Can FCP 6 handle full 12MP still images?

I want to edit footage from my Canon HV20 and include still images from a Canon EOS 5D camera.
I don't want to crop the images to a specific size as I want to be able to pan and zoom quite drastically in FCP.
Can anyone tell me whether FCP would have problems rendering the images, especially if I wanted to include maybe 30 or so stills?
Many thanks
Mark

I once, accidentally, worked with images that were 1GB+ and like 10,000x15,000 and FCP FREAKED! It would freeze for many minutes on end and the second I tried to playback would force quit. Thankfully Photoshop was able to handle the files better (notice I say better but not handle them well?) and I compressed them to 2x the HD dimensions I was working with. Down size them for sure. The rule of thumb is 2x your timeline, but if you will be doing really "drastic" pans and zooms, maybe slightly more could work for you.
-Brian

Similar Messages

Can Media Encoder append a still image to EVERY sequence run through it?

Hi!
We are trying to streamline our video publishing process and I was wondering if ME can automatically add a clip or still image to every sequence it exports?
For example, at the end of every video we have our company logo / social media call to actions. Is there a way to have these added in ME as opposed to doing in the Premiere timeline? The way that they SHOULD be put together is fairly subtle and at the frame by frame level.
It would be a huge timesaver if we could automatically place these and avoid the inevitable mistakes that come with re placing each time through.
Thanks so much!

Hi action_packed,
This is from the documentation: http://helpx.adobe.com/media-encoder/using/add-items-encoding-queue.html
Still Image Sequences are not supported as source footage through Watch Folders. If a set of still images is placed in the folder being watched, each individual still file will be added as a separate item to the Queue rather than than the entire sequence as a single piece of footage.
Make a feature request for that here: http://adobe.ly/feature_request
Thanks,
Kevin

HVX200 / 1080i24p, can FCP handle now?

I've read a few posts, but many seem to be dated prior to the latest release of FCP and I'm a bit confused.
I have some footage shot on an HVX200 at 1080i24p (not the PA mode, shot it in the wrong mode by mistake) and was wondering if FCP 6 will handle this now or if I'd need to first work with it in Cinema Tools or Raylight? One post suggested that I should get a copy of Premiere and do it that way, but I'd rather stay in a comfortable app such as FCP if I don't have to jump through hoops to import it/use it properly as 24p. I'd like to edit it in 24p to give me a more film look.
Thanks.

You shot 24p...you already have the film look. No need to edit it as 23.98 to get it...the camera recorded it at 29.97, but with the 24p look. So, that part is done. All you need to do now is edit it. The film look is more than frame rate...it is lighting and composition.
FCP has been able to handle that format since, like, forever. Just need to make sure that you have at least firewire 800 drives. GOOD ONES...not those MyBook things. Talking CalDigit, MaxxDigital or G-Tech here...OWC even. eSATA would be better.
No hoops, just LOG AND TRANSFER. But if you want to work with the files natively without waiting for the import to finish, there is always RAYLIGHT to bring in the footage. I prefer the MXF4QT application, as it makes the import process VERY slick, and imports all that wonderful Metadata that I usually have on my footage. But not everyone needs that.
Shane

