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Title cards and Overlayed title text in FCP 7
Hello everybody,
We are in the finishing stage of a doc that is going to Sundance, currently it is sitting at a post house about to go through the titling process.
We have some inter title cards (white on black), 3 lower thirds (over images), and end credit cards (white on black). The post house seems to think that FCP 7 is a fine title generation tool. We did our titles in FCP 7 on our end and I believe they are basically going to take the CTM, marry it with sound mix and export with titles from FCP. Then they will create the DCP. Is this the best method for titling?
Our concern comes from when we viewed the titles output from FCP at the facility the edges (especially the curves in the letters) looked a little jagged. Granted we were sitting fairly close to a large, projected image, so is this the problem?
We just want a clear answer that titling in FCP is a tried and true method for theatrical releases, and if not, what we should do instead.
We Did do a test with recreating the titles in photoshop, exporting a TIFF with transparency, and bringing that into FCP.. I did not notice a change in quality when viewed on the projected screen. My thought is just that we were close to the screen so we could see more jagged edges.. but any insights into your workflow for titles would be helpful.. Thanks!
BTW our film is 1920 x 1080 HD, watched a projected Prores 422 output and from within fcp with the playback monitor as the projector.
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5 Replies
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It would be impossible to answer your question precisely without knowing what your Sequence Settings are in your FCP project, as that can very easily impact aliasing of your titles if set improperly. If your seq. settings were set properly, your titles created in FCP using Boris Title 3D are created uncompressed, then compressed to the Compressor setting (i.e. ProRes 422), which should be more or less lossless.
The above having being stated, it’s very easy to start the project with the incorrect Seq. Settings, and when you change the Seq. Settings after the editing has begun the settings will not correct. If that did not happen, then you’ll be just fine using the titles you created in FCP.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Thanks for the reply..
Our sequence settings have always been Apple Prores 422 1920×1080 23.98. All the same as our footage. However we did not use Boris Title 3D but just the default FCP title generator. Is there significant advantages to using Boris Title 3D.
Do you think the aliasing we saw was just because we were so close to the projection screen then?
Thanks!
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Boris Title 3D came free with FCP and should be your go to title tool. I can’t really vouch for the other one, as I’ve never used it.
Bottom line is, no one here can advise you properly without examining your project. If the guys at your post house can’t advise you on this, you really should think about taking your project to another post house.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Well, I’ve relied on those for Broadcast TV just fine…but in doing my first feature finish (also going to Sundance…) I’ve opted to make them in Photoshop, and export them as PNG files with alpha. Those look great on screen.
That being said, I have seen a couple of my shows projected from a 2K projector in a theater (post screening room) and the titles I made in FCP looked fine.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
I too normally use PhotoShop and export as .PNG with alpha. Always looks great.
Not my monkeys. Not my circus.
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