
- Viewer Basics
- Canvas Basics
- How You Use the Canvas
- Opening, Selecting, and Closing Sequences in the Canvas
- Learning About the Canvas
- Editing Controls in the Canvas
- Transport Controls in the Canvas
- Playhead Controls in the Canvas
- Marking Controls in the Canvas
- Zoom and View Pop-Up Menus in the Canvas
- Playhead Sync Pop-Up Menu in the Canvas
- Navigating and Using Timecode in the Viewer and Canvas
- Timeline Basics
- Customizing the Interface
- Changing Browser and Timeline Text Size
- Moving and Resizing Final Cut Pro Windows
- Using Window Layouts
- Ways to Customize Keyboard Shortcuts
- Learning About the Keyboard Layout Window
- Viewing Commands in the Command List
- Assigning Keyboard Shortcuts
- Avoiding Keyboard Shortcut Conflicts
- Clearing and Restoring Keyboard Layouts
- Saving Commands and Keyboard Shortcuts as Text Files
- Saving and Loading Keyboard Layouts
- Using Different Keyboards and Languages
- Working with Shortcut Buttons and Button Bars
- Connecting DV Video Equipment
- Connecting Professional Video and Audio Equipment
- Components of a Professional Final Cut Pro Editing System
- About Video Interfaces, Signals, and Connectors
- Connecting Professional Video Devices
- Audio Interfaces
- Audio Connectors and Signal Formats
- Connecting Professional Audio Devices
- Connecting Remote Device Control
- Determining Your Hard Disk Storage Options
- External Video Monitoring
- Overview of Capturing Tape-Based Media
- About the Log and Capture Window
- Opening the Log and Capture Window
- Controls in the Log and Capture Window
- Preview Area in the Log and Capture Window
- Logging Tab in the Log and Capture Window
- Clip Settings Tab in the Log and Capture Window
- Capture Settings Tab in the Log and Capture Window
- Log and Capture Buttons in the Log and Capture Window
- Logging from Tape
- Overview of Logging Steps
- Opening the Log and Capture Window
- Inserting a Tape in the VTR
- Setting a Logging Bin to Store Logged Clips
- Entering a Reel Name for the Current Tape
- Setting Clip In and Out Points
- Entering a Clip Name and Other Logging Information
- Adding Markers to Clips While Logging
- Selecting Which Tracks to Capture
- Changing Capture Settings
- Setting Video and Audio Levels for Analog Video
- Logging a Clip
- Capturing Video from Tape
- Capturing Clips as You Log
- Capturing Entire Tapes
- Batch Capturing Clips
- Capturing Audio from Tape
- Advanced Topics in Capturing Tape-Based Media
- Overview of Transferring File-Based Media
- About the Log and Transfer Window
- Logging File-Based Media
- Transferring File-Based Media
- About Transferring File-Based Media
- Choosing a Scratch Disk and Logging Bin
- Mounting Media Devices
- Mounting Media Volumes in the Log and Transfer Window
- Choosing a Destination Codec
- Viewing Clips to Be Transferred
- Selecting Clips
- Previewing Clips
- Logging Clips in the Log and Transfer Window
- Placing Clips in the Transfer Queue
- Advanced Topics in Transferring File-Based Media
- Importing Media Files into Your Project
- What File Formats Can Be Imported?
- Importing Media Files
- About Importing Video Files
- About Importing Audio Files
- What Kinds of Audio File Formats Can Be Imported?
