Angelo Lorenzo
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It was probably done completely manually.
In Photoshop or illustrator, set your large word then create additional layers of text to fill in position within. Now delete your large text layer and you’re left with hundreds of smaller text layers in the shape of your large text.
What’s nice is if it’s a PSD (I don’t know if this works with illustrator files) then each layer should come in and you can procedurally animate the collection from there.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Sadly, it comes with experience, and by experience I mean failure.
When you’re a one-man band, you can’t promise your production everything. Sometimes is cool being hero, the know-it-all, when it comes to sloppy shooting but I’d rather be the strict vfx guy who said “no, you can’t do it that way, take 5 minutes to do it right” than saying “yeah, go for it!”
I have to say this: if you look through the lens and you aren’t happy with the shot, change something on-set. It’s like saying “don’t wipe down that table, we’ll do dust removal in post!” well which takes 30 seconds and which takes 10 minutes?
Another way of thinking about it, is can it be done in Photoshop? If you could relight an entire scene, photographers wouldn’t be buying $20,000 strobe kits. You have to narrow the scope of that understanding a bit further because video complicates things, you’re working with objects that can shift perspective.
When you’re on-set, the biggest piece of advice I can give you is know how the greenscreen process works, independently of any software. You’ll be armed with knowing how to reduce color spill, if a green screen is properly lit even in dark scenes, how and where to place tracking markers. There is about 50 years of keying history and technique to stand on, back to when it was done with analog signals and equipment.
Keying in the most base sense is using the difference in color channels (green vs red and blue) to help create a matte around the subject. There are more optimized ways to key footage than using a single Keylight filter and hoping for the best: You can split the scene up into multiple layers with loosely tracked garbage mattes so you can key different subjects differently, you can use core mattes to key the inside of the subject then use a more subtle key for the edges, or a combination of the two.
Make no mistake, you will have to clean up mostly all green screen shots with some rotoscoping or edge erasing because of high motion blur or other issues.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
No, select what matches your footage if you have it. The quicktime codec has 1080p25 at a bitrate of 185, select it.
When you go back to the export window, make sure everything still matches: 25fps, progressive, etc.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Lighting has to be done 100% on set.
Sure, you can make overall adjustments or vignette something, or dodge something out with a track matte. You won’t be able to make hard shadows soft or add a rim light in post. You may be able to balance intensity but you are left with the source, shape, and direction of lighting on-set.
Lighting ratios should be set on-set rather than relying on contrast enhancement in post, for instance. Just leads to weird inconsistencies.
Also, is your team paying you? If they aren’t then dump them for a project or two and let them fall into better shooting habits… I’ve had to do the same for my circle of friends.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
It’s called Adobe Anywhere, and it’s slated for release late next year. The video you linked to is from October 2011. They demoed it at NAB earlier this year and did a larger PR push last week.
https://tv.adobe.com/watch/adobe-anywhere/introducing-adobe-anywhere-for-video/
https://prolost.com/blog/2012/9/5/adobe-anywhere.html
https://www.fxguide.com/featured/new-tech-adobe-anywhere/
It’s aimed at larger facilities, or seems to be initially; tv and film production studios.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
https://vitrolite.wordpress.com/2010/12/31/quicktime_gamma_bug/ is the best explanation I’ve come across.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Not really, even the “editing modes” are guidelines, you can choose custom when you create a new sequence and adjust to your heart’s content.
You will get a yellow line over your timeline but this simply means there is nothing pre-rendered and footage “may or may not playback in real time” rather than some sign that you did something wrong.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
1) Download https://avid.force.com/pkb/articles/en_US/Download/en392959 and install.
2) In Premiere, go to File>Export>Media…
3) Select Quicktime as format, ignore preset.
4) In the video tab, select Avid DNxHD as your codec
5) Hit the Codec Settings button. A new window will pop up, select 709 color, no alpha, and in the Resolution drop down, look at the options that match your resolution. If you have progressive material like 1080p30 then select the doubled interlaced rate if there is not a progressive setting, ie: if my video is 1080p30, I would pick a preset for 1080i59.94. The presets are followed by a number like 220,185,45, etc, this is the bitrate. Select 220 or 185 or 175. An x following this number means 10-bit, you can ignore the settings with an X if this is going straight to delivery.
6) Hit ok. In the Premiere export window, make sure your other quicktime settings like framerate, resolution, etc match your footage
7) In the Premiere export window go to the audio tab and select uncompressed audio, 48,000hz, 16bit.
8) Export.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
You’re probably better off 😉 Look at the 6.0.2 update to see if it fixes anything mission critical for you but there are a lot of reports that it makes Premiere unstable on the mac platform.
If you want to go for it, some people have luck right off the bat installing a stand-alone update rather than through Adobe Updater https://www.adobe.com/support/downloads/detail.jsp?ftpID=5447
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Import your footage, drag one clip onto the “new timeline” icon at the bottom of your media bin. This will create a timeline that will conform to your footage.
As to if your footage needs to render or not, it comes down to your processor specs when dealing with h.264.
Timeline rendering in Premiere is to improve playback, it’s not like Final Cut where it has to absolutely conform to one codec.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks