HD clips and "shift fields"

Hi. I have a doubt on how to work with HD clips.
What I want to do is place a selection of a HD clip into a DVNTSC (easy setup) sequence. All my other clips are DV, 720 x 480 (640 x 480) at 29.97 fps. And what I noticed, is that as soon as I place the clip into the sequence, Final Cut, by default, puts a "shift fields" filter, set on +1 (the shift direction).
My clip format is: Apple XDCAM HD 1080i60 (35 Mb/s VBR), 1440 x 1080 (1888 x 1062), Millones. 16 Bits Entero (Little Endian), Estereo, 48.000 KHz. FPS: 29.97. Size: 1920 x 1080
I have no problems with the size of the clip or anything. Is just the doubt about that filter. Should I remove this filter?

so the shift fields filter should stay... ok. But other thing that I noticed, is that when I applied a tint filter to my clip, It would lost the effect on the last frame... why does that keep on happening?

Similar Messages

Why is the Video Filter "Shift Fields" Automatically being added to my clips?

In the timeline, I've been noticing that FCP is randomly adding the "Shift Field" video filter to about 75% of all my clips in the timeline.
Is this common?
JS

Rienk wrote:
I noticed that this Shift Field filter is going crazy if you copy footage from a sequence to another with different Field orders.
I don't think in my case FCP has ever wrongly applied the filter when I just was editing from the Viewer to the Canvas. Only when copying footage from sequence to sequence, I discoverd problems.
By the way. You can select all the 'faulty' clips and choose Conform to Sequence from the menu, and al should be right...
Rienk
Good points, all. Thanks for your contribution, Rienk.
"Conform to Sequence" is a function I have never used, did not know it even existed, thanks for that, too.
bogiesan

Strobe - shift fields issues; HDV to SD slowmo and mpeg-2 to DV25 conv?

1)Shift fileds FCP and PAL SD?
I have problem with shift fileds. I use mpeg-2 PAL
material converted to DV25 by using the free software
MPEG Streamclip 1.8. It is material from
www.thenewsmarket.com I put the converted clips on an
PAL SD timelie in FCP. This I mix with DV PAL material
filmed with a Canon XH-A1. FCP should fix the field
order but still I get strobe effect.
What shall I do?
2) Strobe problem downconverting HDV to SD slowmotion
clips?
When I downconvert HDV material to SD buy changing the
HDV timeline to a new SD timeline, what has been
edited with a slowmotion effect, the sd material in
slowmotion strobes like it has a field order problEm.
If I remove the clip and put the HDV material to the
sd timeline directly the same happends. What is it?
How do I solve it?
Studio 2 PAL and Canon XH-A1
3) Software that shift fields of mpeg-2 clips?
I have used MPEG Streamclip 1.8 to convert mpeg-2
clips to DV25 but it doesn´t work when I have mpeg-2
clip that has wrong fieldorder ( I want lower fleld
PAL)
Is there a software that shift fields of mpeg-2 clips
for MAC?
Kind regards

1)Shift fileds FCP and PAL SD?
I have problem with shift fileds. I use mpeg-2 PAL
material converted to DV25 by using the free software
MPEG Streamclip 1.8. It is material from
www.thenewsmarket.com I put the converted clips on an
PAL SD timelie in FCP. This I mix with DV PAL material
filmed with a Canon XH-A1. FCP should fix the field
order but still I get strobe effect.
What shall I do?
what you should do depends on the nature of the problem. a little knowledge can be a dangerous thing. are you certain that the issue you are looking at is one of incorrectly interpreted field order? if it is, then you can manually apply the Shift Field filter to correct for this.
2) Strobe problem downconverting HDV to SD slowmotion
clips?
When I downconvert HDV material to SD buy changing the
HDV timeline to a new SD timeline, what has been
edited with a slowmotion effect, the sd material in
slowmotion strobes like it has a field order problEm.
If I remove the clip and put the HDV material to the
sd timeline directly the same happends. What is it?
How do I solve it?
again, what you should do depends on the nature of the problem. indeed, HDV and DV do not have the same native field order, but are you sure that is th eproblem in this instance? how slow is this slow mo? how did you create the slow mo? it may be that the strobing effect is the natural result of the slow mo.
Studio 2 PAL and Canon XH-A1
3) Software that shift fields of mpeg-2 clips?
I have used MPEG Streamclip 1.8 to convert mpeg-2
clips to DV25 but it doesn´t work when I have mpeg-2
clip that has wrong fieldorder ( I want lower fleld
PAL)
Is there a software that shift fields of mpeg-2 clips
for MAC?
the orginal MPEG2 files already have the wrong field order? and you want software that can correct for that field order problem during the conversion process? try DVDxDV Pro or Cinematize (both commercial). alternatively there is JES Deinterlacer for after the fact correction.