Large Still Images into PE - One Workflow

Everyone wants the highest quality that they can obtain when doing their videos. It’s natural to want the best. Well, when dealing with still images, bigger is not necessarily better, for two reasons. First, overly large still images can really tax a system and second, one is limited to the frame size of the video, so these have to be resized somewhere - this resizing can be in the NLE (Non Linear Editor) program, or in an image processing program like PS (Photoshop), which does a better job anyway. Doing this in PS, or PSE, will result in better resized images, and they are easier for the NLE to work with. Quality is as high as your Project’s Preset will allow, and you are more efficient, with fewer crashes, slowdowns and hangs. It is a win-win situation.
Here is my normal workflow when dealing with still images. This workflow is for NTSC 4:3 720x480 with a PAR (Pixel Aspect Ratio) of 0.9. If your Project’s Presets are different, use those specs to resize to.
Since I shoot my still images in RAW, I Copy my files from the CF card to my system and catalog these images by location, subject and date (if necessary). I’ll do a quick conversion and Save_As Adobe DNG for backup. I then process these RAW images in PS with the ARC (Adobe Raw Converter), correcting them and then doing a Save_As PSD into a sub-folder. All of this is in my still photo library.
Normally, I will edit these PSD’s to find the images that I wish to use in a Video Project, and will Copy the selected images to another folder. You’ll see that I work with a lot of Copies, so my original files are always untouched and stored elsewhere. This guards against anything happening to them.
At this point, I’ll decide how I wish to use these selected images in my Video Project. Let’s just say that they are all horizontal images, and are still full-size from my camera. As stated, my Video Projects are DV-NTSC 4:3 720x480 PAR 0.9. [Remember, your Video Project may vary, so you will need to plug in the dimensions for YOUR Video Project in that case.] I also will have done my Cropping on each image individually, to get them to 4:3 Aspect Ratio. I do this my eye and by hand, rather than via an Action, because I want full aesthetic control.
In PS, I have a set of Actions for Video. An Action is like a Script, but less powerful and less involved in the writing. As I have already done all of my image enhancements and additional processing before I did my Copy to the selected folder, I only have to worry about my Action resizing these selected images for use in my Video Project. My Action here is to resize to 720x480 with a PAR of 0.9, and I normally use the Action that does this with a particular resizing algorithm, Bicubic-Smoother (though I also use Bicubic-Sharper on occasion).
For the next step, I go to my folder structure (remember, this folder contains copies of my selected still images in PSD format), and create a new sub-folder "[Project Name]_720x480." Back in PS, I choose File>Automate>Batch. Here I set my Source Folder, my Destination folder and the Action to perform. In my case, it’ll be the Destination Folder, that I just created, [Project Name]_720x480, and my Action will be my NTSC 4:3 720x480 Smooth. I check to have the Open command by-passed, because I do not need to see this take place on my monitor. When I hit OK, PS grabs all files in my Source Folder, runs the commands of my Action and does a Save_As for all files into my Destination Folder. I can process hundreds of large images down to a great 720x480 PAR 0.9 via Bicubic-Smoother interpolation, in moments. Now, I’m ready to go. Last, I Copy my Destination Folder to my Video Project’s folder hierarchy (usually on another HDD), and then Import these processed stills into my NLE.
What if I need to pan on one, or more of these images, while they are zoomed out completely? I don’t have enough pixels in my horizontal dimension to do this. I am just filling the frame with my still. Well, if I find that there are such images, I go back to my folder with the full sized images in my still images library, and select the ones that need to be larger. I run another Action on these, but it’s one that resizes to something larger than 720x480, say 1000x750. Now, I have another Destination Folder with the name [File Name]_1000x750. I’ll Copy this over to my Video Project, and Import these into the NLE. Here, I can go to Project Panel and remove the 720x480 versions if I so choose, but since a Premiere Project file (.PRPROJ or .PREL) is only an XML database, I may just leave them. It does not contain any media files, just links to where they are on the system and to what operations are performed on them.
By doing my resizing in PS, rather than in Premiere, I have accomplished two things:
1.) I have better quality resized images, using the algorithms in PS, plus have a choice of several interpolation methods to work with.
2.) I have lessened the processing load on my NLE and on my system, while doing the editing
I get higher quality and lower resource overhead - hence my reference to "win-win."
Now, back to my aesthetic control. I do not do any automatic zooming or panning. If one allows the NLE to do this, then they will want to probably process all of their images to 1000x750 (remember, this is for an NTSC 4:3 Project, so you will need to calculate what YOUR Project will require).
The two programs that I use are Photoshop and Premiere Pro, but Photoshop Elements can do the same things, though the exact commands might be different. Premiere Elements will handle the resized still images, just like Premiere Pro and the only difference will be the terminology used when one wishes to Import the still images.
I also keep all of my images in .PSD (the native format of PS), and do not convert to JPEG, or other. If one’s camera shoots only JPEG, I suggest writing the Action to do the Save_As to .PSD, as another JPEG compression will cost one quality. Yes, the JPEG’s will be smaller, but remember we are looking for the ultimate quality, so larger file sizes are just part of that equation.
One does not have to deal with all of the Copies, as I do. However, this allows me to go back to the originals, or to the processed full-sized .PSD’s at any step along the way. There is only one thing worse than not being able to go back to an intermediate version with full Layers and Adjustment Layers, plus any Alpha Channels, and that is finding out that you’ve lost your original RAW and DNG backups! That’s why I do a lot of Save_As and also work from Copies all along the way.
Hunt

