The simple answer is FCP can easily compensate for this case. In the video inspector under Transform, you just enter Scale X: 150%, while leaving Scale Y: 100%.
To avoid doing that to each clip, put them on the timeline, do one, then do Edit>Copy, select all the other clips and do Edit>Paste Attributes to the rest (including the changed transform).
Or you can make a compound clip out of the anamorphic clips (or a group), then apply the 150% X scale to the compound clip. That keeps the de‑squeeze centralized, while still letting you go inside the compound to do per‑shot work.
The issue was caused by using a manual anamorphic lens with a 150% squeeze ratio. It had no electronic data communication with the Venice body, so all the lens metadata was blank (even in Catalyst Browse).
As you might expect, on a large production, it's important to keep track of lenses and lens settings for each shot. With electronic lenses, it's automatically captured.
I believe the normal production procedure is use the Venice camera menu where you manually set the de‑squeeze ratio. The relevant control is the camera’s De‑Squeeze setting. In the operating manual, it’s listed as:
Project > Basic Setting > SxS/Output > De‑Squeeze
Options include Off (1.0×) / 1.25× / 1.3× / 1.5× / 1.8× / 2.0×
That said, the Venice manual also states: “The Anamorphic license is required to enable ratio settings, other than Off (1.0×), for the de‑squeeze function.” So if the camera body did not have the anamorphic license enabled at the time, the crew could still shoot 6K 3:2 X‑OCN, but they couldn’t set 1.5× de‑squeeze in-camera (beyond Off).
In that case the procedure is to log it on the slate and camera report or DIT notes. It's a good idea to do that anyway in case of metadata problems.