Not able to use Shift field and Shift Grouping field while using OPK0

Hi,
I am using the SAP ECC 6.0 Enhancement Pack-4,
In Transaction 'OPK0' while confuguring the default value for shift in the *Default* Tab, i am getting the 'Shift - field:SHIFT_PROP('Proposal Shift for Single-Screen Entry') and Shift Grouping, in Display mode, i have also tried to configure it with SAP4all authorization, but still it was in Non editable mode.
Also i tried applying Note:1177952, but was not able to apply the same, as we are already using Enhancement pack-4.
let me know the solution to the above problem.
Best Regards
Vijay

Hi Vijay,
please follow the link given below and check whether the business function LOG_PP_SRN_CONF is activated or not?
http://help.sap.com/erp2005_ehp_03/helpdata/EN/e9/dc4715919d4245a9416c668b66133c/content.htm
Regards,Kundan

Adjusting clip length AND shift menu markers accordingly

The logical workflow is to first edit the clips and then to share the movie to a DVD. If corrections afterwards are necessary, any change to the length of a clip causes the clips afterward to shift. But the menu markers don't shift accordingly. All menu markers need to be re adjusted
Is there a way to adjust the length of a clip so that any menu marker later in the move will move by the same amount?
Regards,
Harro

Unfortunately not.

Filter Question 1: Shift Field - when to shift it?

And by "shift it", I'm really asking in what order to place it, relative to any other filters being applied. And is there a rule of thumb for this particular filter being first or last in the stack?
The Specific Issue:
I notice FCP applies the filter automatically when I add HD material to a standard def Timeline (see "Workflow" description below), where the extra material has a different "Field Dominance" than the main footage. This triggers a green render bar, which thankfully doesn't take long to process.
But I'm starting to see some odd behavior when I then add other filters to one of these clips whose Fields have been automatically Shifted by FCP.
Specifically, I've been testing MagicBullet's "Noise Reducer" filter on a few of these clips (ones where I've had to magnify the image more than it really wants to be), and once the absurdly long render finally finishes*, the playback of just these clips gets very wonky on my external monitor (with a flashing blue that eventually takes over the whole screen, but only for these clips -- and FinalCut's telling me there's nothing left to render).
* and this is the subject of a whole 'nother filters-related question I've posted in this same forum
Interestingly, when I drag the Shift Fields filter from its default top-of-the-stack position in the Viewer down to the bottom, so that it comes after the MB Noise Reducer -- and then wait for another huge render to finish -- now everything seems to play back fine.
Both filters (FCP's Shift Fields and MB's Noise Reducer) are configured in their default settings, and this apparent conflict with the Shift Fields filter appears to not occur in relation to any other filters I've also been testing (such as Sharpen and Deflicker).
So -- is this just one of these trial-and-error things, where you keep reordering the filters till they seem happy, or is there a reason why the automatically applied Shift Fields filter should always be last in the stack (even though intuitively it feels like something which should be applied first)?
Any insights appreciated.
Thanks,
John B.
Toronto
*Workflow Description*
(which might be of interest to other one-man-band, tight-budget videographers)
+I'm currently cutting a series of videos done for a local theatre company. My A-cam is a Sony MiniDV shooting 4:3, and my Timeline is the basic NTSC-DV easy setup. I generally also set up a B-cam at a different angle, which is locked off to get a static shot of the full performing area. This camera is a compact AVCHD unit, shooting at full 1920x1080. I put its material on a separate video track, and when I need to cut to it I use the Motion tab to frame the shot, resize it, and crop in as desired. Sometimes I'll even keyframe a pan and/or slight zoom to give the effect of a human cameraperson following the action live. Since both cameras are recording continuously, I only have to sync up the two tracks once -- and the end product gives a reasonably convincing impression of a two-person shoot.+

Clearly I need to check in with the Jolly Red Giant himself, since I'm wondering if he's the one I should be pointing my finger at with regard to a bizarre issue I'm encountering: trying to export a previously harmless sequence which now contains clips with two Red Giant / Magic Bullet filters -- all fully rendered, but the Export time is expanding faster than a Supernova.
Thread is called "Renders Gone Wild", if you have any advice on what I should do.
Thanks,
jb

What is the shift fields filter for?...

Hi everyone,
I exported a movie from after effects in "animation" and imported it to FCP. it automatically added a 'shift fields' filter set to +1. this filter makes the focus soft and i am wondering why it is there and if i need it at all (i don't even know what it's supposed to do...).
btw, the quality of the picture, regardless of the filter, deteriorated quite a bit from the original QT movie that I exported from FCP to AE. i thought that digital copied don't lose quality... or was i supposed to export the movie in a special format? (I used DV pal).

You imported a clip made with the Apple Animation codec which uses upper field order (lines 1,3,5,7,9 etc are written first) into a DV Sequence which uses lower field order (lines 2,4,6,8 etc are written first).
So Final Cut Pro corrected the field order for you. What's not to like?
Never judge the quality of your output based on the FCP Canvas.
It always shows a low res proxy image to better conserve resources for real time playback.
To see the true quality, you need a calibrated external broadcast monitor, or at the very least, an excellent television set.

Disable automatic shift fields filter

Hello! FCP is adding a Shift Fields filter automatically to my sequences. I understand the theory and purpose of Field Dominance but for my current sequences it DOES NOT need to be changed - I've tested it. This auto filter application is making extra work for me visa vie I need to delete each individually. Anyway to disable the automatic Field Dominance correction for a specific project / sequence?
Thanks!
- Christina

You can't disable it.
If you bring in a clip with a different field dominance to what your Sequence Setting is, the filter is applied.
You didn't mention it, but what video format are you working in, what is the Sequence Setting and what is the field dominance setting of your project?

Problems with scrolling through premiere timeline using arrow keys and shift arrow

This is a really weird problem in cs6.
When I load a clip into the source monitor i can scroll throughit fine using the arrow keys, and shift arrows and my shuttle pro controller.
When I place the same clip on to the timeline it really struggles to scroll using the arrows or the shuttle pro, its really kerky and sdlwo to scroll the timeline, which is really frstrating, becuase it can play the footage fine in the source monitor.
The clips will playback fine, but scrolling through them just doesn't work as it should any ideas?
Cheers
Mike

I changed my shuttle settings to make the shuttling more responsive:
1 - 5 times second
2 - 10
3 - 15
4 - 30
5 - 45
6 - 60
7 - fast as possible
At least I changed this a long time ago - don't know if these are the defaults or not.
It'll only shuttle as fast as your system is responsive of course - so if you get instantaneous scrubbing by dragging the CTI in the timeline with the mouse, you should be able to get good performance with the shuttle. Of course that performance depends on the type of footage and how demanding it is on CPU to decode and whether youi have effects applied etc etc etc.
I edit pretty much exclusively with Sony XDCAM EX 1080P 25 footage we've shot on EX3 and PMW-350 etc and I get very very fast performance on the timeline - no issues at all i7 6 core 4GHz with 24Gb ram and fairly fast RAID array for footage.

Report on power generation from each plant and shift wise(PP report)

Hi,
i got one Functional spec on pp module. this FS main object is calculate the daily smelter performance.
Based on this FS I will make a report on POWER GENERATION FROM EACH PLANT AND SHIFT WISE.
so please can anyone of you advice to me , is there any standard extractors and standard cubes or ods are there for make this report.
Regads,
Suresh.