- Choosing Audio File Sample Rate and Bit Depth
- Choosing Sequence Bit Depth
- Mixing Sample Rates and Using Real-Time Sample Rate Conversion
- Converting Audio Clips to Match Sequence Settings
- Importing Broadcast Wave Files
- About Broadcast Wave File Timecode at a Video Rate of 29.97 fps
- Using Audio CD Tracks in Your Project
- Importing Still Images and Graphics
- Importing Numbered Image Sequences
- Organizing Footage in the Browser
- Creating Subclips
- Merging Clips from Dual System Video and Audio
- Working with Projects, Clips, and Sequences
- Specifying Preferences Before You Start Editing
- Working with Projects
- Learning About the Different Types of Clips
- Viewing and Changing the Properties of a Clip
- Creating and Working with Sequences
- The Fundamentals of Adding Clips to a Sequence
- Using Markers
- Learning About Markers
- Viewing Markers in the Viewer or Canvas
- Viewing Markers in the Browser
- Adding Markers in Clips and Sequences
- Deleting Markers in Clips and Sequences
- Navigating with Markers
- Modifying Markers
- Moving Markers
- Using the Ripple Sequence Markers Setting
- Editing Multiple Markers on the Same Frame
- Aligning Items in the Timeline by Their Markers
- Extending a Marker’s Duration
- Editing Markers into Sequences
- Exporting Markers with Your QuickTime Movies
- Exporting Marker Lists as Text
- Setting Edit Points for Clips and Sequences
- Working with Tracks in the Timeline
- Drag-to-Timeline Editing
- Three-Point Editing
- Finding and Selecting Content in the Timeline
- Understanding What’s Currently Selected
- Direct Methods for Selecting Content in a Sequence
- Finding and Selecting Based on Search Criteria
- Selecting a Vertical Range Between In and Out Points
- Using Auto Select to Specify Tracks for Selections
- Arranging Clips in the Timeline
- Cutting Clips and Adjusting Durations
- Linking and Editing Video and Audio in Sync
- Linked Sync Relationships Between Video and Audio Clips
- Linking and Unlinking Video and Audio Clip Items in the Timeline
- Selecting Individual Clip Items While They Are Linked
- Getting Clip Items Back in Sync
- Establishing Different Sync Relationships Between Linked Clip Items
- Learning About Linking Behavior in Audio Channel Pairs
- Synchronizing Dual System Recorded Video and Audio
- Split Edits
- Working with Multiclips
- About Multiclips
- Multiclip Workflow
- Preparing Clips to Be Used as Multiclip Angles
- Creating Individual Multiclips
- Creating Multiclip Sequences
- Identifying and Naming Multiclips in the Browser
- Working with Multiclip Angles in the Viewer
- Editing with Multiclips in Real Time
- Using Keyboard Shortcuts and Shortcut Buttons for Multiclip Editing
- Editing Multiclips into the Timeline
- Switching and Cutting Between Angles
- Editing in Multiclip Playback Mode
- Applying Filters, Speed, and Motion Parameters to Multiclips
- Collapsing and Expanding a Multiclip
- Working with Multiclip Master-Affiliate Relationships
- Match Frame Commands Used with Multiclips
- Media Management and Project Interchange
- Audio Editing Basics
- The Goals of Audio Editing
- Using Waveform Displays to Help You Edit Audio
- Learning About the Audio Controls in the Viewer
- Editing Audio in the Viewer
- Opening Audio Clips in the Viewer
- Viewing Audio Tracks in the Viewer
- Zooming In to or Out of the Waveform Display Area
- Scrolling Through a Zoomed-In Audio Clip
- Using the J, K, and L Keys to Hear Subtle Details
- Turning Off the Audio Scrubbing Sounds
- About Setting Edit Points for Audio
- Dragging an Audio Clip to the Canvas, Browser, or Timeline
- Trimming Audio Clips in the Viewer
- Editing Audio in the Timeline
- Creating or Separating Stereo Pairs
- Working with Audio at the Subframe Level
- Examples of Ways to Easily Edit Audio
- Performing Slip, Slide, Ripple, and Roll Edits
- Learning About Trimming Clips
- Trimming Clips Using the Trim Edit Window
- Adding Transitions
- Learning About Transitions
- Adding Transitions Between Clips
- Moving, Copying, and Deleting Transitions
- Modifying Transitions in the Timeline
- Working with Default and Favorite Transitions
- Detecting Duplicate Frames over Transitions
- Video Transitions That Come with Final Cut Pro
- Using Alpha Transitions
- Refining Transitions Using the Transition Editor
- Sequence-to-Sequence Editing
- Matching Frames and Playhead Synchronization
- Working with Timecode
- Audio Fundamentals
- Assigning Output Channels and External Audio Monitors
