FCP Sequence Setting?

I am creating multiple projects using the DVCPro HD 720p30 Easy Setup. All my projects will either be in HD on Apple Displays or for SD, so the p30 is what I want, correct? Anyway, in my Sequence Settings, I use the Frame Size: 960x720, HD (960x720)(16:9) from the drop down menu. Then under Pixel Aspect Ratio: HD (960x720). My editing timebase is 23.98 (30), but under that is the Quicktime Video Settings. What codec should I select for Compressor? DVCPro HD 720p30 doesn't show up, only p50 or p60 are there. I've been using p60. Does this matter? It will still be downsampled to 30 fps anyway, correct?
Other question is, should my Compressor setting under the Quicktime Video Settings be set to DVCPro HD 720p60 or something else, like none or 10-bit uncompressed? How critical is this setting? I haven't come across this in my readings yet. All my 960x720 projects have come out looking fine on my Keynote slides at 1280x720. And whats up with the weird sizes, 960x720 vs. 1280x720?

Matt Campbell1 wrote:
...should my Compressor setting under the Quicktime Video Settings be set to DVCPro HD 720p60 or something else, like none or 10-bit uncompressed? How critical is this setting? I haven't come across this in my readings yet.
This is a good question. I always finish a DVCPro project by exporting a self-contained movie "Using current settings". However, in my Sequence Settings, I have the pop-up menu in
Sequence->Settings...->QuickTime Video Settings->Compressor
set to DV/DVCPro - NTSC.
Would my self-contained movie be better quality if my Compressor pop-up were set to DVCPro HD 720p60?
And whats up with the weird sizes, 960x720 vs. 1280x720?
The camera chip doesn't have 1280 pixels across, so it records in anamorphic 960. FCP expands it to 1280 on the fly. That's why imported Photoshop files must have been created in 1280.

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What sequence setting would you use to edit 1280 x1080 DVCProHD (P2) and 1920 x 1080 AVCHD (Sony) in FCP. Experiencing Quality and rendering issues.

What sequence setting would you use to edit both 1280 x1080 DVCProHD (P2) and 1920 x 1080 AVCHD (Sony) in a single timeline in FCP. I'm experiencing quality and rendering issues. I've tried numerous settings but can't seem to figure this one out. Thanks for your assistance.

Although you can combine the avchd 1920x1080 material with prores 1920x1080 in the same timeline, you might land up saving time just converting everything to 1920x1080 prores 422. You'd probably reduce the amount of rendering while you're working and exporting when you're done by a great deal. This workflow will require much more drive space.

FCP: What is the best quality sequence setting for HD Video with JPEGs?

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If I am editing digital still images that are 3696x2464, in order to make them into a HD video in FCP what is the best sequence setting?
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please advise!

Hello,
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I am about to start a new project for a client using photographs only. I have two questions:
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First, decde how you are going to deliver this production to your client. Then tell us what that delivery medium will be. Then we'll have some advice for you.
See the section in the FCP manual on using still images. You need to understand that in video there are only pixels, no dots per inch or lines per inch. Those terms are meaningless in video. You wil sand at a size in raw pixels that is only slightly larger than your delivery format.
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I would like to know what the best sequence setting is for my FCP project.
In my project I mostly use digital still images, shot with a digital camera. I import images into FCP and directly drag them onto a sequence.
JPEG file dimensions 3488x2616
For making stop motion animation, the duration of each frame is extremely short, usually 00:00:00;03.
If the project is 60 seconds, it usually ends up with about 550 or more still images on a sequence.
What should be the appropriate sequence setting for it?
Frame Size: currently set for NTSC DV (3:2)
Pixel Aspect Ratio: currently set for NTSC-CCIR601/DV (720x480)
Quicktime Video Settings/Compressor: currently set for DV/DVCPRO-NTSC
in the Advanced field/Frame per Second: currently set for 29.97
Are these settings need to be made before editing the project or could setting changes still be applied to a finished project?
Any advice would be appreciated!!
Message was edited by: ykyk

Hi Tom,
I export QT movie and make it into a DVD using DVD studio pro.
I was trying to learn about the ProRes the other day but there are many kinds and could not figure out what the best one is for me.
Which prores preset could I use? and could I still change it even the project is done editing?
Many thanks!

