The same as it ever was….

[Frank Pledge]

i don’t know if this makes any sense, but what if you created the titles in an uncompressed timeline and then went through the nightmare of rendering all the dv on that timeline. dv titles do stink, but uncompressed 8bit seems ok. have you tried to render your titles on an uncompressed timeline to any better result?

getting it out to tape would be another problem though. maybe if you took this uncompressed rendered timeline and made a self contained fcp movie in the dv format….i don’t know. it may bring you back to where you started. just brainstorming. or confusing the matter further…

maybe you could layoff the uncompressed right to a dv tape for better results (assuming you have the cards and drive to do it…). talking outta my butt.

fp

[Annaël Beauchemin]

I don’t know why could DV be better on Media 100. The Avid DV codec actually make highly saturated contours subjectively better (it’s smeary instead of blocky), but when you look closely it sucks as much. Plus you can’t really use it in FCP since it’s RGB and has no realtime.

can you send a screenshot of the title+background? In my experience 80% white text should look good on a dark green background if it’s inside of the safe chroma values.

[Marc Brewer]

I guess I could do that! the thing is the composit out looks like crap and the Y/C looks acceptable to me. I’m rally picky so I may just be overly bashing the situation. My work around has been rendering uncompressed and going down the road to a small boutique that has FCP and a black magic carc to output to Beta.

I’m just used to After Effects and perfect looking titles……

I’m on the east coast for a few days shooting so send me an email and I’ll get a couple stills to you. I’m using a 14″ sony HiRez monitor so I know I can trust it.

Thanks a ton, COW is a GREAT place to be!!

Marc Brewer
MarcusVision Media
marcusvisionmedia@yahoo.com