[Erik Pontius]

I just had this same problem. We recieved a logo animation spot from an ad agency in 10bit uncompressed MOV. Importing into the AVID or AE resulted in white video. Attempting to play it with QT gave a message about needing codecs. Having seen similiar problems with MOV using the AVID codec, I knew we were dealing with a codec problem. Problem was we didn’t know what codec.
I dusted off a MAC G4 with FinalCut Pro installed. QT on this system played it just beautifully and the movie info showed it was using a Final Cut codec. I exported this directly out of QT pro using the Animation codec and we were able to import it to the AVID and AE as well as play it in QT on the PC.

Erik

[Erik Pontius]

I’ve seen (heard?) similiar problems when using certain MP3s. I converted the MP3 to wave using an audio program and that fixed it.

Erik

[Erik Pontius]

Couple of things…your probably not doing anything wrong. I’d double-check your video just to make sure it’s broadcast safe with nothing (or not much) above 100 ire on a waveform monitor. Projectors work off of reflected light from a screen. Often the office projectors found in conference rooms are blasting out tons of light and hitting a “high gain” screen, meaning that a lot of light is reflected back (causing your problem). This is to combat the high ambient light in the room…people want to be able to give presentations with the house lights on (for note takers, flip charts, etc…) and still be able to see the screen with the slides. Most of thes projectors are designed for text and powerpoint graphics and not video. All that being said, if you have any control over the venue and the projector before the event you might want to try to tweak the environment (turn the lights down) and spend a little time going through the projector settings to calibrate it to where it looks good. Some even have presets for video (ie. cinema mode), rather than presentations.
Professional IMAG projectors and screens you’ll find in the big venues and such will probably be calibrated better.

Erik

[Erik Pontius]

You might get some tips in Aharon’s “old TV screen” tutorial. If I recall he does an expression to mimic the tv scan retrace flicker…perhaps it could be modified to get the effect you’re looking for…
https://forums.creativecow.net/cgi-bin/page_wrapper.cgi?forumid=2&page=https://www.creativecow.net/articles/rabinowitz_aharon/old_tv/index.html

erik

[Erik Pontius]

You might get some tips in Aharon’s “old TV screen” tutorial. If I recall he does an expression to mimic the tv scan retrace flicker…perhaps it could be modified to get the effect you’re looking for…
https://forums.creativecow.net/cgi-bin/page_wrapper.cgi?forumid=2&page=https://www.creativecow.net/articles/rabinowitz_aharon/old_tv/index.html

erik

[Erik Pontius]

[DanDan] “AE7 (from what I understand) doesn’t not support dual processor setups, so if you’re trying to save some $$ skip the dual core for now, mut make sure your mother board would support one for future expansion.”

You might still want to look at multi-core/multi-processor setups. GridIron’s Nucleo is specifically designed to speed up AE by using multi-cpu/multi-core. https://www.gridironsoftware.com/

Erik

[Erik Pontius]

[Colin Braley] “When asked about payment, he replied that if the show makes it to the air, he will be able to pay me a substantial amount, however, if the show does not make it, I won’t get any money but I’ll have “something great for my reel.””

This is a pretty common “deferred” payment technique. In most cases you will probably not see any money out of it.
#1 get it in writing. Many a client has suddenly come down with a lapse of amnesia as soon as they get a check in their hands (often not for the millions they thought it would be).
#2 Don’t spend more then you’ve already budgeted for. Don’t run out and buy a new computer and software for the job, thinking that you’ll get it all back once the show “gets picked up”.
#3 paid work takes priority. Your client needs to know this. Passing up paid sure-fire gigs for deferred pay work with the “hope” that you’re going to get paid is not wise. You need to be able to pay your bills and eat.
#4 Keep the right mindset, better to think of it as free work…if you happen to get some money out of it, then it’s a bonus.

There are advantages to doing free work, especially when you are first starting out.
#1 You get real work experience. Often you can learn quite a bit about the industry.
#2 more for a reel. Having real material for your reel gives it credibility. Ordinarily, people willing to pay for work, will want someone with experience and a reel to prove it.
#3 contacts. This guy might be a smuck, but you might meet a dozen other people that also have contacts. A good portion of good paying gigs are the result of who you know. People are more likely to work with (or refer) people they have worked with in the past…good networking lands good gigs.

Erik

[Erik Pontius]

You might also experiment with slowing down the horizontal movement as well. Fast horizontal movement can sometimes create that “tearing” stuttering motion that you’re seeing.

[Erik Pontius]

Thanks for the info. It’s all OMFI, no MXF. This is fibre channel disk array. I’ll try to dump off some projects to tape before hand since backing up several hundred gigs would be a pain. We were originally using a ~700GB virtual disk broken out of the array. We created about a TB’s worth of 200GB drives after reading that AVID sometimes has problems (performance, corruption, etc…) with volumes over 200GB. So it’s just a matter of figuring out how to get them cleanly from one drive to another.

Erik

[Erik Pontius]

if they are stills you might experiment with adding a 1 pixel motion blur in the vertical with photoshop.