Hi,
here i mentioned tables,fields and logic according to Fspec.
S.no          Report Field                                      SAP Table-field                                        Logic
   1               Shift                                              AFRU - KAPTPROG
    2              Unit                                                MKPF-VERID                                      Pass MATNR and VERID to AFPO and fetch AUFNR for all VERID and pass AUFNR to AFRU and fetch KAPTPROG and GMNGA for that particular BUDAT
3.            Total Generation                                    -                                         ADD all the unit GMNGA for Individual KAPTPROG
4.           Total Auxiliary Consumption                   -                                          Pass MATNR and AUFNR to MSEG and fetch the MBLNR and MJAHR. Check MSEG - MBLNR and MSEG u2013 MJAHR = MKPF - MBLNR and MKPF u2013 MJAHR
and fetch BUDAT for that particular date and pass it those MBLNR and MJAHR to MSEG and check for movement type 201 and fetch MENGE.
5.            Export to GRIDCO                               -                                            Pass MATNR and AUFNR to MSEG and fetch the MBLNR and MJAHR. Check MSEG - MBLNR and MSEG u2013 MJAHR = MKPF - MBLNR and MKPF u2013 MJAHR
and fetch BUDAT for that particular date and pass it those MBLNR and MJAHR to MSEG and check for movement type 261 and check for Field SHKZG if H fetch MENGE.
6.          Import to GRIDCO                               -                                                Pass MATNR and AUFNR to MSEG and fetch the MBLNR and MJAHR. Check MSEG - MBLNR and MSEG u2013 MJAHR = MKPF - MBLNR and MKPF u2013 MJAHR
and fetch BUDAT for that particular date and pass it those MBLNR and MJAHR to MSEG and check for movement type 101 and check for Field EBELN and fetch the MENGE.
7.        Smelter Consumption                                -                                            Pass MATNR and AUFNR to MSEG and fetch the MBLNR and MJAHR. Check MSEG - MBLNR and MSEG u2013 MJAHR = MKPF - MBLNR and MKPF u2013 MJAHR
and fetch BUDAT for that particular date and pass it those MBLNR and MJAHR to MSEG and check for movement type 201 and check for Field WERKS 1400 and display MENGE.
8.       Net Export / Import (MW)                                   -                                      Difference between Export to GRIDCO and Import to GRIDCO
Based on these information ,can please anyone advice to me, is there any standard extractors ,cubes and ods for make this report.
Thanks,
Suresh.

How can i hold a spot in a clip, let the audio continue for a moment and then resume the clip and audio together?

how can i hold a spot in a clip, let the audio continue for a moment and then resume the clip and audio together?

you want to use the retiming tool. you can select what you want to hold, then use the "Hold" command (shift-H) to create a single frame of a default duration, which you can then change to whatever length you want by dragging the retiming handle.
Here's the page in the help manual that describes the hold feature in detail:
http://help.apple.com/finalcutpro/mac/10.0/#ver4c2173c9

Workflow for avchd clips and meta data

Just started using a Panasonic AG-AF100 on a 5 month project. Will be producing 1000's of clips. So I have off-loaded the first 3 cards we shot and have discovered something about avccam material. If you just copy the .MTS files from their /stream folder or rename the file with a name instead of its original number produced in the camera you lose the timecode and other meta data.
If I leave the clips in that folder and other card folders in their associated directories and "import" clip with Premiere Media Browser it retains the timecode. Trouble is that I cannot see thumbnails in Media Browser and the clip number means little. Bridge on my Win7/64bit machine shows thumbnails (but no preview) and a double-click will preview in Win Media Player.
On my main edit station (Vista/64bit) Bridge neither shows thumbnails or previews and I get no avchd .mts playback in Windows Media Player. Everything worrks the same within Premiere, nice solid editing and playback of avchd clips. (I will probably upgrade this machine to Win7 next week)
So my request for advice/questions are:
Suggestions for managing and organizing large qualities of clips with what will be similar names, etc
Previewing updates or options to find media
How do you manage AVCHD material and still maintain meta data?
Thanks so much!! As I get older and the technology seems faster, stronger, sharper, the demands on my brain get tougher.
Rick