Your workflow looks good. I do similar, but use PS, in lieu of LightRoom. I also do DNG's for my archives.
Provided that one chooses a JPEG compression algorithm setting that does not do too much compression, I doubt that anyone, but the most very critical, could tell the difference in Video. Most of my tests on PSD vs JPEG have been for print. There, one can more easily detect the differences. Video "hides" some of that.
To date, I have not had a Project where the Asset size differences between equally sized PSD's vs JPEG's caused any slowdown, or problem. There could be a resources savings with the smaller JPEG files, but there is a tiny bit of overhead dealing with the JPEG compression. I have never tested this, so can only guess that the smaller Asset size of the JPEG would trump that overhead - just a guess on my part.
For me, keeping the images in PSD does save a tiny bit of work in my Action (basically one less operation to perform), but I doubt that one could measure that time difference, even over the automation of hundreds of images. Besides, it's only one additional line in the Action. My feelings on JPEG vs PSD is firmly based in my print experience, and I am probably being too critical with images going to video. When I move up to HD and BD authoring, I need to apply a very critical eye, to see if I can tell the differences on an HD TV. So long as one does not apply too much JPEG compression, the differences should be very slight, at the worst, and maybe not even noticed, at best.
I do minimize the impact of many files on my Project by sizing to what I need. If I will not be doing any pans on zoomed-out images, I size to my Project. For pans on zoomed-out images, I calculate just what I will need for those pans, and might end up with several groups of sizes, to accommodate each. Still, the vast majority will be sized to exactly what I need for the Project - very few extra pixels.
In my case, and yours too, I have my RAW, my DNG, my working Layered PSD's, and then my sized output. I always keep all working PSD's, as I might change my mind, or my client might change theirs, and I do not want to have to go back and redo work, if I still have those working files. I also do as little destructive editing, as I can, using Dupe Layers, and Adjustment Layers, whenever possible. If I can, I never Flatten, or Merge Layers, so I can make any/all changes at any time, and only have to do the resizing via the same Actions. That is basically a "one-button" solution, once I have made the changes required.
Good luck,
Hunt

Render flashing over Still images in HDV

I was given this project to rescue, the biggest problem is it is full of still images with moves/keyframes and full of subtitles. The images are all JPEGS, of varying sizes and resolutions, some of them are still in grayscale mode. These problems mainly show up on the interlaced HDTV monitor, on the RGB monitor the images suddenly dip 50% in brightness, and flicker slightly.
The flicker filter on MAX and a gaussian blur will not fix this. the only thing that seems to work is converting all these images to TIFFs and re-doing all the moves which in Final Cut is a nightmare. Here is a link, the full visual dissonance problems are washed out by this camera.
http://www.vimeo.com/5590809
What would be a life saver is finding a way not having to convert all these JPEGs to TIFFs.
Moving keyframes, changing opacity, etc does nothing to improve the render flickering.

The flickering is an artifact of the interlaced nature of video. It is a result of very thin (often horizontal) elements that exist on one scanline as is common in text or titling. This can also be the case in images with great deal of detail with high contrast as well as when when you are engaged in pan/zoom moves on stills.
As the alternate fields play, the flashing element is essentially being turned on/off. The basic strategy is to get the element to exist over two scanlines so it is refreshed every time the field plays or to reduce the amount of contrast so the difference between ON and OFF is not noticeable.
Before you start any of these steps listed below, make sure you are viewing your material on an appropriate monitor. If you are working in an NTSC/PAL interlaced format (eg DV) you need an external TV monitor - not a computer screen. Without the appropriate device, you are playing blind.
Things to try (In increasing order of image degradation)
• (in FCP) field order>none
• (in FCP or Photoshop) reduce whites by 10% - reduces overly bright areas
• (in FCP) flicker filter - minimum
• (in Photoshop) motion blur>vertical> .2 - .5 pixels - blurs vertically only
• (In FCP or Photoshop) Gaussian blur> .2 - .5 pixels -blurs both horizontally as well as vertically
• (in FCP or Photoshop) deinterlace - throws away half the image and is generally not appropriate on scanned images
Remember: Unless you are viewing your work in the appropriate external NTSC/PAL monitor, you are playing blind. The computer monitor only shows you a proxy image.
One final thought, if you have slowed your material significantly, and have not used some sort of frame blending/optical flow processing, you may be simply duplicating frames to create the additional material to pad the playback. The flashing you see is the result of this.
good luck.
x

Projecting still images using final cut express

Maybe someone can answer this tricky question. We need to project a FCE movie that has photoshop still images imported into it, but these photoshop images (which appear normal on the computer screen), are distorted in the projection. They look squashed horizontally. In fact the still image that we made with photoshop and imported into final cut needs to be projected on a wall to match a four foot tall section of the wall, so we need get the size exact. That is the reason why we cannot have any distortion.
We have read that still images imported into final cut should be 720 by 480 pixels to avoid distortion, but that produces an even more squashed image, and this in pixels, that determined the size of the image, so how would we determined the size without affecting the pixels? The distance between the projector and the wall is already fixed and we cannot move it. Does anyone know how to maintain the original proportions of a still image imported into FCE for projection? Thank so much.

Hi, thanks you for your quick answer. We used photoshop elements 4.0 (for Mac) and Final Cut Express HD 3.5.1 (Mac). The still image that we bring into FE is a mask, it has a transparency so I guessed is layered. When we bring it into FE appears as sequence so we open it into a timeline and bring it back to the browser so it can be used as a still image. The movie is projected as DVD on the wall.

Capturing a single frame to make a still image

Hello,
I'm not sure how Apple terms this so I wasn't able to locate it in the Manual, but what I'm trying to do is a capture a single frame from our video so that we can turn it into a still image that we can use in our promotional material. Can anyone poing us in the right direction?
Thanks.
GN

Recognize these images will be the same pixel dimensions as your original footage - e.g. DV = 720x480 (or 640x480 square pixels).
If you plan on doing this regularly and need good quality large images for print, it is very useful to have someone hanging around the set to shoot stills. Most video just looks awful when transformed into stills ...
good luck.
x

FCE Exporting Still Image and Maintaining a 16:9 Aspect Ratio

I am putting the finishing touches to the first movie that I have created in FCE. I'm a refugee from imovie 08.
I would like to create an ending where I run my End Title and scrolling captions over a still from the movie that I've just created.
My movie is captured in 16:9 aspect ratio.
The problem is that when I export using Quicktime conversion, and the import the still back into FCE, the still loses it's 16:9 aspect ratio.
Can someone tell me how I can some how paste a still image from my movie with a long duration of say 90 seconds while my ending titles scroll through? AND keep my 16:9 aspect ratio.
Hope you folks understand my question OK? Can anyone help me?
Thanks,
Steve

That seemed to work great.. thanks Tom.
My first movie in FCE is now finished and it looks good within FCE!!!
Now I have exporting problems!
I have added chapter markers to my movie however:
If I export using the File > Export > Quicktime Movie option I keep my Chapter markers perfectly but no mention is made of 16:9 aspect ration.
However if I use the File > Export > Using Quicktime Conversion option I have lots of settings where I can play around with the aspect ratio but it does not give me any mention of chapter markers and I do in fact lose them after the conversion.
By the way I'm selecting the DVCPRO50 when I try this.
Have you any ideas how I can export, keep my 16:9 aspect ration AND keep my chapter markers?
I'm importing into idvd-08
Many Thanks!
Steve.

Working with still images only in FCP

Hello:
I am an editor/musician working on a very cool project will a wonderful illustrator.
The illustrations will be scanned and then imported into FCP for manipultion (panning, zooming, etc.) then adding narration and music.
Can somebody suggest the best timeline setting/pixel shape for doing this?
The images have been scanned at 150 dpi and have a size of 1920 x 1080
As I mentioned the images are still and I manipulate/move on them by using the size/motion tools in FCP
Thanks for any advice.
RIP Steve J
A.S.

The images have been scanned at 150 dpi and have a size of 1920 x 1080
150 dpi doesn't really apply here (that's a print thang, directly related to inches), since you gave us the dimensions of 1920 x 1080, that's all we need. (technically you could have a file of 72 dpi be at 1920 x 1080, and it would still be the same save size in terms of pixels, though not in terms of inches)....
You mention zooming... what is the end use of the video? Strictly Internet? or Blu Ray? SD DVD? because as you probably know, HD video is 1920 x 1080, so zooming there may not be a good idea since you would start to show pixelation. So if you plan to have an HD sequence, your images should be scanned in a tad bit bigger (as much as you are zooming in, but not any bigger than FCP can actually handle).
And talking about panning/zooming, you'll end up with better results if you use Motion.
If you are doing something which is not meant for Broadcast, choose the Pro Res LT 1920 x 1080 30p preset. In the sequence settings you can change the fps to 30 exactly.
HTH...

