[Neil Orman]

Thanks so much for the helpful reply Ivan! And for laying out the options so well. I agree. If you or others happen to know of any, I’d be grateful for links to examples of such crediting, in 9X16 videos, particularly ones with the on-screen option. Like you said, you have to be very careful of where/how you put such on-screen credit, which I feel like would be the simplest approach, especially since I won’t control what the social body text will say, and our social director may not like end-credits because they lengthen the video. But it is challenging to place on-screen credit text, given the weird narrow format. Thanks again!

[Neil Orman]

Just to close this loop, I was able to get the PDF file as a high res PNG file, which solved the issue and the text looks correct now. Thanks again Mads for your responses on this!

Neil

[Neil Orman]

Thanks Mads! I might be able to get that original, pre-PDF conversion, as I work at a sibling organization of the publication that authored this. I will try, and update the thread shortly. May I just ask, when you say the ‘original’, is there a specific type of file format I should request?

Thanks again and just let me know if anything else occurs, from you or others. I’ll update this thread soon.

Neil

[Neil Orman]

I had a follow-up on this topic, on getting exposure and color right on 2-camera shoots with a Canon 5D Mark IV and Canon C70. I know that Riccardo’s helpful feedback here related to when one’s using the standard picture profile (Rec. 709) on the 5D, since clog isn’t available on that camera. My question was whether it would be better to try to use a flatter, less saturated and contrast-y picture profile on the 5D (rather than its standard picture profile), using its existing picture profile settings, or even try to download Magic Lantern, which I believe makes clog available on the 5D?

Thanks, Neil

[Neil Orman]

I really appreciate those insights, Mads and Mark! It’s really good to know all those nuances borne of your experiences. I’m working on getting connected to our AV vendor as we speak, with my colleagues on the ground at the event, and will work on getting all that info. (I work at a large nonprofit, where internal communication amongst departments is definitely one of our weak points. But in future years, I will work on getting this video-specs dialogue going much earlier. 😀)

Great points, thanks again!

Neil

[Neil Orman]

Wonderful to know, thanks so much Rob.

[Neil Orman]

Thanks for another helpful reply, Mark! I was just telling Rob that this an award video driven by multimedia I get from the awardees, which is mainly still photos with a few video clips here and there from Youtube videos of them, downloaded from links they suggest. So none of it is footage I shot, in this case, and I’ve just used a standard 1080p sequence (not wanting to go any bigger, because the multimedia they send isn’t always super hires) at 30 fps. So for my PPro sequence anyway (and the AFX comps within it), I’m stuck with those specs for this year. But I produce this every year and will consider your points on a more film-like look going forward. And I’ll definitely consult with out AV company (although we’re really the ‘client’ on this one) about picking a container that neither long GOP nor lossy. Thanks again!

[Neil Orman]

Thanks Rob! You raise a good point too about how the footage was captured. In this case, it’s an award video driven by the multimedia I get from the awardees, mainly still photos with a few video clips here and there from Youtube videos of them, downloaded from links they suggest. So none of it is footage I shot, in this case, and I’ve just used a standard 1080p sequence (not wanting to go any bigger, because the multimedia they send isn’t always super hires) at 30 fps.

[Neil Orman]

So helpful, thanks Liz! That’s great to know you really benefitted from a School of Motion course, and especially that you were able to juggle an intensive class with a family (similar juggling act here)!

Thanks again,

Neil

[Neil Orman]

Thank you Rob! This is really helpful. I’m waiting to be connected to our AV vendor, and will make sure to ask these good questions. I’m hoping they’re on an Apple platform like you said and I can just choose ProRes, like you said, but it’s great to know your preference for H.265 if they’re not. On the ProRes point, do you have any preference among the different ProRes flavors. I read somewhere that ProRes 4444 is the least compressed of the different options, if that even matters with the enhanced quality ProRes already offers. Thanks again.