Ending Credits

[Scotty Fox]

Hey All,

Two quick questions regarding ending credits. I've tried none of these yet so anybody who has let me know what you think. All credits are going to be really simple (white over black).

Question 1:

1. After getting final color graded output from colorist - bringing back into Premiere to add final fades, transitions, final mix and credits. Including rolling credits at end.

2. Same as above, but completing credits in AE (not sure if it runs any smoother coming out of that instead of Premiere) then importing into Premiere for final export.

3. Building all credit sequences in AE, exporting as Quicktime Prores files, and bringing into Davinci Resolve (what film is being graded in). Then exporting final video from there with sound included.

Only problem is I won't necessarily be able to change credit sequence if I go through Resolve since I don't personally own that program.

Question 2:

Anything I should keep in mind while making credits? Except for keeping them within the title safe? Final output is going to be 2K Scope. Not sure if anything could go wrong in terms of screening for a theater (via DCP) vs a 1080p copy for DVD. Would credits be set up the same in sequence - again just keeping in mind the title safe?

Thanks everyone.

 

[wheatgrinder]

if your using creative cloud, the same text tools found in AE are not available in PPRO.. so ppro should be fine.

I'v treated credits as separate video projects. Fade or cut to black on the movie, then roll credits. Using the right tools you can mux the movie and video into the same file without re rendering either.

 

[Will Vincent]

Resolve Lite is free

DaVinci Resolve Lite includes all the same high quality processing of the full DaVinci Resolve. However it limits projects to UHD resolutions or less, a single processing GPU and a single RED Rocket card. Stereoscopic 3D features, noise reduction, Power Mastering, remote grading, and sharing projects using an external database server are features only offered in the full DaVinci Resolve and so are not included in this free DaVinci Resolve Lite edition.

You can download it here.

Yes, ideally you should output from resolve as the last step, not bringing it back into premiere, premiere doesn't handle the higher color space that resolve can, so while you may not lose quality, you also might, why add extra steps that might degrade the image?

 

[Scotty Fox]

Thanks for the replies, little late on my end responding.

But I'm actually struggling with getting the ending credits to roll smoothly.

I keep getting sparkly, strobing or other weird effects on them.

I've looked this up, dropped whites to 80%, tried different expressions from people, even added a motion blur. That all seems to help, but there's still a flicker to it that I can't seem to get rid of. It's driving me nuts. Anybody know of how to tackle this and totally eliminate it? Or are you always stuck with some type of flicker?

For reference:

Doing credits in AE
Final resolution is 2K Scope 2048x858
Frame rate: 23.976

Thanks.

 

[trueindie]

Yes, I would do No.3. Do credits in AE, cut it into your film, and then send locked file for color correction.

If you're getting a flicker, and it does happen sometimes in AE, and sometimes, try as I might, I can't figure out the reason, it might not be a bad idea to redo the credits completely from the start. It's just text, and all you're doing is adding two points on your timeline to make it move from one point to the next. Just redo it.

You may want to create the text separately on a text file just so you can copy and paste for future corrections. It may make things simpler.
Cheers.

 

[AudioPostExpert]

Not sure if anything could go wrong in terms of screening for a theater (via DCP) vs a 1080p copy for DVD.
Final resolution is 2K Scope 2048x858
Frame rate: 23.976

Couple of things stick out:
1. Obviously DVD does not support 1080p and
2. You have listed film resolution (2k) but video speed (23.976fps), it's never a good idea to mix and match this way on a DCP. Depending on the actual screening cinema you might be OK though, provided their cinema server supports SMPTE spec DCPs and of course that your DCP is SMPTE compliant. BTW, you'll need at least a 3.0 audio mix but preferably a 5.1 mix. Again, the cinema server at the screening theatre might play a DCP with just a stereo mix but that wouldn't technically be a SMPTE compliant DCP, as stereo is not a theatrical audio format. You'll need to check with the festival if they can handle SMPTE DCPs and also ask about stereo if that's all you've got.

G

 

[Scotty Fox]

Yes for the DCP transfer they're going to convert the 23.98 to 24fps. And I do have a 5.1.

But I'll have to check with them regarding having my scrolling titles set up for 23.98 and if that conversion will destroy that.

Ended up doing it in AE, did the expression as mentioned, and it seems okay. So hopefully it stays that way!