- Audio Signal Flow in Final Cut Pro
- Configuring Audio Outputs
- Creating and Saving Audio Output Presets
- Assigning a Default Audio Output Preset for New Sequences
- Assigning Tracks in the Timeline to Audio Outputs
- Matching Audio Outputs to Clip Items in the Timeline
- Assigning More Audio Outputs Than Your Hardware Supports
- Audio Output Export Settings
- Downmixing Multiple Audio Channels to a Stereo Mix
- Configuring External Audio Monitors
- Evaluating Levels with Audio Meters
- Overview of the Audio Mixer
- Using the Audio Mixer
- Making Basic Audio Adjustments with the Audio Mixer
- Making Stereo Pan Adjustments with the Audio Mixer
- About Mixer Automation and Keyframe Recording
- Using a Control Surface with the Audio Mixer
- Choosing an External MIDI Interface
- Installing a MIDI Interface
- Choosing a Control Surface
- Connecting a Control Surface
- Configuring Final Cut Pro to Work with a Control Surface
- Working with a Control Surface
- How Audio Mixer Tracks Correspond to Control Surface Faders
- Arranging Control Surface Order
- Working with Fader Banks
- Controlling the Audio Mixer with a Control Surface
- Recording Audio Mixer Keyframes Using a Control Surface
- Mixing Audio in the Timeline and Viewer
- Adjusting Audio Levels in the Timeline
- Changing Audio Levels in the Viewer
- Panning Audio in the Timeline
- Changing the Pan of Audio in the Viewer
- Changing Pan for an Entire Clip
- Copying, Pasting, and Removing Audio Attributes
- Adjusting Clip Audio Levels and Pan Using Keyframes
- Using the Voice Over Tool
- About the Voice Over Tool
- Setting Up Your Computer to Record Voiceover
- Stage 1: Installing or Connecting an Audio Interface
- Stage 2: Connecting a Microphone and Microphone Preamplifier
- Stage 3: Opening the Voice Over Tool and Choosing Audio Input Settings
- Stage 4: Choosing an Audio Track and Duration for Your Voiceover
- Stage 5: Determining the Offset of Your Audio Interface
- Stage 6: Plugging In Your Headphones
- RAM Requirements When Using the Voice Over Tool
- Controls in the Voice Over Tool
- Defining the Recording Duration and Destination Track
- Recording a Voiceover
- Using Audio Filters
- Overview of Audio Filters
- Equalization Filters
- Gain Filter
- Compressor/Limiter Filter
- Expander/Noise Gate Filter
- Noise Reduction Filters
- Echo and Reverberation Filters
- Applying Filters to an Audio Clip
- Displaying Filter Keyframes in the Timeline
- Modifying and Removing Filters
- Automating Audio Filter Parameters with Keyframes
- Making Real-Time Audio Filter Adjustments
- Saving a Filter or Transition as a Favorite
- Installing Third-Party Audio Units Filters
- Exporting Audio for Mixing in Other Applications
- Ways You Can Finish Your Audio
- Organizing Your Audio Clips for Multitrack Export
- About Exporting Audio Tracks to Individual Audio Files
- Preparing to Export Audio Tracks as Audio Files
- Exporting Audio Tracks as Individual Audio Files
- Exporting Audio Output Groups to AIFF Files
- Exporting Multichannel QuickTime Files
- Exporting OMF Audio Files
- Exporting Audio Clip Information to an EDL
- Exporting Audio for DVD
- Tips for Better Audio
- Working with Soundtrack Pro and Logic Pro
- Using Video Filters
- Installing and Managing Video Effects
- Video Filters Available in Final Cut Pro
- Changing Motion Parameters
- Creating Motion Effects in the Viewer
- Adjusting Parameters in the Motion Tab
- Using Cartesian Geometry to Position Clips
- Examples Using Motion Settings
- Creating Motion Effects in the Canvas
- Manipulating Images in the Canvas
- Zooming In to the Canvas
- Using Wireframe Handles to Transform, Scale, and Rotate
- Example: Using Motion Parameters and Wireframe Handles
- Adjusting Parameters for Keyframed Effects
- Animating Motion Effects Using Keyframes
- How Keyframing Works
- Determining the Number of Keyframes to Use
- Keyframing Controls in the Viewer
- Keyframing Tools in Final Cut Pro
- Setting Keyframes
- Adjusting and Deleting Keyframes
- Moving Between Keyframes
- Resizing the Keyframe Graph Area
- Zooming In to the Keyframe Graph Area
- Adjusting All Opacity Keyframes of a Clip
- Example: Using Keyframes to Make Opacity Changes
- Example: Keyframing Opacity in the Timeline
- Smoothing Keyframes with Bezier Handles
- Creating Keyframed Motion Paths in the Canvas
- About the Timeline Keyframe Graph Area
- Customizing the Keyframe Graph Area in the Timeline
- Animating Motion Effects Using Keyframes
- Reusing Effect and Motion Parameters
- Changing Clip Speed
- Working with Freeze Frames and Still Images
- Using Still Images and Graphics in Your Sequences
- Creating Freeze Frames from a Video Clip
- Exporting Still Images
- Creating Graphics with the Correct Frame Size for Video
- Working with Graphics Clips of Different Sizes
- Bit Depth of Imported Graphics
- Scaling a Graphic to Fit the Frame Size
- Creating Graphics with the Correct Color Settings for Video
- Choosing the Maximum White Sequence Setting
- Flattening Graphics with Layers
- Using Alpha Channels
- Selecting Fonts and Creating Line Art for Video
- Scaling Images and Video Clips to Match a Sequence
- Changing the Duration of Still Images
- Example: Adding Camera Motion to Still Images
- Compositing and Layering
- Keying, Mattes, and Masks
- Using Generator Clips
- Using the SmoothCam Filter
- About the SmoothCam Filter
- Working with the SmoothCam Filter
- Applying the SmoothCam Filter
- About Motion Analysis States
- Checking Motion Analysis Status
- Starting and Stopping SmoothCam Motion Analysis
- Analyzing All SmoothCam Clips in a Sequence
- Reanalyzing Clips
- Reprioritizing Clips in the Processing Queue
- Adjusting SmoothCam Filter Parameters
- Setting Clip In and Out Points to Improve SmoothCam Rendering
- Rendering and Exporting Clips with the SmoothCam Filter Applied
- Managing Media and Motion Analysis Data
- Improving SmoothCam Filter Results and Troubleshooting
- Creating Titles
- Working with Motion and Shake
- Using Motion with Final Cut Pro
- Using Shake with Final Cut Pro
- Working with Master Templates
- Measuring and Setting Video Levels
- RGB Color Model
- Y′CBCR Color Model
- Measuring Video Levels with the Final Cut Pro Video Scopes
- Opening Video Scopes Tabs
- Layout Options in Video Scopes Tabs
- Learning to Read the Waveform Monitor
- Learning to Read the Vectorscope
- Learning to Read the Histogram
- Learning to Read the RGB Parade Scope
- Choosing Display Options for Video Scopes
- Using Video Scopes in Real Time
- Choosing Video Scope Accuracy
- Video Scope Restrictions and Performance
- Preventing Illegal Broadcast Levels
- Displaying Excess Luma and Chroma Levels in the Viewer and Canvas
- Using the Broadcast Safe Filter
- Using the RGB Limit Filter
- Working with Analog Video
- Using Color Bars for Video Calibration
- About Color Correction
- Color Correction Features
- Color Correction Filters
- The Final Cut Pro Color Correction Filters
- The Color Corrector Filter
- General Controls in the Color Corrector Filter
- Copy Filter Controls in the Color Corrector Filter
- Color Balance Controls in the Color Corrector Filter
- Auto Level and Contrast Controls in the Color Corrector Filter
- Level and Saturation Controls in the Color Corrector Filter
- Match Hue Controls in the Color Corrector Filter
- Limit Effect Controls in the Color Corrector Filter
- The Color Corrector 3-Way Filter
- General Controls in the Color Corrector 3-Way Filter
- Copy Filter Controls in the Color Corrector 3-Way Filter
- Color Balance Controls in the Color Corrector 3-Way Filter
- Auto Level Controls in the Color Corrector 3-Way Filter
- Level and Saturation Controls in the Color Corrector 3-Way Filter
- Match Hue Controls in the Color Corrector 3-Way Filter
- Limit Effect Controls in the Color Corrector 3-Way Filter
- The Desaturate Highlights and Desaturate Lows Filters
- RGB Balance Filter
- Color Correction Examples
- Example: Using the Color Corrector Filter
- Example: Using the Color Corrector 3-Way Filter
- Example: Color Correcting a Three-Shot Sequence for Continuity
- Example: Using the Color Corrector 3-Way Filter Match Hue Controls
- Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale
- Example: Using the Limit Effect Controls of the Color Corrector Filter to Change a Specific Color
- Example: Using the Desaturate Highlights Filter
- Color Correction with Color
- Using RT Extreme
- Introduction to Real-Time Processing
- Locations for Changing Real-Time Playback Settings
- About Real-Time Playback Options
- Still-Image Real-Time Playback
- Improving Real-Time Performance
- Real-Time Audio Mixing in Final Cut Pro
- Choosing Real-Time Playback Versus Rendering
- Supported Real-Time Playback Codecs
- Using a Third-Party Video Effects Accelerator Card
- Using RT Extreme for Video Output
- Viewing Your Composition in the QuickView Tab
- Rendering and Video Processing Settings
- What Is Rendering?
- About Render Status Bars in the Timeline
- About Item-Level Render Status Bars
- The Rendering Process
- About Changing Render and Video Processing Settings
- Changing Settings in the Render Control Tab
- Changing Settings in the Video Processing Tab
- Adjusting Gamma
- Managing Your Render Files
- Tips for Reducing Render Time
- Working with Mixed-Format Sequences
- About Mixed-Format Sequences
- Determining Whether Clips in a Sequence Will Play Back in Real Time
- Conforming Sequence Settings to Match a Clip’s Settings
- Conforming Clips to Match Sequence Settings
- Mixing Frame Rates
- Combining Interlaced Footage with Different Field Dominances
- Mixing Footage with Different Codecs
- Nesting Nonmatching Sequences
- Adding Filters and Motion Effects to Mixed-Format Sequences
- Combining SD and HD Video
- Downconverting HD Video
- Upconverting SD Video
- Rendering Mixed-Format Sequences
- External Monitoring and Output
- Media Management and Project Interchange
- Media Management
- Backing Up and Restoring Projects
- Backing Up and Restoring Projects
- Archiving Completed Projects
- About Updating Projects from Previous Versions of Final Cut Pro
- Choosing Project Update Options
- Elements of a Final Cut Pro Project
- Working with Master and Affiliate Clips
- About Using Master and Affiliate Clips
- Shared and Unique Clip Properties
- Working with Master Clips
- Working with Affiliate Clips
- Creating Independent Clips
- Changing Independent Clips to Affiliate Clips
- Modifying Master-Affiliate Clip Relationships
- Moving Clips Between Projects
- How Does Final Cut Pro Identify Matching Clips?
- Resolving Property Differences Between Matching Clips
- Offline and Online Editing
- Reconnecting Clips and Offline Media
- Finding Your Media Files After Capture
- About the Connections Between Clips and Media Files
- Renaming Media Files and Clips
- How the Connection Between Clips and Media Files Can Be Broken
- Making Clips Offline
- Reconnecting Clips to Media Files
- When Final Cut Pro Reconnects Your Clips
- Reconnecting Media Files Automatically
- Overview of the Media Manager
- What Can You Do with the Media Manager?
- Selecting Items to Process with the Media Manager
- Settings and Options in the Media Manager Window
- How the Media Manager Processes Selected Items
- Limiting How Much Media Is Copied or Deleted
- Media File Formats Supported by the Media Manager
- About Color Space Conversion in the Media Manager
- Examples of How to Use the Media Manager
- Media Manager Workflow
- Using the Media Manager
- Example: Removing Unused Media from a Sequence
- Example: Duplicating a Sequence and Its Corresponding Media Files
- Example: Duplicating a Portion of a Sequence and Its Media Files
- Example: Copying Sequences with New Settings, but Without Media Files
- Example: Recompressing Media Files for Editing on a Portable Computer
- Example: Removing Portions of Media Files After Creating Subclips
- Example: Consolidating Media Files into One Folder
- Example: Consolidating Your Project and Media Files for Archiving
- Diagnostic Tools for Clips
- Importing and Exporting EDLs
- Using Final Cut Pro XML and QuickTime Metadata
- Remote Previewing with iChat
- Working with Film and Cinema Tools
- An Overview of the Film Editing Process
- About Using Cinema Tools with Final Cut Pro
- Creating a New Final Cut Pro Project
- Importing a Telecine Log to Create a Cinema Tools Database
- Batch Capturing Video from Tape
- Removing 3:2 Pull-Down or Conforming 25 fps PAL to 24 fps
- Synchronizing Clips with the Cinema Tools Database
- Editing Clips in Final Cut Pro
- Using Edge Code Overlays and Feet+Frame Rulers
- Opening Final Cut Pro Clips in Cinema Tools
- Exporting Film, Change, and Audio Lists
- Preparing to Output to Tape
- Choosing a Videotape Format and Equipment for Output
- Output Requirements
