![]() ![]() How are you doing the DCP creation, BTW? Are you doing it yourself or having someone do it for you?įinally, are yellow subtitles the norm for cinema in your territory? In general, using something out of the ordinary makes subtitles stand out in a way that they usually shouldn't. You can specify the font and color in the XML, and you'll have to supply the font file. Annotation Edit can do this conversion as well, or you could try out The technically more elegant way to do this is to convert the SRT to an XML that is embedded in the DCP when it is created. I haven't really used iFFmpeg myself (I prefer the command line version), but it seems quite solid.Ģ. They have have a tutorial video on how to burn in subtitles. However, for just a bit of money you can get If you haven't used FFmpeg before it might be a bit daunting. You'll have to convert the SRT to ASS first (which FFmpeg can do) and edit the ASS to get the font and color (and any other setting) that you want. The free way to do burn-in is to use FFmpeg. mov containing the subtitles, which can then be imported int FCPX. It will convert your SRT to PNGs + FCPXML, or a. For full control of subtitle appearance you can burn in the subtitles before converting to DCP. Have you made a recent switch in your editing software? Let us know about it in the comments below.1. MediaStorm offers several online and in-person training opportunities at /train. Readers who purchase our current Final Cut Pro and Aperture workflow automatically receive the Premiere workflow when it is released. To learn more about our production style, you can purchase a copy of our Post-production Workflow. Also, follow our producers’ twitter feed for Premiere shortcuts. To learn more about how our producers are using Adobe Premiere Pro see our other blog posts on the topic. If narrative is more than 15 frames from the end or beginning of a cut, set subtitle to start 10 frames before the start or end of narrative, then place 8 frame fade on subtitle. Subtitle Stylesĭrop Shadow – Standard effect, change opacity to 90% Fades It’s obviously more expedient to avoid this extra step. Here too, we wish Adobe would change this behavior so that XML functioned as it does in Final Cut Pro 7, reading the content of the subtitle, not the name of the title file – the opposite of how it works now. That’s because XML in Premiere Pro reads the name of the title, not its contents. If the contents of the subtitle is “I went home” the name of the subtitle instance must also be “I went home” the names must match identically. If you plan to use XML with your subtitles for any reason, say to copy from one computer to another, the following steps are crucial:Įach time you paste a phrase from your transcript into a subtitle, you must also rename the subtitle instance with the exact same phrase. ![]() We use XML to generate titles in our player. To create a new title, simply click the New Title Based on Current Style button at the top right of the Title tool.Īt MediaStorm we no longer use burned-in timecode. Use the Horizontal Center tool to align the title in the middle of the screen.ĭrag the title from Project window to your Timeline. Next, click the Selection tool (arrow icon) and move the title so that it rests on top of the title-safe line. ( Tim McLaughlin will follow up this post with a more detailed look at the functionality of the Title Tool.) If you plan to use drop shadow, and you should, add it here as well. Use 38pt Arial, then type a short phrase. When the title tool opens, press T for the Type Tool, then click inside the rectangle. ![]() The title size will default to your current sequence size. In the New Title window, name the title temp. In the Project window create a new bin (Command – /). It’s a cumbersome process and one that we wish Adobe would change. The only way around this is to create a new title instance for every subtitle. You can drag and drop the file and change the appearance of your subtitles on the platform. So, if you splice a title in the timeline then change its content, you will also change the content of the first title as well. Now you just need to import it into Final Cut Pro as shown below. In Premiere Pro each title is a distinct instance. In FCP, one could slice a title that’s already in the timeline, open it in the Viewer window, then change the contents so that you now had two distinct titles. There’s a critical difference between the title tool in Final Cut Pro and Adobe Premiere Pro. Today’s post was written by MediaStorm producer Eric Maierson. To read more about why we made the switch, check out this post. This article is part of a new series of posts with tips and tricks from our producers’ experience working with Adobe Premiere Pro after years of working in Final Cut Pro. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |