Larry Asbell
Forum Replies Created
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Actual Chyron brand character generators never looked as primative as your example. The CG I remember with characters like that was a Knox. Actually it looked worse because it didn’t have the black surround edge. The post house I worked for used it as a titler around 1981 and after that it was only used for supering reel numbers on burn-in dubs.
There are many ways to approach your task, but one way would be to use a functioning character from that era. Knox is still in business here in Maryland near Washington, DC. Maybe there is an old-timer there, or they know of one, who keeps a collection of their early devices and you could borrow or rent one.
If you did that you would probably have to output your video as composite and send it through the CG because it likely only works as self-keyer. But the smearing you get by going composite will help achieve your look. Recording it thru a couple of generations of 3/4″ is a must too.
Excuse me if I’m making your task overly complicated but it sounds like you are up for doing it authentically. 😉
Best of luck.
– Larry Asbell
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Premiere’s own Motion tab can’t rotate on the X axis. Basic 3-D does that(Tilt), but doesn’t have any Anchor Point control.
You can download the free plugin Andy’s Better 3D. Apply the effect on the object that you want to hinge at the bottom. Set Target Anchor Point to the value equal to the pixel height of your sequence, i.e. 1080, 720 or 480. Animate Target X axis Rotation from 0 to about -108. This is the effect you are looking for but I am surprised that it’s not easy to also shrink or reposition the object. I was only able to do that by nesting the above effect and applying another instance of Andy’s Better 3D on the nest and using that to reposition or shrink.
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The first file is an example of bokeh, but I think that’s Tyler’s “before” example. The second file has the effect he’s asking about, which I would say is directional blur plus glow, with the threshold set high and perhaps a mask is confining it to the upper area of the frame. Maybe the editor had raw, wide dynamic range camera files so when the effect was applied, the lights in the background we’re hotter than the other light areas. After the blur/glow effects, the contrast that we see was put back in.
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Once again, being behind the technological curve is going to get you a great piece of gear for peanuts.
The AJA Kona 3 was for years the top card from the top maker. Here it is with a the “Buy it Now” price” of 10% of it’s original MSRP. It was replaced by the Kona 3G which added nothing that you need.
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As Jan Janowsky refered to, you need one of these to do it correctly. These converters once cost several thousand dollars each. The contain very advanced electronics but of course now there is no use for them and as you see they sell for next to nothing. Almost no use — you need one. Get one while you can.
https://www.ebay.com/itm/BTS-Parallel-Digital-Video-to-SDI-/290926577692?pt=LH_DefaultDomain_0&hash=item43bc93481c
(looks like it doesn’t include power supply)https://www.ebay.com/itm/BTS-Parallel-Digital-Video-to-SDI-/290926575319?pt=LH_DefaultDomain_0&hash=item43bc933ed7
(also no mention of power supply)https://www.ebay.com/itm/AJA-VIDEO-C10PS-SMPTE-259M-Parallel-to-Serial-Converter-/321075693607?pt=LH_DefaultDomain_0&hash=item4ac19a4827
(does include power supply, get this one if you can)And of course as mentioned, you also will need a Mac Pro (or PC Tower) and a PCIe capture card with an SDI input (AJA, BMD, Matrox, etc.). Almost anyone, including me, could see you one of these.
Good Luck.
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[Alex Rod] “3) ah…I am still a little confused. When I get an audio clip where the left channel as NAT sound and the right channel the lavalier sound, I’d like to be able to separate it them to delete the NAT channel. Also, when I have clip with two channels, I’d like to be able to adjust the audio of both simultaneously.”
Just right click on your stereo clip in the timeline and select Audio Channels. Then under Source Channel where you see the words Right and Left, change the Right one to Left to hear only the channel 1 mic. Then change both source channels to Right to hear the Ch 2 mic. Leave it on the one you want. Since you’ll do this regularly, assign a shortcut (such as Control-A on a Mac) to the Modify Audio Channels command.
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If I may add:
3 – It’s recommended, rather than stereo tracks use Standard tracks (the default) They work as stereo or mono. Best to convert your Stereo Track to Dual Mono before you cut them in if you want to mix the tracks separately.
5 – I didn’t find it at first either but there is a Small Caps check box on the Title Properties panel on the right. Then there’s a slider to adjust the size of the small caps. At 100% it turns lower case text into All Caps.
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Shane –
Like Avid and Adobe, Final Cut X does do the proper 3:2 pulldown that FCP Legacy never did.
An earlier thread:
https://forums.creativecow.net/thread/344/38
(note: contains a number of erroneous responses before the conclusion)
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Or, with PrPro CC, a video card that handles OpenCL.
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There’s also a Loop button that may be what you are looking for.