- Methods for Output to Tape in Final Cut Pro
- Setting Up Your Editing System to Output to Tape
- Stage 1: Connecting Your Video Equipment
- Stage 2: Choosing Video and Audio Outputs
- Stage 3: Selecting Playback Settings
- Stage 4: Selecting Render Settings
- Stage 5: Selecting Edit to Tape and Print to Video Preferences
- Stage 6: Preparing Your Videotape with Black and Timecode
- Stage 7: Cueing the Videotape
- Stage 8: Calibrating Your Timecode
- Stage 9: Choosing Device Control and Edit Preview Settings
- Assemble and Insert Editing Using Edit to Tape
- Printing to Video and Output from the Timeline
- Learning About QuickTime
- Using Share
- About the Share Window
- Exporting Single Clips and Sequences with Share
- Exporting Groups of Clips and Sequences with Share
- Creating Multiple Outputs
- Using Share with Compressor
- Working with Share Output Types
- Using Share to Create Apple TV Output
- Using Share to Create Blu-ray Output
- Using Share to Create DVD Output
- Using Share to Create iPhone Output
- Using Share to Create iPod Output
- Using Share to Create MobileMe Output
- Using Share to Create YouTube Output
- Using Share to Create Apple ProRes 422 Output
- Using Share to Create Apple ProRes with Alpha Output
- Using Share to Create QuickTime H.264 Output
- Using Share to Create Other Output Types
- Using Batch Monitor with Share
- Exporting QuickTime Movies
- Exporting Using QuickTime Conversion
- Exporting Sequences for DVD
- Using Compressor with Final Cut Pro
- Exporting Still Images and Image Sequences
- Batch Exporting Clips and Sequences
- Choosing Settings and Preferences
- Audio/Video Settings and Easy Setups
- Capture Settings and Presets
- Device Control Settings and Presets
- Sequence Settings and Presets
- Appendix A: Solving Problems
- Appendix B: Video Formats
- An Overview of Video Format Characteristics
- Storage Medium
- Video Standards
- Types of Video Signals
- Aspect Ratio of the Video Frame
- Frame Dimensions, Number of Lines, and Resolution
- Pixel Aspect Ratio
- Frame Rate
- Scanning Method
- Color Recording Method
- Video Sample Rate and Bit Depth
- Video Compression
- Video Formats Supported by Final Cut Pro
- Appendix C: Frame Rate and Timecode
- Appendix D: Working with 24p Video
- Appendix E: Working with Anamorphic 16:9 Media
- Appendix F: Using Multi-Touch Gestures with Final Cut Pro
- Glossary
Frame Size Chart for Creating Graphics
Use the chart below to determine the frame size you need for creating graphics. For
example, if you’re working in DV PAL (which has a frame size of 720 x 576), your graphic
should have a frame size of 768 x 576 to look correct on an SD video monitor.
Use graphics with this frame
size
The video sequence frame size
isIf you are using this format
720 x 547720 x 486CCIR 601 NTSC 4:3
1
853 x 486720 x 486CCIR 601 NTSC 16:9 anamorphic
720 x 540720 x 480DV NTSC 4:3
853 x 480720 x 480DV NTSC 16:9 anamorphic
768 x 576720 x 576CCIR 601/DV PAL 4:3
1024 x 576720 x 576CCIR 601/DV PAL 16:9
anamorphic
1280 x 7201280 x 720720p HD
1920 x 10801920 x 10801080i or 1080p HD
1 Refers to ITU-R BT.601.
Important: Final Cut Pro uses slightly different square-pixel image dimensions than other
video and still-image applications. For the most accurate results, you can avoid creating
and converting square-pixel images by using a graphics application that supports
non-square pixel aspect ratios. These applications allow you to create and preview your
graphics at their native resolution.
Pixel Aspect Ratios in SD Video Signals Versus Computer Displays
SD video images use pixels with a non-square (rectangular) aspect ratio, whereas computer
displays represent images using a grid of pixels with a square aspect ratio.
Computer display Square pixels
Digital NTSC video Non-square pixels
1180 Chapter 70 Working with Freeze Frames and Still Images