[Simon Ubsdell]

Navigate to your Applications folder and you will find the Waves Plug-Ins folder there inside “Waves”

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

Have you looked at this plug-in from Sugar FX?

https://www.youtube.com/watch?v=OGMfocnOP40

I haven’t used it myself but it should do what you’re looking for.

Simon Ubsdell
tokyo productions
hawaiki

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[Simon Ubsdell]

As I mentioned to you before, I use Title Exchange Pro for this and it works very well.

I use this template to enter the subtitles and timecodes and then use the psTitles utility from the Title Exchange Pro bundle to import it when complete:

11048_subtitletemplate.txt.zip

psTitles automatically launches Photoshop and creates all the subtitles at editable TIFFs and also creates an XML (and an EDL) that you can then bring into Premiere. All the subtitles will automatically relink to the imported sequence, which you can then copy and paste onto your master timeline.

You can open any of the subs into Photoshop directly from Premiere if you need to edit them.

Hope that helps.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Dave LaRonde] “Some additional info:”

These are all good points.

But underexposure is the single biggest issue facing most green screen shoots that I have seen – and I have seen a lot. Adequate exposure of the backing would counteract any other issues in a situation like this. It can’t be stressed enough how important this is.

And yet there are hordes of DPs lining up to tell you the wrong thing about exposure.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

There is a general consensus among DPs that you should expose the green screen somewhere between a stop and half a stop below the foreground.

This is really, really unhelpful and in my view flat out wrong.

I don’t know if this is the advice you have been following but your green screen is very seriously underexposed and is giving you problems as a result.

Because your green screen value is so low there is minimal differential between the green value and the other channels (specifically the red) and it is the differential which creates the key.

You should aim to at least expose the green screen to around 50 IRE. Your backing reads about 30 IRE (very approximately).

It does not make any sense to underexpose the backing, except where it is giving you excessive spill problems, but most modern keyers can handle spill pretty well.

There is a lot of misinformation about exposing green screens.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Greg Ball] “1. What is the largest size video clip that can be put on the screen without distorting the video? We are looking at 2 to 3 different images (still graphic and/or streaming video clip) on the display at a time
2. Can you shoot film specifically for this size screen (see specs above)?
3. Can you convert existing video files to fit this size screen? What methods / how would this be accomplished?”

1920×357 is the same width as a normal 1080 frame but only about a quarter of the height, so it’s not very high resolution.

If you are planning on one video in the frame it would need to be 1920 pixels wide to avoid quality loss. If you want to put three videos side by side, they would only need to be 640 pixels wide to avoid quality loss.

You can’t shoot specifically in this aspect ratio, but you can tape up your monitor to see what you are going to get when you crop it to this size.

If you want to use existing video, which is typically 16:9 thee days, then you will need to lose roughly three quarters of the height, which you will do by cropping the image. If you place it within a Motion project that is set to 1920×357 as recommended above, then all you need to do is make sure that it fills the frame left and eight and then adjust the vertical position to you get the segment of the image you want to see. If you are using older 4:3 video you will be losing even more of the height of the original image.

In short, you are talking about stretching, when you need to be thinking about cropping.

Does that make sense?

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

If you want to output 1920×357 from Motion, simply go to the Project settings and enter these values there.

PPI is not something that applies to video FWIW.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Tony West] “There’s hardly anybody in the fusion forum though”

Apart from me and I think two or three others. I do try to reply to most questions whenever I have the time.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Andrew Kimery] “Do you mean the edit was locked in Premiere and then moved onto finishing in Resolve/Fusion or that initially Premiere was used for the edit but subsequently dropped in favor of using Resolve for all the editing?”

We moved the edit over to Resolve half-way through the process because we needed to be working on the look in conjunction with finalising the edit itself, something I should have made clear. As I’m sure you know, clients these days expect to see “finished” work from the very beginning – very different from the old days when you could fob them off with “it’s just an offline, we’ll fix all that later”. So this from point of view, being able to edit in an environment that is also the finishing environment becomes pretty important, hence the attraction of Resolve for this particular job.

[Andrew Kimery] “I haven’t used Fusion, but on paper it looks like MC Symphony and Fusion could be comparable to Resolve and Fusion. Is the MC/Fusion connection not as robust/useful as the Resolve/Fusion connection?”

I haven’t used Fusion with Media Composer/Symphony either but my understanding is that there is no difference in terms of the functionality, so yes, from that point of view Symphony could have been a route. Having said that, although I know a lot of users think Symphony’s color correction is great, I’m not one of them, and I don’t think anyone could claim it’s really in the same league as Resolve … or perhaps they would? So again for my money it would be the overall Resolve/Fusion ecosystem that would still win out here.

Simon Ubsdell
tokyo productions
hawaiki

[Simon Ubsdell]

[Oliver Peters] “Ironically Apple had an inkling of this with Color”

And let’s not forget that Legacy FCP had a very useful “Send to Shake” option which took us into very similar territory to Fusion Connect …

Ah, the things that might have been.

Simon Ubsdell
tokyo productions
hawaiki