Colored bars in clip after apply a little motion

I get these colored bars in my clip after applying some motion effects (kern). Rendering does not solve. Any idea?
Here is a screenshot:
http://kttns.org/nkzgy

I had a very similar problem a while back, but I never found a solution. I think it was somehow linked to using an external USB drive (which is definitely a bad idea!).
Are you using an external drive to store your media? If so, what type and how is it formatted?

Similar Messages

Setting for colored bar under clips used repetedly

Is there a setting that places a colored bar underneath clips that are used repetedly, but not in the same order? I know this setting exists in FCPro, but cannot seem to find it in FCE.

If you mean Labels then no, this is not an
FCE feature.
Al

Effect applied color bar on clips

In Premiere Pro CC there is an "FX" box instead. Which is fine, but is there a way to make this appear before the clip name so that way I can always see it? Or turn the effect applied color bar back on? It was helpful when applying effects to a bunch of clips to know which ones still didn't have an effect.
Hope there is a solution.

You cannot change the way the clip name and fx box appear or turn the box on/off.
When applying an effect to a clip the fx box turns purple just like it did with the color bar.
If you like to see it different.
http://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

Changing duration after applying motion properties?

I have a series of still images that I applied scaling and motion to and I now want to change their duration so I right-click, choose Speed/Duration and change the timecode for the duration to make the still image take less time on screen. After doing this the scaling and motion no longer work. Is there a way to change still image duration after applying scaling and motion to them?
Thanks.

Looking for some answers (Oh I realise this thread is 1 year old!) about clips duration I bumped into this one. I wonder if part of the above problem had something to do with pictures coming from different cameras - I seemed to notice that with the same preference choice some clips seem to interpret the duration differently? Probably when the aspect ratio is different from one camera to another, or if one has changed his or her aspect ratio on that camera in a shooting session.
I do remember that to change the duration default via preference it has to be done before importing photos in the project windows or has someone pointed out, re import them after changing the default.,
I also thought after changing the duration of clips that had key frame for various functions, the new duration may have excluded those key frames because the shortening had truncated the part where the end key frames were, thus making them void.
(I'm a little surprised to be in this thread as I had written in the "question" field "still images duration" and was in another thread with 5 entries, the last one from Anne Benz with a shot of a time line, also from Oct 2012! But some how when I tried to add to it, I could not and found for unknown reason I was not signed on! But now I come back signed on with the same question I'm in the different thread?)
Perhaps the following may be interesting and helpful for some. Changing duration of still in the time line can be quite useful when one needs to match the Video sequence with its added Audio. As you have a display of stills with transitions, animation etc. and you add some music to it. If they don't quite finish at the desire point. (usually with the end of the music, song). You can fine tune it (like within a few seconds) by shortening or lengthening the clip, clips duration. And if it's ok with what you have you can select the whole (video) time line and after deciding how much is the difference between your portion of music and your clips apply that time. Sometimes using only a few clips is enough other times the whole of it works better. I find it's ok only for a few seconds though as there are a couple of problem with this, The key frames may need to be readjusted and or even be out of action (as explained earlier) In that case it's probably better to have the video clips on a sequence of their own then add the music on a new sequence and match them this way on the same time line.
PS: Titles and anything relying in proper timing placement above this video display timeline needs to be checked, perhaps included or adjusted with clip or clips duration change.
I really was looking at ways of creating a sequence with a variety of animations that I could re used for other project with the "Copy" then "Paste Attributes" in the hope it would be quicker than going back to the "Contor Effect" function all the time. I remember using (MS Movie Maker) and it had a few icons for this purpose that one would apply for a clip. It was rigid but quite effective. This way even if I needed to adjust the key frames, they would already be in place. (I already use this technic with similar pics, I copy one animation I like and "paste attributes to a bunch of pics, sometimes reverse the key frames, "copy" then select alternate pics from the previous selection and paste the new attributes to them... May be not everyone's taste!
So if I could import such a sequence in my Projects and place it on Video 2 with each pic. labelled with its appropriate animation and obviously key-framed accordingly. (I would have created a photo folder and renamed each of its photos with one of the desired labels, ie Pan down, Pan left, Zoom in, Rotate %, etc) - But I thought I hit a snag with the duration....
I have actually gave this a quick try and it seems to have some value. I just found out that it's worthwhile to get the shortest but meaningful labeling for this "templates" in order to identify them easily in their smallest view (time line zoomed out) ie Pan Left = PL, PR, PU, Zi, Zo etc.

Offline/Missing Image Sequences in After Effects CS6 with Color Bars

I am working on a stop motion animation in After Effects CS6. Each clip has been imported as an image sequence from stills on my hard drive. When I open up After Effects, all image sequences now have color bars over them, as if they are offline. Trying to reload them does nothing. I cannot 'link media' because it isn't just one file; it's an image sequence so there are many of them.
I first noticed this when the color bars appeared in my dynamically linked comps inside of Premiere Pro. Everything played smoothly the first time I opened the project in Premiere CS6, after originating in CS5.5. Then the second time I opened up Premiere, the color bars appeared on the linked comps. I hadn't yet opened up my AE project in CS6 yet, so when I did, AE converted the project and I resaved it.
Any help related to this issue would be greatly appreciated.
Mid-2009 Macbook Pro
Mac OS X Mountain Lion
8GB RAM
Adobe Creative Suite Production Premium CS6 w/Creative Cloud

Thanks everyone, I think I'm beginning to solve this.
Rick, thanks for your advice. I tried this and it worked. The reason I didn't do this before is that, because it is stop motion, I couldn't remember how many frames I had imported for each sequence. For instance, if I shot 54 images and only imported 52 into the sequence, I wouldn't remember which 52 images to import...this might still be causing a problem, but I don't know yet. I think in most cases I imported all the images in a folder, so the image sequences should be fine.
I am having another problem, however. Even though the issue seems to be fixed in AE, it doesn't seem to be fixed in Premiere...each image sequence is dynamically linked from AE, but each dynamically linked comp is still being show with color bars as they did in AE...I think that maybe my Premiere project is still linking to the old CS5.5 AE project, and not the new one opened and saved in CS6...

Red color clips after export to H.264

Dear friends,
I am very new to try use Color. I sent seq. from FCP to Color, changed some clips use Color FX, and than back to FCP.
After export seq. from FCP to H.264 for web, some of the clips appeared red.
Thanks for any answer.
Libor

Do you mean red render bars or the clips are actually Red? With Color you should avoid H.264 until after any rendering. ProRes or Uncompressed are the best codecs to bounce between Color and FCP.
-Noah
Creator of Call Box training series for FCP and Color.

Poor clip quality after applying slow motion or stabilization

I am making a movie. Every clip that I change to slow motion, or stabilize (or add both to), becomes blurry. I finalized it & put it on dvd to see if it still blurry on the tv, and it is. Anyone know how to fix these clips so I can get the original clip quality with the slow motion/stablilization?
Thank you in advance

I am using PPro CC 7.2.1 on Mac OS X 10.8.5. I'm working in software only renderer. Just by applying a Three-Way Color Corrector or a Video Limiter (just applied, without any modifications... didn't test other filters), the photo quality is degraded. The result is the same after exporting or rendering the sequence. Tested in DVCPRO-HD and ProRes interlaced sequences, same result.
Here is a photo without any filter applied to it (on the left) and with a video limiter (right) :
On another editing station with CUDA enabled, the problem isn't there. But not all our station are CUDA enabled, so I wish I could fix the problem.

After applying full scroll bar to the page including header and footer, Text editor ribbon actions cause page to automatically scroll down (while applying formatting)

After applying full scroll bar to the page including header and footer, I have provided content to
the page more than 100 lines and try to format the text from ribbon actions(format text area). On mouse over of font or fore color, the control jumps to the highlighted content area and not able to select the color. The page scrolls down and not able to click
on any action.
Consider this scenario also.
A content editor web part is added toward the bottom of the page.
Text is added to this (direct in the web part, not via a 'content link')
You highlight some text and go to the Markup Style dropdown...
Everything is fine until you hover over the "Paragraph" markup style, and suddenly the page scrolls to the web part you are editing, and you didn't have a chance
to click and apply the "Paragraph" formatting
I have tried testing this with text typed directly into the Content Editor, text pasted in from somewhere else, and text pasted in from somewhere else using "Paste as
Plaintext" option in the ribbon. In each scenario, I get the same results.
Furthermore, I have also tested this in both IE8 and IE9 and get the same results.
I can get it to occur most regularly with trying to apply the Paragraph "Markup Style" but
I've also seen this happen with Font Size (any font size). It's very frustrating since you aren't able to actually apply the formatting you need because the page jumps before you can click. Has anyone experienced this before. Any feedback would
help.

Hi,
According to your post, my understanding is that after applying full scroll bar to the page including header and footer, Text editor ribbon actions cause page to automatically scroll down (while applying formatting).
I try to apply full scroll bar to the page including header and footer, the ribbon is missing after I scroll down to the web part. And I cannot apply the "Paragraph" markup style to the content.
I recommend to use the SharePoint core styles to preserve the native functionality and GUI.
By design in SharePoint, the ribbon is always at the top. When you select the content, you can apply the "Paragraph" markup style in the ribbon.
Thanks,
Linda Li
Forum Support
Please remember to mark the replies as answers if they help and unmark them if they provide no help. If you have feedback for TechNet Subscriber Support, contact
[email protected]
Linda Li
TechNet Community Support

Banding/Color Breaks in Gradients in CS4 After Applying Printer Profiles?S

Still pretty much new to working in Photoshop CS4 and this occurred during creating a painting with a graphics tablet rather than working on photos. I'd obtained profiles to the printers/papers at a Giclee printer's shop and had applied them to this particular painting in CS4 when a gradient I had well established within the work going from approximately fire engine red to it's blued down shadow tone developed a tannish yellow break area between the bright red and the shadow tone immediately upon application of the profile. I went ahead working on the piece figuring I probably had to pretty much redo all the coloration to a more intense level being that the application of the profile immediately dulled the picture waaaaay down presumably being that it's going on matte paper and it was during this stage that I discovered a good deal of banding of out-of-place colors throughout the overall color bar in the color selection side window (not sure of the correct term) and there were irregular, soft edged, swatches of out-of-place tones within the square gradient window. Is this normal under these circumstances?.....Does one just work around this presuming it has to do with limitations of the printer/paper whose profiles have been applied or has something gone awry? Thanks...