Using still image in FCP and Motion

I'm using still images in Motion (and FCP) and exporting them to Quicktime movie files. What's the best size and resolution for the images and are JPGs or TIF best? I'm exporting for 720 X 480, and currently my JPGs are 4 x 6 at 300 dpi with a pixel width and height of 1312 x 2000. I'm adding some behaviors to the images in Motion (motion paths and shrink/grow).
My FCP project is setup as a DV NTSC 48kHz, 720 x 480, editing timebase=59.94, timecode Rate=same as editing timebase, compressor-DV/DVPRO-NTSC, quality 100%.
When I export to Quicktime the movies are very low quality--lots of noise and moire pattern etc.
How do I get the best qualtiy using still images? Is it my FPS setting, image pixel size, compressor setting? Also, do the movies need to be deinterlaced?
The preview in the FCP browser and canvas looks a little better but I do notice noise (moire patterns) along the sharp edges of the still images.
I've seen QT movies of these very same images (done by someone else who is no longer around) and they are much better quality.
Does anyone have an appropriate workflow for this type of project? The final movies are to be shown on a flatscreen monitor from a local computer, so the file sizes can be relatively large (300mb).
I can post an example of he movie files if that might help.
Thanks.
Pedro

David, your a genius!!! You posted your reply on my birthday, and I missed it until today!
Fotomagico is devastatingly easy to use and absolutely makes me want to cry at the amount of time I wasted creating photo slideshows in FCP!
I opened Fotomagico up and created a slideshow, one that I had already created in FCP and had take me FIVE HOURS to create... in TEN MINUTES!!!!!!!!! Aaaaaaaaah.
I couldn't believe it. I thought there had to be a catch or something. This was too easy the quality can't be there... but it was. It's amazing and I can't thank you enough for all the future hours you have saved for me.
Al Romero

Can't stop still images from scaling in the sequence.********

I've tried everything at this point.
Baffled.
If anyone can help me figure this out.
please do.
I cannot get any image to come into the sequence without scaling down to 28%.
images are 4368 x 2912 and being brought into a sequence that is 1920x816. (cinemascope)
Help!

FCP will automatically scale your images down to fit the dimensions of your sequence.
You could either scale the images to sequence size before importing, (you could export using QT conversion to a form of still image, but probably better off doing it in Photoshop or wherever the images originated from)
If you want to do any pan/scan with the images, you'd be best served to resize them to slightly larger than your sequence settings, so you've got room to move them around and scale them a bit.
Or you could change your sequence settings to match the image dimensions (but that would affect what I'm guessing your intended output is to be)
Hope that helps,
K

Problem Extracting Still Image, FCP 5.1.1

I'm having a problem extracting a still image from a clip in FCP 5.1.1 I am using a Macbook Pro and editing HDV1080i60 captured from a Sony HVR-Z1U. I recently upgraded to QuickTime 7.1.1, and since I had no problem extracting stills at one point before this I wonder if QuickTime integration might be part of the problem. The problem is that as soon as I select "extract quicktime conversion" from the file > extract menu, the frame in the canvas jumps to something else besides the frame it was on that I wanted to capture. Sometimes it jumps a few frames to one close to the one I wanted, but one time it jumped all the way to the beginning of the clip. This new frame is the one it ends up capturing. Furthermore, when I then open this image in quicktime it is displayed as a distorted picture that has been compressed into a 4:3 image instead of the proper 16:9 size.
Any help with what might be going on here would be greatly appreciated.

Thanks for your reply. I have recently discovered that the issue of FCP jumping to another frame than the one I wanted to capture has to do with a setting on the camera that I used when shooting. (The footage was shot using a reduced frame rate setting option on the camera). The more important issue now is that the exported image that I get, even though it is the right one, is squeezed into a 4:3 size, distorting everything in it. Any ideas on this? Everything worked fine before I upgraded to the new version of QuickTime, and I can't help but think there might be a bug in the new version or something. But maybe theres something I have set wrong?

