[Ian Smith]

As odd as it may seem, I was sticking with the pixelated look. Only because I knew it would come out exactly as I originally created.

However, it will be very useful to also learn what you have instructed. I will have to give it a try soon so I will have what seems a much better way to go.

What I have noticed with the pattern I created, no matter how large of an object I apply it to, the pattern stays the exact same size (which is what I intended). However, what if I want to be able to change the size of the pattern… to scale larger or smaller? Will that work with either of our pattern processes?

[Ian Smith]

Thank you for your response! I took what information you wrote and put it to work, and got my solution.
Without discrediting anything you wrote (you gave me the answers I needed), here is exactly what I did to achieve my diagonal pattern:

I went into Photoshop where I had my 10px X 10px image of my pattern. I zoomed way in so I could see each pixel. I then went into Illustrator and created a 1px X 1px box. Then, taking only about 1 minute, copied the box a number of times to lay out each box to complete my pattern. Then, selecting only the boxes I just copied and placed, I was able to click and drag them into my swatches pallet. DONE! All I have to do then is select a shape on the canvas and drag my new swatch pattern onto it, and it’s applied across the entire shape!
Not too painful considering the usefulness.

Thanks again Vincent.

[Ian Smith]

This is excellent feedback! Thank you very much for these tips. I have also checked out the URL mentioned and watched a few of the tutorials on how the program works.

Thanks again to everyone who has posted!

Any more comments or tips are always welcomed.

Thanks,

Ian

[Ian Smith]

One would think, however they are just getting the equipment installed… including the projectors. So, this is new to all of us. From what they are telling me, the program will read one video file and shoot it out across all three projectors. I’m just predicting that I’m going to be doing animations across all three. So I’m trying to figure out what route to start looking. Making one video canvas 3840 x 720, or making three videos at 1280 x 720, and doing some sinc work.

I did just create a project in AfterEffects with a canvas size of 3840 x 720. I’m fluid with Motion 3, but I’ll have to brush up on After Effects as it seems to be working the best for me thus far on this application.

Any more tips always appreciated. Thank you!

Ian

[Ian Smith]

Unfortunately, I don’t have an option with changing out equipment or programs. I’m sure I will have to figure out a way to put video on all three screens simultaneously. What about this…

Do you think the program (Pro Presenter) would play three separate videos each at 1280 x 720 at the same time? I could then make three videos timed out to look as if it is one giant video or animation. I’m going to test on the equipment tomorrow. I was just hoping to find some experienced input before I go and give someone Yes, or No answers.

Thank you!

Ian

[Ian Smith]

I come to the same conclusion when using a white graphic. I created a white graphic in Motion, 1 second long. Exported the Qtime video and when encoded to an flv, I no longer have pure white. If I can’t get pure white with a graphic that is pure, there would be no chance of achieving the same with a white screen.

I wonder, is anyone able to get an flv with pure white? Maybe it’s my encoder? Would upping the bitrate help?

Thanks!

Ian

[Ian Smith]

This is all great input, however I’m still not there yet.

Here is another go to see what happens:
In Flix On2 (the encoding process), I used the “brighten” filter. I think one of you mentioned that in a post too. I resulted in an even white background, with an RGB of 254, 255, 252 (FEFFFC). It got rid of the block patters that were showing up, but I am still shy of pure white. If I boost the “brighten” filter any more, naturally I will also manipulate the brightness of the talent.

I am going to toy around with this a little more, and I’ll report any findings.

Any more ideas are greatly appreciated! Thank you all for joining in the fun!

Ian

[Ian Smith]

This is our filming studio, not my editing suite, so there are no monitors in the room. We are also unable to purchase more accessories. I completely understand that this makes limitations for us.

My questions is simply, where can I put the sound foam blocks? The last thing I want to do is install what little we have to work with and later figure out that I’m not even hitting any proper locations.

My plan is to install two “blocks”, one on each side wall directly left and right of the talent wearing the lavaliere mic. Each block contains 16 1’x1′ foam squares, making a 4’x4′ block.

Then, I want to take the extra sound foam and put them in the corner areas where it’s most likely sound is bouncing back.

If I can just hit the primary locations with the materials I have to work with, I really think it will do some damage.

One more question: Should I make the pattern into a large square on the wall, or turn the entire block making a diamond on the walls? Does it matter?

Thank you for your advice!

Ian

[Ian Smith]

Thank you for the response. Yes, I have everything working properly now. Here is a run down of my steps.

Create the project at 1280×720 (a 16:9 dimension)
Export it at the project settings (same as above)
Compress the file to an Mpeg4 (best 90 minute setting)
Import into DVDStudio Pro with project settings of 16:9 letterbox, SD disk settings etc.
Burn

My dvd looks perfect on a widescreen display, and on a 4:3 television (with letterbox effect).

Somehow, I was making this way harder than it is which I’ve been known to do from time to time when in a rush.

Thanks,
Ian

[Ian Smith]

Noah, and Peter,

Thank you both a million. The problem has been diagnosed. I do want to write all this out for anyone in the future to also have this problem.

Peter, in your words… “The moment you go ‘off pixel’ or as you say go from 100% to 99% then the video will go slightly soft as you are asking FCP to work out new pixels. ” is exactly what conclusion I have come to find out.

The footage I have been using is of people at more of a Full Shot, when the final piece I am needing is more of a Medium Shot to even Close Up.

When taking two separate video segments of the same interview, 1st segment shot at a little larger than typical Medium Shot (current footage being Belly Button and Up), and the 2nd segment being a true Close Up… when in Motion I can’t decrease the 1st segment at all before (as Peter mentioned) loosing all clarity because Motion is trying to make up pixels. However, I can decrease the 2nd segment down to 21% of it’s original size while still looking as crisp and clear as it was filmed.

The entire thing boils down to… FRAME AND FILM EXACTLY WHAT YOU WANT TO END UP USING.

I do have an additional question leading from this.

I am able to take the same video (1st segment filmed from Belly Button Up) in QuickTime, and shrink it and maintain the image clarity. Why isn’t it just as simple to do in Motion or Final Cut?

Thank you all for your help!

Ian