[Aaron Williams]

in the past, i’ve used after effects. it seems to do the job nicely. also, you need to make sure that they are not moving too fast, or they will strobe, just like footage will (it’s a product of the 24p framerate). the other thing i’ve tried is creating the titles in photoshop as one long image, then saving as an uncompressed format with an alpha (like targa) and keyframing that. it’s not the best solution, but it may solve your problem.

—
Aaron Williams
https://www.reaction-films.com
https://www.roarnetwork.com

[Aaron Williams]

yes, this is all regular dv. for the iomega, is this what you were talking about, and if so, will it work with fcp? we wouldn’t need to access the same files at the same time, we just need to be able to access them from any computer, and for each computer to be able to access different files at the same time, while keeping the throughput high enough for realtime editing.

[Aaron Williams]

thanks so much!!!!

[Aaron Williams]

what does this start at price wise?

[Aaron Williams]

i’ve mostly learned by reading typography/webdesign blogs like https://daringfireball.net (just do a search for font, typography or design) or https://typographica.org. holding back from the crazy font’s is usually a good idea unless your project really calls for one.

good places to start:

classic sans-serif fonts to stick with are helvetica (a giant in the font world), gill sans (a classic british font) futura, monaco, and maybe arial (an inferior helvetica knockoff, but can be a substitute)

for serif fonts, times, bodoni, baskerville, courier, and especially garamond are good places to start.

for distressed, script, symbol, etc. fonts, just make sure that it is readable, and pick what fits your design best.

never, ever, ever use comic sans or marker felt. ever.

[Aaron Williams]

1. The HVX200 uses a 960×720 chip to record the images. the 1280×720 size is acheived through the pixel aspect ratio. FCP did’t do any reducing.

2. yes, that should work, as long as there are nothing in what you exported (as the reference movie) needed or was rendered (including realtime effects). rendering causes recompression, which is a big no-no for you online.

3. speaking of onlines, you should do you online in after effects, not FCP. after effects can work in 16bit color, so you don’t throw away any image data. FCP is limited to 8bit for anything that it renders. use automatic duck to move your timeline to after effects, or just do 2 QTs of an A and a B roll-split your clips onto two layers, alternating layers for clips that need transitions. delete transitions, and build in overlapping handles so that you can recreate the transitions in after effects. make sure that nothing needs to be rendered or needs realtime effects to avoid recompression, then export each layer separately and assemble in after effects.

4. it’s probably a better idea to use firewire, since it can more easily handle the bandwidth issues of DVCPro HD, but there shouldn’t be any quality loss just by transferring from one drive to another.

5. definitely use after effects to do the blow up. after your online is finished, export it so a lossless codec, maybe a tiff image sequence or something, to use as a master, then do any scaling or exporting using that master.

6. yep.

hope that helps. i just finished doing all the post on a student film on DVCPro HD 1080p24, so i used this workflow and it worked great.

[Aaron Williams]

thank you!

[Aaron Williams]

you should be able to export as a quicktime movie with the codec set to “animation” and set the color depth to “millions of colors+” (the + stands for alpha channel). you’ll have to render, but alphas are preserved in the format.