Can't select "Variable Speed" for Still Image Motion

I am using FCP 5.1 to add motion to still images. I've placed my still images on the timeline and added the appropriate keyframes in the Motion tab of the Viewer to Scale, Rotate, and move the stills on screen to my liking. But the speed is locked to "Constant," and I want to change that.
Specifically, am rolling a still image on-screen, freezing it in the middle of the screen a few seconds, and then rolling it off-screen. Doing this is easy: I just add a keyframe and type in the off-screen coordinates, then add another keyframe and type in coordinates somewhere on screen. But I want to vary the speed that the image rolls on-screen, so it moves on-screen quickly but then gradually slows down until it finally stops (freezes) in the middle of the screen.
Unfortunately, the "Setting" popup menu under "Time Remap" in the Motion tab of the viewer is grayed out and locked to "Constant Speed" (and yes, my still image clip is indeed selected and being displayed in the view). I cannot figure out how to unlock that popup so I can select variable speed.
I can choose Variable or Constant speed just fine for any imported "video" clips -- only still images are locked to Constant for some reason. Is this just a feature limitation of FCP 5? Any ideas would be appreciated.
Many thanks.

Why so much sarcasm in this FCP forum, Studio X?
Yes, it was in the manual, which by the way is quite large. And I didn't say how long it took me to spot that in the manual either -- a long time. I didn't spot it the first time I had read through that section (yes, I had read it before). And the fact is, you didn't know it either, otherwise you may have cared to point it out (for not only myself, but for others reading this forum too).
I participate in numerous other forums on other sites. Many times, people ask questions that are very simplistic to me -- I know the answers and I know those people putting forth the questions could easily have looked up the answer. Nevertheless, I take time to be helpful to others. For truly, some day I may be in their shoes, lacking time to read every part of every manual out there.
I am therefore thankful to those who likewise respond in a tactful manner to my queries, with the productive aim of helping others rather than condemning them. Thank you, David Harbsmeier, for being consistently positive and very helpful in this forum!

Dragging a large still image from the browser into the viewer crashes FCP

Okay, I've not seen this problem until just a couple days ago but was wondering if it was just me or if everyone has this problem? I've found a work-around, but let me explain the problem first.
I'm creating a growing up photo montage. I scanned all of the pictures myself at 300 dpi (as I've always done in the past) and saved them as TIF files. Some pictures as relatively small, i.e. 3.5 mb is size and do just fine, but it appears anytime I drop a picture into the viewer in preparation for the the timeline, it will crash FCP if the image file is any larger than about 5 or 5.5 MB. Now I know there is a limit on the resolution of a still and it shouldn't be any larger than 4000 pixels in either direction, but that is not my problem, the problem appears to occur with large files. I've used large still files before in past projects without any problem, so this is why I'm stumped. I've went as far as trashing my preferences, but that didn't change anything. I've even tested a still image from a past project that was something around 9 MB (or was it 19 mb?) in any case, it also crashed FCP but... I've used that picture before in past projects without any problem. I even created a new test project just in case my project file itself had a problem.
My work-around is to simply drop the still image from the browser directly into the timeline, thus bypassing the viewer. This works every time without a hitch. I can even double-click on the still now setting in the timeline to load it into the viewer so I can add effects or keyframes or whatever without any problems (thank goodness). So, has anyone else experienced this problem or is it just me?

Is this image saved in a colorspace mode that is anything other than RGB?
CMYK & Grayscale images will cause problems.
Some light reading regarding your choice of 300 dpi: http://www.scantips.com/no72dpi.html
Unless you plan on panning and zooming your images, the best procedure is to use one of the video preset templates in Photoshop and paste your content into it. Scale and position using the Transform controls. For best results save as a TIFF without compression. Don't forget, always in RGB colorspace.

I can't send full sized images

Hi,
Ever since I upgraded to Leopard, I've noticed I can't send full-sized images. In Tiger, I had no problems dragging and dropping the desired image to Mail, and it still would send the original file.
Now, I don't know how, it only sends a preview of that image. Even if I attach the file, it only sends the small version of it. This is really annoying since I do graphic stuff, and the only way I can send the full version of each image is by compressing it.
I'm about to move back to Entourage. I love mail but this is really getting up to my nerves.
Is this because of Mail settings???
FJ

when you add an image to a new mail composition window there appears a small scroll button "image size" in the lower right corner of the composition window. set it to "actual size".

Can FCP 6 handle full 12MP still images?

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