Rick,
If you just copy the .MTS files from their /stream folder or rename the file with a name instead of its original number produced in the camera you lose the timecode and other meta data.
If I leave the clips in that folder and other card folders in their associated directories and "import" clip with Premiere Media Browser it retains the timecode.
You mustmustmust keep the files in their folder structure, if you intend to maintain timecode. You've clearly discovered this Good you did so early. The folder structure thing is really not a big deal; there is very little need to manipulate these at the OS level, and the Media Browser in PPro makes it reasonably easy to bring these in for editing. You can pre-build a folder structure into which you can offload each card's worth of clips.
Trouble is that I cannot see thumbnails in Media Browser and the clip number means little. Bridge on my Win7/64bit machine shows thumbnails (but no preview) and a double-click will preview in Win Media Player.
On my main edit station (Vista/64bit) Bridge neither shows thumbnails or previews and I get no avchd .mts playback in Windows Media Player. Everything worrks the same within Premiere, nice solid editing and playback of avchd clips. (I will probably upgrade this machine to Win7 next week)
Windows 7 has built-in splitters and decoders for H.264 media, so that's the reason you can at least get thumbnails in Bridge and playback the files in WMP there. The Media Browser, even on Windows 7, won't show thumbnails as they are not saved into the folder structure the way that P2 saves a poster image into the folder structure. Note that even "standard" containers like AVI or MOV do not display a thumbnail in Media Browser.
As far as Bridge is concerned: I know a lot of people like it, but from my perspective, it's just about worthless for video. This is largely an application designed for photography workflows that has been shoehorned into "working" with video. I don't even like it for AVI/MOV.
The ugly truth is that Bridge is not going to be much, if any, help in this workflow. However, there may be another tool in the suite that will accomplish what you need: OnLocation. You won't get thumbnails, but you can browse through the folder structure without knowing you're doing it, import clips to preview them, and add metadata. You could do this for each card you offload. Then, in Premiere, simply use Media Browser to navigate to your OnLocation Project, and it will open up just like a folder, listing all your clips with the metadata you added. Granted, it is not a perfect workflow, but once you added that metadata, it will flow with the files wherever you move them around in the Adobe suite--it won't go elsewhere, as it's not injected into the files themselves. So long as you're editing in Premiere, you're good.
Now, there is another thing you can do that may make clip management even easier, though it does require a bit of forethought in pre-production. It will really depend on the type of project you're shooting, but you can preload metadata on to an SD card and into the camera, and then automatically record this to the clips as they are shot! I don't have an AVCCAM to give you exact workflow steps, but I do this all the time with my P2 workflow and it's a tremendous help once you hit the edit bay.
If you haven't already, head over to the Panasonic support site: Support Desk Top / Broadcast and Professional AV. You'll need to register for a "PASS" membership (it's free, and you don't need to register a camera), but you can then download the AVCCAM Viewer application. Unfortunately, this application is not quite as helpful as P2 Viewer is (it's rather cartoony, actually), but it does have the metadata editor in it that will let you create your metadata files in advance and save them to an SD card. Then, after consulting the camera manual , you can set those metadata files to be a data source for the footage as you record it. Here's what you can add to the metadata files and, summarily, the clips:
Once you load this into the camera's memory, that data is saved into the clips, and is readable by Premiere. The "User Clip Name" field can be set to auto-increment (again, this is going off my knowledge of the way metadata works in a P2 camera, but the AVCCAM should be similar) so that each clip has a base name and then a serial number. When you're done with a particular scene/shot, you'd load the next metadata files, reset the indexing, and continue. Lather, rinse, repeat.
The biggest hole in the metadata workflow, at least as it pertains to AVCHD/AVCCAM, is that there is no tool (that I'm aware of) that lets you edit this metadata after the fact. With P2, you can--there are a number of applications, both free and payware, that let you do this--but I've yet to find one that works with AVCCAM. Even Panasonic's own AVCCAM Viewer is incapable of this, it seems.
The major advantage to adding file metadata like this is that it travels wherever the clips go, and into whatever application they land in. Not being able to edit it after the fact, though, just plain sucks. This is where the clip metadata you'd add in the Adobe applications comes into play, with the obvious disadvantage that it's only useful in Adobeland. As always, ain't no such thing as a free lunch.
So that's my take on this--it's good you're looking into this before you have a couple terabytes worth of footage on hand Let me know if I can help fill in any details that I might have overlooked. And be sure to check on the Panasonic site linked above for firmware updates to the AF100--I see one came out just a few days ago. It's always good to stay current.
Good luck!

How to sync external audio to clips and KEEP them linked?

I have never been able to do this. Very simple...
1. Shoot some video with a DSLR and...
2. Record audio with external recorder, such as an H4N.
3. Sync then in Premiere Pro (I have CS5)
4. Keep those files associated with each other so that you do not have to keep them in your timeline at all times.
Unfortunately, this is a mystery to me. I'm always stuck with everything in my timeline or I will lose those now linked files.
Below is a video I shot of my computer screen and Premiere Pro so I can explain it visually.
Yes, there is likely an easy solution. But I haven't found it. Please note that I have CS5, no plans to upgrade and no money to do so.
Thank you.

Provided that you are happy to lose the synch with the original audio of the clip, this can be done.
Right click on the original clip and select Unlink from the drop down menu.
Highlight the video and the new audio by clicking on both whilst holding down Shift, and R click. Select Link in the drop-down menu.
If you want synch for both audio clips, then the only work-around that I have found is to duplicate the original video clip in a track which is turned off, so it does not show, and link the new audio to that.

Is it possible to select multiple clips and create a sequence from each individually?

Is it possible to select multiple clips and create a sequence from each individually? If you select multiple clips and select "New Sequence from Clip" it puts all of the clips into one sequence. Is there an easy way to quickly perform this on multiple selected clips separately?

So now I *have* used Butler with PPro, and it works very well, here's an idea of how to do it:
Import folder of clips
Ensure first clip selected in bin and sorted by Media Type
Most of these commands need shortcuts assigning - mine listed below
Macro:
To create seq from selected clip:
‘New seq from clip’ (Shift+CMD+N)
To duplicate this seq:
‘Reveal Sequence in project’ (Shift+F) - not strictly necessary as it will already be selected
‘Window | Project’ (CMD+9)
‘Edit | Duplicate’ (Shift+CMD+/)
To rename the duplicate
‘Enter’
Various keystrokes to rename as required
‘Enter’ - to make name stick
‘Shift+Enter’ - to reselect that sequence
‘Esc’ - to get out of editing name
To change resolution of duplicate:
‘Sequence Settings’ (CMD+5)
‘Tab’ x 3 (to get to H Frame Size)
‘xxxx’ (to enter frame width)
‘Tab’ x 1 (to get to V Frame Size)
‘yyyy’ (to enter frame height
‘Enter’ x 2 as prompt will say previews will have to be deleted
To then find next clip ready for macro to run again:
‘Open in Timeline’ (Shift+CMD+O)
‘Match Frame’ (Shift+Spacebar)
‘Reveal in Project’ (Shift+CMD+F)
‘Window | Project’ (CMD+9)
‘Down Arrow’ - to select next clip
I tried it with Butler (manytricks.com - free trial, $20 to buy) and it worked a treat, takes about 3 secs per clip
AHK (for windows) is at autohotkeys.com and is free.
You could start making multiple macros - that would enable you to do grade / resize in middle of duplication - and then export etc, but I figure you can figure that out ;-)

Difficulties with movie clips and frames

This is really irking me.
I am extremely new to Flash so please bear with me. I am assuming that this is a simple, easy to fix problem that I am having. I have Adobe Flash Professional CS5.5.
What I am trying to do is display a sequence of images after other movie clips stop playing.
The image sequence itself does what it is supposed to and works properly, and the other movie clips also are successful. However, whenever I try to put the movie clips for the images in frames or keyframes, the beginning movie clips only play part of the way before the images show up. This happens even though the images' movie clips are on frames/keyframes (I've tried both) after the other movie clips.
The movie clips that are supposed to play first are each on a separate layer and there are two of them.
The first layer is called "tree" and the second is called "text"
The tree layer has a 45-frame gif animation that I have turned into a movie clip. I have created a motion tween and changed its alpha so that the gif has a fading in and out effect. I also have it so that it stops replaying once it reaches the last frame. I am using stop(); for this.
The text layer has a 40-frame gif animation that I have also turned into a gif. This gif is also a movie clip and also has motion tween. Its alpha has also been changed.
Both tree and text play together successfully and how I want them to.
The sequence of images is three separate images, each a different layer, that fade into eachother. These images are pngs, therefore they aren't gifs nor do they have their own frames.
The bottom layer is called floor1 and has frames 1 through 50 of motion tween and alpha adjustments fading the png image. The image is a movie clip.
The layer on top is called floor2 and has frames 51-100 of a different png image fading.
The very top layer is called floor3 and has frames 101-150 of yet another png fading.
The images are successful in doing what they are supposed to.
Layers tree and text are one fla file, and layers floor1, floor2, and floor3 are a separate fla file.
When I copy the frames from layers floor1, floor2, and floor3 into a keyframe after layers text and tree, they transfer properly, but when I test the animation, the image sequence shows up a lot sooner than it is supposed to, interrupting the movie clips on the layers text and tree. I have tried moving the floor# layers' keyframes farther down the timeline, but then the other movie clips just stop.
In the fla file with layers text and tree, I've imported the gifs into the library and then put them onto the stage.
In the fla file with the floor# layers, I've imported the pngs into the stage.
Here's what the text and tree layers look like:
Here's what the floor# layers look like:
The rest of the frames for the floor#s...
So, I thought that the problem was that I needed to delay the image squence. I looked around and found no code or anything for that..
Afterwards, I thought that it was because I had imported the tree and text gifs to the library before putting them on the stage.
I opened a new fla and imported the "tree" gif straight to the stage.
I figured that this should work because then it would show each of the individual frames in the movie clips, which it doesn't do in the above pictures. By importing the gif like this, it does show the individual frames. I've tested this with the image sequence and it works fine. But I have a problem with this method too..
I select all of the frames for the gif to convert into a symbol, so I can add a motion tween and mess with the alpha. However, only the last frame is converted into a movie clip. Well actually no... Only the circled frames below are turned into the movie clip. Even when all of the frames are selected. This isn't very helpful because then I can't change the alpha for the entire gif nor can I create a motion tween without getting a message saying that the motion tween could not be applied to all of the frames.
Here's what this version of "tree" looks like.
And the frames continue like so until 135.
The frames that are turned into the movie clip are circled below.
If I can solve the issue that I'm having with the tree shown in the two pictures above this sentence, then I can display the movie clips and image sequence without a problem. It wouldn't be quite how I had intended it to be, but it would be successful and would still work.
If I can fix the problem with the image sequence showing up to early, and of the tree and text movie clips being cut off, then this project would also be successful and it would be how I had wanted it to be.
If you need clarification, let me know and I'll explain something better.
I am not willing to provide a download link in this forum for my fla files, but I can email them to you if you would like a look. I just don't want someone to be able to find them and take them by doing a google search.
I have uploaded two swfs though.
The first is of the tree and text layers/movie clips working as they are supposed to. The second is of the image sequence (floor1, floor2, floor3) doing what it is supposed to.
Text and tree: http://glassoliverdesigns.weebly.com/uploads/1/0/6/5/10653451/tfg1.swf
Floor1, floor2, floor3: http://glassoliverdesigns.weebly.com/uploads/1/0/6/5/10653451/tfg2.swf
Notice how at the end of the text and tree swf, when the text stops the thing in the background keeps flashing. If that can keep flashing WHILE the images appear, then that would be great.
TL;DR: I want the floor# flash to show up after the text and tree flash but I keep having problems and nothing I try is working properly.

Very concise question, appreciate the screenshots. One thing that motion tweens don't always show very well is keyframes. Let me clear a few things up and see if it helps.
Go back to what you wanted to do originally, which is copying the frames from one document to another. This is perfectly fine and to clear it up, it will also copy any library elements (images, clips, etc) that are required to copy those frames for you, so you do not need to import them yourself.
To successfully copy frames (not symbols), select the first frame of the frames you want to copy, hold shift and select the last frame (alternatively double clicking anywhere in the blue motion tween should select it all as well). Now right-click and "Copy Frames". Now go into your new document, select a frame, right-click and select Paste Frames. You will see the same frames copied over, the blue representing the tween and keyframes came with it and you finally will notice all your images/etc were copied into your library.
Now is a good time to manage the library clutter that was just copied in, if you're a clean freak like me.
This process is the same, as you tried, for the other documents you want to copy in. If any resources match in name then Flash will ask you if you want to "overwrite" that library item. If you do that, you will break one of your previous animations. Make sure that's not the case.
The common gotcha here is not knowing how to slide frames over properly. If overwriting isn't the issue, this is what I suspect your problem is and as you expand/contract the timeline the keyframes aren't going with you.
For example if I import 2 clips with fade in/out and move keyframes as you did I'll get something like this:
Now moving them over I would be very careful to select all of the frames I want to move via the methods above. Click the first frame, hold shift and select the last frame, or double-click anywhere in the middle of the blue. The selection of frames:
Now I simply drag my selected frames to the right, notice the keyframes stay as they should (the black dots):
The animation plays as expected.
Lastly I'm not sure if you've ever used the panel but you should really get used to the Motion Editor. This gives you control over easing as well as shows you an in-depth view of the keyframes that exist in a selected motion tween.
At first this panel may look complex but it simply represents the basic properties you can animate. Any more properties you animate can be added in here. I moved the X, Y and Alpha properties of my object. So you can see over the frames 30-60 what I did. You can also adjust basic easing here.
If your animations don't look correct you can select a motion tween, open the motion editor and verify the keyframes look correct. Scrub the timeline and look at the values you're interested in. Alpha for example, for you.
If you don't see any keyframes when you scrub the timeline, you moved your frames over incorrectly and the keyframes probably exist in a different place and therefore it appears incorrect.

HD clips and "shift fields"

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