1. EXR and Render

​The 5th session of 'Houdini isn't Scary' was a helpful youtube tutorial for my first Houdini render effort (Nine-Between 2020), but the subsequent transfer of files into Premier was problematic.  As summarized in the 2 PS edited PNG images below, -after a 'cut and paste' transfer of the 50 exr files from the Houdini render, the associated video assembly in Premier involves a timeline of 50 frames that were each five seconds long, 

Video Comparisons

The Houdini Interface 'real time animation' in the top video below (video screen capture) is to be compared to the problematic '50 five second frames' imported to Premier as shown in 2nd video below.  The ball does change position, in accord with the 50 frames, but each frame is 5 sec long!  That is, the Premier video output ratchets along very slowly, decompressing a 1-2 second video into a video over 4min long (i.e. 50 frames, each 5 seconds long).
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Image Sequence Uni-Clip Creation

As per a tutorial by Dansky (2018), the Premier import process does actually offer a means of bypassing the above issue.  Specifically, the several frame import process needs to occur such that the frames are unified into one clip.     This is implemented by means of the standard menu bar drop down option (File > Import), and then selecting the 'Options' tab at the bottom L of the Import window, and as highlighted in blue below, only the first image of the image sequence.  Finally, the 'Image Sequence' option also needs to be selected (note the black 'mouse triangle' below). 

The resulting Premier Interface video, in the 2nd frame below, now shows the correct time-flow for the simple ball fade-away animation (which was being used entirely as a 'first test' for the Houdini render process).   The mechanistic detail of primary salience is apparent upon identification of the single frames timeline (as per the 'Importing EXR files into Premiere' PNG above) versus the 'note single continuous clip' video below.    
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2. Round Two of the Opening for the EBS Video #2

My first effort with generating an alien-radio wave for the 'transmission' of the incoming Papez cover page was reasonable, but clearly needed something more.  As below, my first modification was quite simple, I merely overlaid an AV synchronized waveform referencing computer code for human emotion onto the sine wave backdrop.  This was done with anticipation of the AV synch that appears later in the original opening.

In addition, I reviewed a few displacement mapping video tutorials for After Effects (Hodgetts 2004, Banks 2020) and was able to generate a more complete revision for the clip, i.e. the revision conveys more of an elaborately detailed image, perhaps implying technologically significant reconfiguration or technical processing of the incoming radio wave signal (or perhaps merely a 'cool' noise effect!).   This revision though, may require yet another round of effort, perhaps additional thin, tiny sine waves overlaid onto this large sine wave backdrop.  The tiny waves could include with fragments of the text of greatest relevance from the opening paragraph, e.g. emotion, hypothalamus, hippocampus, cingulate gyrus, and their interconnections.

Bibliography

Dansky (2018). Image Sequence in Premiere Pro, 2 minute tutorial.  www.youtube.com/watch?v=LJFsndPKvFQ

Hodgetts P, and Creativecow.net (2004). Displacement Mapping in After Effects.  https://library.creativecow.net/articles/hodgetts_philip/displacement.php

Banks L (2020). Mobox: Understanding how Displacement Works in After Effects.
https://lesterbanks.com/2020/02/understanding-how-displacement-works-in-after-effects/
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Nine-Between (2020). Houdini Isn't Scary, Part 5: Rendering.  https://www.youtube.com/watch?v=a6rR1iOZ0tQ

sideFX Houdini Redner (version 18.5), https://www.sidefx.com/docs/houdini/render/render.html