GTX56 wrote:
I'm wondering if I may have mistook some advice received here some time back that may have assumed I was working with photo images to be printed....Am I understanding correctly that, doing digital artwork from scratch in CS4 as opposed to modifying camera generated images, I should be working in CMYK rather than RGB?
In most cases, when dealing with photography, it’s much better to work in RGB. The conversion to CMYK should occur at the final output stage, whether it’s from InDesign, Illustrator, or Photoshop. That way if you are dealing with a faulty CMYK profile, you (hopefully) have the option of obtaining a better profile later on and simply re-outputting. Just make sure you soft proof in the correct CMYK space on a calibrated profiled display.
To do this using Proof Setup, make sure the rendering and black comp match what you will actually use for the final conversion. Then in the display options check “Simulate Paper Color”. If you have a good CMYK profile and an accurate display, this produces the best soft proof – it honors the file conversion that has not occured yet, then uses an Absolute Colorimetric intent to properly render paper white and black ink lab values (which are built into the CMYK profile). Absolute Colorimetric should not normally be used for file conversions but it should be used for proof conversions, and a display is a behind-the-scenes proof conversion.
This could possible affect the banding you see.
If you have elements that need to be precise CMYK numbers (good example as mentioned, 100 K text) it’s best to set up these things in another application such as InDesign. Then it’s a matter of placing the Photoshop RGB in the document, creating the black text in the document, and converting the RGB to CMYK when you export a PDF from InDesign.
Even if all you have is Photoshop, you can save a Photoshop PDF and retain editing capabilities. In this instance you can convert to CMYK in the PDF dialog. The PDF output portion of the file will be CMYK, and the native portion remains RGB. It can be a very confusing workflow without much room for error but it can work.
You can also wrap up all RGB content as a Smart Object, and convert the parent file to CMYK. There are rare instances where this is warranted, and you retain the source RGB. Also a dangerous workflow, but it’s an option nonetheless.
As mentioned 16 bit is best for source RGB, but it can slow things down a bit. If you choose to work in 8 bit, double check the gradient tool to make sure dither is on. And likewise if you have a need to convert to CMYK in Photoshop, make sure dither is enabled. (I don’t believe dither is an option with 16 bit).

Color Bars Out of alignment after QT Export

I am currently running Final Cut Pro 6.0.3.
Recently I outputted a few files to send to a post house so that they could export a project to tape for me because I dont have an HDCAM deck.
My sequence settings were:
1920x1080 HDTV 1080i (16:9) Compressor: TGA
I found these settings under my easy setups titled as:"Blackmagic HDTV 1080i 59.94 - 10 Bit RGB 4:4:4"
I exported a few options for them just in case they couldn't take one or the other.
The outputs I made were:
Q.T:
"HD Uncompressed 10-bit 1080i60"
and
Targa Image sequence through my Quicktime Conversion Output.
When I checked the colors on the q.t's color bars vs's the targa's they were completley different. The q.t's were messed up.
If anyone has any suggestions as to where I could have went wrong that would be a great help!
Thanks,
Jesse

(P.S. I did change the Settings of the FCP from 720p60 to 720p30 about half way through the project, but that shouldn't affect the export.)
About the time you changed FCP Easy Setup from 720p60 to 720p30 DURING Export?
As you stated on this post:
http://discussions.apple.com/thread.jspa?threadID=2384569&tstart=0
I wouldn't think that's the best time to make a major change.

Color bars question in Premiere

See the difference in color bars. The one in the program window at right is quite a bit brighter than than the source view. When I double click the "bars and tones" clip in the project panel, the image opens up in the source view on the left. When I place the same file on the timelime it appears lighter in the program view at right. No effects applied. Why is there such a difference and which should I calibrate with?

I actually have a Matrox MX02 Mini which has a calibrator, but I find it unreliable. When I calibtrate its color bars, the video looks way too bright - not even close.
I am still curious about the two different outputs in Premiere. This is a clip after I placed it on the timeline. Source view on the left is quite a bit darker than the program view.

Random Flashing Color Bars within Quicktime Files during RAM Preview Only

I have been getting random color bar flashes within quicktime files in AE CC during RAM previews using Multi Processor rendering. Files other than .mov seem to not have this issue (although I have seen it twice...though it may be due to quicktimes in the comp). The rendered output using MP rendering is completely fine. If I turn off MP rendering the ram preview is fine. The source material is coming off a RAID 5 at 600-800MBs, I have moved the footage to a local SSD and a standard spindle drive with the same results. I have tried everything.....disabling GPUS in preview, disabling Fast Adaptive Preview, Disabling Disk Cache, Adjusting MP settings and RAM usage per core, disabling hardware accelleration of interface, adjusting gpu memory useage, every codec under the quicktime wrapper including uncompressed codecs, updating Blackmagic drivers, updating quicktime, limiting how many processors Windows 7 64bit can see, resetting AE preferences. I even installed After Effects clean on my second boot drive for gaming with no plugins or other apps, same issues. Have discussed this heavily with tech support at Adobe and they are working on it for a few days before getting back to me. When I got off the phone the tech was of the mind that I have too many cores for the Quicktime codec to handle.
My system :
Windows 7 64bit
Dual Xeon E5-2687W: 16 Physical cores and 32 cores with Hyperthreading
32GB 1866 DDR3
3xNvidia GTX 680 4GB cards
SSD boot and seperate SSD media cache drives
8TB internal SAS RAID 5 using a ATTO card
Blackmagic Deckline Extreme 3D+ card
Any help or thoughts would be greatly appreciated as this is a huge boon to my workflow. Having purchased a $12K system for grading and rendering....not being able to use the ram preview in AE with multiple cores is a huge inconvenience.

Here is the requested taskmanager screenshot. As my test comp only has a single duplicated quicktime in it, it renders too fast to really catch the AE instances doing anything. So this is from a heavier comp. Settings are as pictured above with 3GB per core using 8 total cores of the 32. It did flash the bars.
Here is what I tried tonight:
- Followed the link on Quicktime having trouble with too many processors. Using MSCONFIG I dropped the recognized Processors to 21, 16, and 8 and tested all three settings. Each had the flashing bars issue. Again as usual, at random, sometimes 3 previews before showing up, sometimes the first preview run. I have noticed that the ram previews that take a little longer seem to be clean. Then sometimes it seems to fly through the preview, grabbing large chunks on the green progres bar above the timeline, or many little chunks very quickly....these are usually the preview runs that will show the flashing bars. I make a point of purging the cach between each one so it doesn't remember, plus I have disk media cache off, but sometimes I get the feeling it's remembering bits.
- I removed all the Quicktime Components from the QTComponents folder and tested it. Flashed the very first run without any quicktime components.
- Followed the Firewall or TCP instructions and made sure everything was allowed through ZoneAlarm. However I could not find the QT32 Server listed anywhere or figure out how to add it. No matter because I closed and force quit all of the firewall processes as well to make sure. Still flashed.
- I followed all the advice on the landing page for Quicktime-related problems
- I also tested out ram previews again thourougly with the same clip but converted to a Tiff sequence. No matter what I tried there was never any flashing in the ram preview with tiffs.
- I also re-tested the clean render output. Made a ram preview with the flashing bars, then without purging rendered it out to a quicktime file and there were no bars at all in the rendered output. I even tried duplicating this render output 6 times in the render queue and rendered them all at once. Not a single one had a flashing bar frame. I even played all 6 1080P uncompressed 4.2.2 YUV 10bit pieces off the RAID with no dropped frames or hichups.
- Killed every process in the taskmanager but for essential windows processes and the flashing bars were still present
- Set the priority to Real-time for every AE process including Adobe QT32 Server, Dynamiclinkmanager, and all the AE processes. Still flashed.
I am now considering disabling two of my GPUs in the device manager. However I'm a bit worried about disabling the wrong one and being locked out. Any thoughts? Is the computer to powerful for some process somewhere? Why only in RAM preview? Thanks again.

Flashing Color Bars - major frustration

I'm a recent convert from Final Cut Express to Final Cut Pro. I've got a brand new setup using my 15" Powerbook, a Miglia Director's Cut SCART to convert my Firewire to analog video for use with an external video monitor. I'm currently working in PAL with a PAL monitor.
I just created my first project in FCP; it's set up as DV PAL and I've imported just one PAL DV clip into the timeline.
My problem: about every 57 seconds I get about a one second flash of colorbars on my external monitor. This is driving me bonkers. It doesn't matter if FCP is playing back the clip, or simply sitting idle.
I've discovered if I start another app and FCP is no longer the active app, these same bars come on the external monitor all the time. When FCP again becomes the active app, my external monitor again correctly shows video...but with that once a minute color bar flash.
These bars also don't look like what I'm familiar with in the past. They consist of a single row...there's no second or third row of patches. The first column is half-width and white, followed by the colors and last column is half-width black.
This flashing is driving me nuts. Does anyone have any idea what's going on here?...and how to stop this?
Thanks
Doug
1.67 GHz 15" Powerbook Mac OS X (10.4.5) 2 GB RAM

Andy, your response is well thought out. Shortly after my last post, I discovered for myself these bars are indeed being output by the Miglia box. When I shut down the computer for the evening, only the Miglia box and monitor remained on...and you guessed it...I still had bars on the screen. So the bars themselves are coming from the Miglia box.
Also, as you deduced, this apparently occurs when the box receives no input. The next logical deduction is that Firewire communication is being interfered with. I was suspicious of that myself. At the moment, I have no anti-virus software installed. Furthermore, I was certain to have all programs shut down and used Activity Monitor to insure any unnecessary processes were shut down as well. (The only thing running was Snaps Pro, which I shut down; everything else appeared to be system stuff.)
I've used two different cables and two different Firewire inputs. One configuration had the Miglia box on its own bus with nothing else connected. None of this made any difference.
So at this point, I'm getting suspicious about the Miglia box itself. I'll give them a call today and see what they have to say.
Thanks,
Doug
1.67 GHz 15" Powerbook Mac OS X (10.4.5) 2 GB RAM

I get a "shimmer" on some photos after applying & rendering Ken Burns

In a slideshow I'm attempting to make in iMovie, I'm getting a "shimmering" effect after applying the Ken Burns effect to photos I've imported from iPhoto. The shimmer appears most noticeable in shots of scenary, where there is a lot of detail like tree leaves or grass. (In addition, as many others also have noted and complained about, the resolution, and even the color, in iMovie is really a disappointment. This is especially distressing because the original digital photos I took are incredibly crisp and clear, with beautiful color, and the slideshows I made in iPhoto and played on my iMac are gorgeous!). The Ken Burns' "shimmer" & poor resolution in iMovie and burning slideshows onto a DVD seem hardly worth all the time & effort. This is a real shortcoming in the Apple software it seems to me. Apple needs to fix it in future updates to the Tiger operating system or in the forthcoming Leopard.

MagneticMike,
what you see is usually referred to as a 'Moire' pattern that is caused by high-contrast in your source material. This means that exactly the 'incredibly crisp and clear' advantage of your photo is ruining your clip. In photographs, moire problems are usually overcome by slightly softening (e.g gauss blurring) the offending areas before the final render pass. This you can apply to your source image as well, and then import it into iMovie.
Interestingly, a different approach is possible with moving media. Since moire patterns are artificial noise introduced into your clip, people have found that our 'noise filter (combine)' plug-in can get rid of this. Perhaps you can download the plug-in and try if it helps with your problem.
(please try this link: http://imovieplugins.com/plugs/noisefiltercombi.html )
Hope this helps
-ch
Please Note:
I work for cf/x, and may profit from posting here.

Report painter report does not exist after applying support pack

Hi,
I have created report with the help of report painter for FI.
Also created transaction code for the same.
After applying the support pack, while testing I got the error that
program in the transaction code does not exists.
How to search that program and where or I need to create the same program again?
Thanx in advance.
-Umesh

The reason could be having (1) invalid characteristics value or (2) have not properly defined the General Data Section, most likely (1) in this case.
Either way, go to t-code GRR2 to change the report.
In the report row or column, is there an Element (the labels in red color) that does not make sense?
It could still have the correct label names, but double-click and go into "Record Types (from your error message)". Be sure to have the correctly define values attached to each Characteristics.
If all above seems okay, try (From top bar, select) Edit --> General Data Section. Think of this section as the "header data" of the report.
Good luck
AY

Colored bars in clip after apply a little motion

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