[Jeff Brown]

I use an AJA card with Premiere [Win7-64 pro, SuperMicro i7 mobo, CalDigit HD Pro] and it works; things improved with the last release of drivers. However: I use AfterEffects much more than Premiere, so others will have to call out the quirks they’ve found in editing.

BTW, my video out card history reads like this:
DPS “PAR”->DPS Velocity-> Bluefish444 -> BM DecklinkSD -> AJA Xena(Kona).
From my ‘scopes, the only companies that seemed to make a proper, stable, correct video signal were DPS and AJA.

Hope it helps,
Jeff

[Jeff Brown]

Have you tried importing the image seq. to the project first, then doing a select-clip and ALT-drag to replace?

-Jeff

[Jeff Brown]

I had some stuttering on my system as well. Hard to know why, though.

I’d recommend always rendering File Sequences out of AE. I’ve repeated reasons why in a couple posts here this year (so you can probably find them).

-Jeff

[Jeff Brown]

Can you give us a few more details on the encoding process? (What did you use to encode, streaming vs. progressive, etc.) And: you are using a linked FLV file, not a FLV embedded in a SWF, correct?

One suggestion: Encode an MPEG-4 file. For the onscreen size, try around 1200 Kbps (kilo-bits per second). When it is done, rename it to a *.f4v file, and see how that works.

-Jeff

[Jeff Brown]

You might also look at the “Rave” or “Canvas” platform from spectsoft.com. It is now open-source (free!). You still need a hefty system with an AJA card, but I believe both incorporate playlist support. The Spectsoft systems are built around Linux.

-Jeff

[Jeff Brown]

You need to start with the mission of the magazine: “To help see beyond the blindfold.” What does that mean to them? What does that mean to you?

That’s your starting point. Not that it will be easy: the concept is the hard part.

Probably not what you want to hear, but it’s your project, not ours…

-Jeff

[Jeff Brown]

If the speed of the scroll is constant, you may find more pleasing (and faster) results by just adding a vertical directional blur to the text. 24 FPS is overrated… I think the only reason to use it is if you are actually doing a film-out.

-Jeff

[Jeff Brown]

Hi Victor: now we have good detail! (thanks).
I would export as a PNG-codec Quicktime (set to 100% quality) at the native frame rate and resolution. You will have to wait for encoding on the PC, and then re-encoding on the Mac of course, but you will have to with just about anything: the Apple ProRes codec on Windows is not available to use for exporting/writing, only for importing/reading.

If space is a premium, you can use JPG in QuickTime. A quality of “95” will have minimal impact, but the levels seem to shift a tiny bit. Less so with PNG.
Maybe try a small clip first with JPG, PNG, and Animation flavors of QuickTime to compare?

And congratulations for thinking about your “pipeline” before it’s too late!

-Jeff

[Jeff Brown]

…and if they want a DVD, then the final delivery is MPEG2 video to DVD specs. Blu-ray? M4V to Blu-ray specs. Maybe they want an uncompressed Quicktime for archiving and later re-compression, in which case I’d do PNG-compressed QuickTime (lossless, and typically smaller than “Animation”). Broadcast? There are several different “broadcast-specific” codecs (some are variations of MPEG-4). Going into a film or FX workflow? DPX file sequences are common.

Since clients frequently don’t know what they actually want; i.e., “give us a QuickTime file” (see above, QTime can be any of those and more), I usually do a “pre-master” to a full-resolution PNG-QuickTime. I can then always (re)compress that to what they really want…

-Jeff

[Jeff Brown]

The images overall look rather flat. I’d start with a basic “curves” or “levels” adjustment before going to the more ‘exotic’ color correction options (sample done in Photoshop, but the correction would be the same in Premiere or AE):

-Jeff