FCP sequence settings when shooting 24p, 2:3:3:2 at 16x9?

I'm attempting to edit my first feature project on FCP after having shot footage on a canon xl2 at 24p, 2:3:3:2 and using the 16:9 frame size.
Can't find specifics about the proper FCP settings anywhere in the manual for editing footage shot this way. So I'm wondering-- since the captured footage shows up in the browser as 720x480, should the sequence setting be dialed in the same? Also should I be editing in the timeline with sequence settings at NTSC DV (3:2)and the anamorphic 16:9 box checked?
Oh... and one more thing-- how much memory would you guys recommend be allocated to the fcp application (i'm guessing less than 100%)and how much to the thumbnails?
I've got my notions on all this but am a little nervous about going forward without some reassurance. Appreciate any help you can offer on these questions.
mac g5 Mac OS X (10.3.5) 3.5 gig ram

I'm attempting to edit my first feature project on FCP after having shot footage on a canon xl2 at 24p, 2:3:3:2 and using the 16:9 frame size.
Can't find specifics about the proper FCP settings anywhere in the manual for editing footage shot this way.
You're best off creating a new, custom Easy Setup to meet your needs...
Press Option-Command-Q to launch the Audio/Video Settings dialog
Select the Sequence Presets tab, then...
Click DV-NTSC 48 kHz - 23.98 and press Duplicate
In the Sequence Preset Editor, check the Anamorphic 16:9 box
Rename this Sequence Preset to DV-NTSC 48 kHz - 23.98 Anamorphic and click OK
Back in the Sequence Settings tab, place a checkmark next to your newly created sequence preset to select it as your current preset
Select the Capture Presets tab, and repeat the previous sub-steps for DV-NTSC 48 kHz Advanced Pulldown Removal
(that is, duplicate, adjust for Anamorphic, rename, then select as your preset)
Select the Summary tab and confirm that you've got the correct presets for all selections - outside of what you've adjusted already, Device Control as well as Video Playback should be set to FireWire NTSC - then click the Create Easy Setup button
Enter a name and description, then click OK
After you've saved your preset, click OK to exit Audio/Video Settings
You've now got your system up and running correctly so that you can digitize and edit.
If, for any reason, you screw up your settings, you've now got an Easy Setup that you can simply access at anytime, simple press Control-Q and select it from the options. Or if you're a menubar person, that's Final Cut Pro > Easy Setup.
Oh... and one more thing-- how much memory would you guys recommend be allocated to the fcp application (i'm guessing less than 100%)and how much to the thumbnails?
Personally, I leave mine at 100% - never had a problem with it. However, many here advise dialing it down to 70% or so (if I can remember correctly - hopefully someone else will chime in if I'm wrong).
The default thumbnail value is fine as well, in my experience.

.MTS transfer headache, and sequence setting suggestion needed

Hello forum users...
I am trying to edit a sequence with scenes captured on a variety of recording devices (SONY AVCHD, GoPro, and ScreenFlow screen capture)...It's a headache enough to try and get them all to match up for size and compression. I bought emicsoft's conversion software and converted the original .MTS files from a folder on my desktop into .MOV files. FCP could read them (although I sometimes get a red bar on the timeline when I bring them in...), but when reviewing the original .MTS compared to the new .MOV I noticed a drop in quality.
I researched on the forums and saw how people were suggesting to convert the .MTS through the "Log and Transfer" feature... I tried this and was given this message: "00009.MTS" has invalid directory structure. Please choose a folder whose directory structure matches the supported media.
...so i researched further, and saw I needed to drop the file into Final Cut Pro>Capture scratch folder, which I have done, but when I try to bring the file into the Log and Transfer window I still get an error message, or if I try and just drag and drop, the icon for the original .MTS is grayed out.
...I kinda have steam coming out of my ears about now, so any suggestions would be extremely grateful...
P.S. while I have your attention, any suggestions on what "sequence setting" I need to choose if I am using these converted .MTS files in addition with other files that are mpeg4 (1440x1080) and DVNTSC (1920x1080)???????
THANKS!THANKS!THANKS!!!!
-O
Message was edited by: ufoliver2

I converted to a .MOV file (mpeg4) because I thought that was the best option I had using emicsoft's conversion software...you practically need a machete to get through all the options. Unfortunately Quicktime prores isn't on the list...
I got the MPEG Stream clip file, but when I open the .mts files I get a message: "unrecognized file type", so I got the Clipwrap program trial, and it looks like I can just convert .mts to prores 422 from there..
Which I did, and imported into FCP. Opened and played beautifully...it asked if I wanted to set the sequence to match the clip, I said yes. But then I brought in my .mov files (captured from SCREENFLOW, and also shot on the GoPro camera -at a different frame size), and imported them into the time line... the screenflow one became really small and went to the upper left corner and the rest of the canvas screen was some pink and green posterized version of the clip, and then when i brought in the gopro it couldn't play ("unrendered").
the screenflow.mov wouldn't open in Clipwrap, so I went into streamclip to convert to 422, and converted the gopro .mov also to 422.
I went back and imported all 3 different file types... the MTS converted to 422 played beautifully, the screenflow converted to 422 played beautifully, the gopro converted to 422 came up UNRENDERED in the timeline with a red bar across...
...now the gopro shoots at a different frame size..its not full letterbox, it come up more like a square..1280x960
I AM SO CLOSE...75% there... I THANK YOU ALL FOR YOUR HELP!
BUT, last issue to solve (for the time being...;) ...how can i get the 1280x960 clip to show up rendered?? I ran it thru streamclip and converted to 422, so that isn't the issue...
THANKS!THANKS
-O

Please explain the relationship between sequence setting and output

I am looking for an explanation of the sequence setting and the output settings (Mac Quad core, 10.7.4 - CS6 Production Premium, PR) I am primarily working in AVC-I 100 and XDCam. I've found that I can drop in AVC-I into a Seq and it will set the Seq to that codec. Many times I'll need to send the in-progress and final edits to my clients as an WMV (HD) video file. In FCP, I would export the self contained seq and use Episode to transcode to wmv. I'm having trouble understanding the best way to do this in PR (CS6). I've found that if I leave the Seq setting to the AVC-I, the render and the file output is a 50% quality mpeg-I. Is it best to set up a custom sequence w/ ProRes as the render codec? I'm having a hard time finding or getting an explanation of best practices for this type of operation. Any guidance would be appreciated.
Thanks,
jim

Remember I said you could force Pr to use your rendered preview files instead of the source media for export? Selecting Match Sequence Settings in the Export Media dialog is how you force it. Don't do that. And don't shoot the messenger -- I've lobbied against that label for that control for 2 versions now.
Some Export formats, like H.264 Blu-ray and MPEG2-DVD, have an available Preset called "Match Source Attributes". If you choose that Preset, you get something like this:
For details on setting up a sequence, see the Help files:
http://help.adobe.com/en_US/premierepro/cs/using/WS3E67AF4C-B2A2-4f04-90B4-F8CCFB74B144.ht ml#WSd79b3ca3b623cac941d41a681247d1f35a4-7fff
Jeff

What Sequence Setting for 4:3 Aspect Ratio?

Just moved up from FCE to FCS2. Do commercials for small market cable and broadcast in SD 4:3 in FCE. Now in FCP I see a sequence setting for Frame Size Aspect Ratio NTSC DV that shows 3:2 aspect. Not really clear on what this is and after pouring through the manuals and searching this forum, still don't get it.
In the end, I want normal SD 4:3 TV commercials. In FCE, it was a simple NTSC setting. Does my sequence in FCP need to be 4:3 or 3:2? Need a little education on this and can't find any explanation anywhere.
Thanks for the help.

What format is your source? I would never export out of FCP in that manner to achieve a frame rate conversion.
There are a couple of ways to change your footage from 23.98 to 29.97. The easiest I feel, is to select all the clips in your 23.98 sequence using CMD+A. Then copy (CMD+C),create a new 29.97 sequence and paste (CMD+V) those clips into your new sequence. Render and export a Quicktime Movie, Self-Contained.
However, I'm curious if you're shooting in HD based on your 23.98 frame rate. If you are, then you should be using a better SD sequence than DV which is 4:1:1 color sub-sampling. You may be throwing away half of your color information by working in that format.
Andy
Andy:
Using your method of copy/paste to a new 29.98 sequence solved the problem. Thanks.
What I had done to try out the new features in FCP vs. FCE was to create a 23.98 timeline (since I am shooting in SD 24pa with a DVX100A), add a Motion Master Template, add a few jpg's to the drop zones, add 3 NTSC-formatted jpg's to the end for the logos, add a Soundtrack music bed.
For future commercials, will likely be shooting 24pa footage, so wanted to figure out working in a 23.98 sequence. Just had not understood how to get it back to 29.98 for the cable company and broadcast stations. Your advice (copy to new sequence) makes it simple. Hopefully based on this info, I am still on the right track to accomplish my goal. I want to get the 24p look for some clients, but deliver the finished spots via upload to the stations' servers in a QT MOV.
If you have any other advice that would improve things, ready, willing and able to listen. Been Mac-ing since Mac Plus days, but new to FCP. Made the switch from Express with the access to 24p shooting. Thanks.
Message was edited by: Neil Whittey

Audio falls out of sync with FCP sequence after export from STP

Hey all,
editing sound on a short film. sent FCP sequence to sweeten the dialog and add effects, according to the timeline it is the same length as sequence length in
FCP, but when exporting from STP to FCP to complete movie, the sound ends up being about 10 frames longer than the video and starts in sync and falls out of sync over the duration of the film.
Have tried changing preference settings in STP, exported about 5 ways to breakfast and all have same result.
Anyone have a solution to this problem?
Much thanks,
Holly

I just experienced this same thing, and as Christof says, it had to do with 'Easy Setup' and 'all formats'. I've been editing a picture shot on RED in Apple ProRes 422 (HQ) at 2K (2048 x 1152) and 24fps...FCS 3 (FCP 7 latest version). Whenever you trash preferences or start up FCP new, you get the 'easy setup' menu. Previously, I could just hit 'okay' and go ahead into FCP and change the settings/resolutions within the project...even if the 'easy setup' default was, say, DV/NTSC 29.97. Also, when opening up an active project after trashing prefs, the project itself would still have the same editing/playback settings/resolutions, even if the 'easy setup' window had its default DV/NTSC setting. Plus, if you create a new timeline and its default is one format, once you drop a different format into it, it asks you if it should adjust to that format anyway, and of course, you say yes and everything is fine.
Well....in this most recent FCP update, whenever I'd export an AIFF from the timeline and reimport....or if I'd just import an AIFF...it would do something to the playback rate of that newly imported/reimported sound file and suddenly its sync has drifted all over the place within just a minute or so. But strangely, it wouldn't do it to audio that's attached to picture (.mov/MP4/etc.)....only isolated audio files (AIFF/WAV). So naturally, I wondered if something was going on during the export process or the like.
The solution is to make sure that when you open FCP (newly, or after trashing prefs), make sure you pick the settings/format/framerate in that 'Easy Setup' window that matches what you intend to edit as closely as possible. In my case, the format is Apple ProRes 422 (HQ), 2048 x 1152 @ 24fps, and I use a Blackmagic Multibridge so I have settings for it. Hence......*Format; HD, Frame Rate: 24, Use: Blackmagic HDTV 1080P 24 - 10 bit.* Whereas the default upon startup is....Format: (all formats), Frame Rate: 29.97, Use: DV/NTSC 48KHz.
You can also set these in the 'Audio Video Settings' menu. Now, whenever I export and reimport an AIFF, or just import an AIFF (like the soundmix prepared by our sound designer), sync stays and there's no drift. So make sure you've picked the right settings when starting or reopening a project, again as Christof pointed out.

FCP 6 setting for Panasonic HDC-SD9..Confusing

Hi,
1) Do the setting in Sequence Setting affected the Quality or Format of the Result when exporting the clip?
2) How s'ld i set in FCP for clips recorded from Panasonic HDC-SD9?
3) "Set the same setting and format to match the clip" is the Best way for FCP6 Setting?
4) How do you simplified the difference of HDV, Apple ProRes, Apple ProRes (HD) and AIC? which will be the one to fit my needs?
Thanks and Appreciate!!

help help..

Sequence Setting Effect

So I have a timespan that I shot in 108060i on my XH-A1.
I want to slowly zoom into the shot as the timespan takes place.
So basically I was just wondering how could I take my HDV108060i footage and import it into
a sequence setting @ HD720 so that I can zoom on the 108060i footage with out affecting the quality!
Does that make sense? Who knows this answer Holmes?

So I have a timespan that I shot in 108060i on my XH-A1.
So you mean time-lapse? http://en.wikipedia.org/wiki/Time-lapse
So basically I was just wondering how could I take my HDV108060i footage and import it into a sequence setting @ HD720 so that I can zoom on the 108060i footage with out affecting the quality!
So drop the the 1080 source into your 720 timeline and FCP will automatically scale down the footage to fit ... so now if you keyframe a change in scale back up to a maximum of 100% then it won't affect the quality!

16x9 footage is 4x3 in camvas window. Sequence set to animorphic????

Hello all.
I have searched the threads and can't find the specific answer to fix my issue.
Sequence set to animorphic. Footage shot in squeeze mode on DVX 100A. Digitized via Sony 900 calm shell as animorphic in FCP.
Problem:
When opening 16x9 footage file from bin, opens in canvas window as 4x3 (not 4x3 in 16x9 canvas window - viewer window remains in 16x9). When dropped into sequence, must change aspect ratio back to 0. Clip will not retain aspect setting and reverts back to 4x3 if taken off of timeline. Have to repete process each time. Clips do not need to be rendered.
Any help appreciated.
enzo
Dual Core 2.3 G5 PCIe Mac OS X (10.4.5)

so when you double click the clip in the browser they open into the viewer window which shows them in their correct aspect (16:9)
but when edited into a sequence it distorts to 4:3 (and the canvas window is 4:3 not 16:9)
this suggests that the sequence settings are actually not set as 16:9 anamorphic
can you recheck them... with the problem sequence open and active, press Cmd-Zero or choose Sequence menu > Settings...
in the settings window check to see if the Anamorphic (16:9) checkbox is checked
if it is please post the exact details of all settings in that sequnece window plus all the format details of one of th eproblem clips (select one in the browser and press Cmd-9)

SEQUENCE SETTING: Audio Bit Rate

Is there any way to get 24-bit audio in a sequence or project setting? We see no option to create a 24-bit project or 24-bit sequence in Premiere Pro CC.
We recently made the jump over from FCP 7 to Premiere Pro CC and we are hoping this is an ‘audio works differently in Premiere’ issue.
We have been editing ProRes (422HQ) as that is how our broadcast clients require final delivery. We edit with ProRes (HQ) files with 24-bit audio. We have also have attempted to create a sequence based on the clip settings. We figured everything is working as expected...we also get our final mix from our audio designer 24-bit.
However, when we are ready to deliver our mixed master, we go to 'Export Media', and attempt to send out our sequence via 'Match Sequence Settings', as we want the specs we set up. BUT, Premiere reveals to us the audio is 16-bit (even though 24-bit audio is in the timeline). Yes, if it’s unchecked we can create a custom 24-bit preset. But that's like dubbing a dub, losing resolution (to put audio in video terms), and bumping it back up. As if Premiere is currently converting our 24-bit audio to 16-bit in our sequence, thus forcing us to convert a lower quality audio (16-bit) from the timeline, back to 24-bit for the exported master?
This seems like it would be detrimental to the quality of our audio delivery and our standards. How can we use the original 24-bit audio file from our designer? Why does the Match Sequence Setting say our audio is 16-bit when it is not?
Can we adjust the audio settings in Premiere Pro CC project or sequences to reflect a 24-bit audio.
Thanks in advance!

Exactly..
So how do I ensure the 24-bit audio in my sequence is being used properly...the Match Sequence Setting (which I don't use) is saying my sequence is 16-bit, and that's deceiving if it's not...Why would Premiere 'think' that, especially when we have only 24-bit audio files in the timeline and project.
The MS Setting drop down menu is not giving me the trust of what is natively in my timeline, when it's displaying it's 16-bit. Therefore, it's not giving us the confidence Premiere is handling my audio correctly...How do I know Premiere is using my 24-bit audio during that manual export?...cause to me, Premiere's thinking it's 16-bit.
Is it downgrading the audio int the timeline? And am I bumping it back up when I do it manually? That's not good, and unacceptable for broadcast.
Hope that was understandable.
Thanks!

Error message: The preset used by one or more sequences in this project requires third-party components that could not be located. These sequences will be modified to use a custom sequence setting instead. To continue editing using the original preset, qu

Hello all,
I can't open a PP project without this error message appearing:
"The preset used by one or more sequences in this project requires third-party components that could not be located. These sequences will be modified to use a custom sequence setting instead. To continue editing using the original preset, quit the application without saving the project, reinstall any third-party components that are required and reopen the project".
What I had been doing before this occurred was editing a PP project using ProRes sequences and multi-camera editing. Multi-camera was not working very well and after a few attempts to fix that I gave up and finished the job cutting 3 layers of video instead. AME refused to render the three finished sequences of over 1hr duration so rendered final videos from the PP sequences.
I tried deleting plists for AME, PP and QT, repairing disc permissions and rebooting but there was no improvement.
Client is satisfied for now but will want to come back to this job at a later date so decided to uninstall and re-install AME and PP in the hope both would be ready to work properly when needed again. AME works fine in conjunction with a different PP project but now I can't open the PP project in question without the above error message appearing.
Having searched the net it would seem that the problem may be caused by ProRes but I haven't been able to find a definitive solution for the problem. Does anyone know either:
1. How to fix this?
2. If I chose the "modified using a custom sequence setting", can I be sure that my sequences will look the same even if they don't use ProRes? The final deliverable format will be mp4 so as long as the overall look doesn't change then I can afford a change in the edit codec. It's just that with three sequences over an hour long, I don't want days of work to be ruined.
Other older PP projects of mine open and work fine.
Premiere Pro CC 8.2.0
Media Encoder CC 8.2.0.54
OSX 10.10.2
Any help would be greatly appreciated.
Duncan.

Adobe web chat come up with a solution.
Open the PP project.
Export your sequence or project as a Final Cut Pro XML file.
Set up a new PP project.
Import the Final Cut Pro XML file.
This will get you back up an running.
Since getting back to editing this project I have found that some things will be lost or change in using XML:
You will lose position key framing, black video clips, dissolve fx, audio levels, audio dynamic fx, the ability to open a multi camera clip and change the camera view.
You will keep cut points, crop fx.
Not perfect but only took a couple of hours to save 3 days work.

FCP Sequence Setting?

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