[Collin Alexander]

Anybody? Please? Help?

[Collin Alexander]

Why yes, it’s a 3D composition in Motion.

The blend modes are all set to “normal”. I’ve tried starting over, and I get the same thing.

No matter what video, no matter what particle emitter, it always shows through the video.

Can anyone else please confirm or deny they are having the same result?

1. Place a video into a Motion comp.
2. Hit new camera, make 3D
3. Use the move tool in the HUD and move the video back into the background.
4. Place a particle emitter into the comp.
5. Position the emitter in front of the video.
6. Place a second video in the comp.
7. Rotate the camera and look at the situation from all angles. Verify that there is a particle emitter between two videos.

Does the emitter show through or not?

If it’s just a weird bug in Motion, I’ll stop worrying about it.

[Collin Alexander]

So change the codec to what?

[Collin Alexander]

I’m in NTSC land.

Sorry, I can’t get my head around “just do it any old way and fix it later”. That sounds like a recipe for a nightmare to me.
I come from a background in music production, maybe that’s my problem!

I’ve seen great graphics on DVD, my graphics look great coming out of photoshop. There must be a way to get them to look good, because others have done it!

What’s wrong with red? I’ve seen red graphics on DVDs, and it looks fine.

PNG and GIF formats support interlaced by the way Rafael.

[Collin Alexander]

I see DVDs with graphics in them that look just fine. Somebody must know how to do it.

The graphics that come out of my photoshop look just fine.

So I should export graphics from photoshop as interlaced, yes?

Is that the best way to design graphics for end target DVD?

[Collin Alexander]

I’ve been reading the frigging manual, it never says “the scaling engine blows”. Thanks.

Yes, I suppose I could do it in Motion. Let me give that a go and see if it works out much better. I could also try it in After Effects. I just wanted to see if there were any solutions in FCP.

[Collin Alexander]

Don’t graphics work better in progressive?

Can somebody else weigh in on this whole issue? I can’t be the first to be in this situation.

Couldn’t 59.94 p be converted to 29.97 i and end up with the correct playback speed, converting every 2 frames of 59.94 p into a pair of fields for 29.97 i?

Not that I necessarily want to go through all that. What are other options?

[Collin Alexander]

I also have graphics coming in from Photoshop.

Wouldn’t it be better to work the timeline in progressive instead of interlaced?

I just had a wild idea, tell me if it makes any sense or is crazy. Could I set the project at 720 x 480, progressive, and 59.94 frames per second? Then edit the whole project with that.

Wouldn’t FCP then keep every field of my interlaced footage, and make a whole frame out of each field? Then in the end, couldn’t I export the final at 29.97 interlaced, and break every frame down into a field?

The problem is I have footage of every possible imaginable type, and I want the end product to lose as little as possible.

Thanks.

[Collin Alexander]

What settings should I use? It doesn’t seem like there is one for 720 x 480 progressive?

Do you mean use progressive and not interlaced frames?

Then interlace it when I export? Or what?

[Collin Alexander]

YES! Hooray!

Opening up the audio mixer makes it work. Thank you very much Warren.

If that is in the manual I sure didn’t see it.

Thanks.