How Do I Output A Sequence As Individual Frames?

Yes, I know I can do it one at a time with "Freeze Frame" in "Tools".
However, I thought I found a way to do a segment without having to do it manually one frame at a time.

MGW of Boulder
Based on the information in another of your threads, you appear to be using Premiere Elements 11 on Windows 7 64 bit.
Explore...
Publish+Share
Computer
Image
select a choice under Presets and then
Under the Advanced Button of the preset and in Export Settings, have a check mark
next to Export As Sequence.
Just in case note: In the Save In: for the export, good idea to designate export of folder
to avoid huge number of "loose" jpeg stills at the hard drive save location.
Please let us know if you are OK with the information above.
Thanks.
ATR

Similar Messages

How can I use two sequences w/ different frame rates

I shot wedding (on Sony Z5) initially (1st tape) in DV widescreen (29.97/ 30 fps) but tapes 2, 3 & 4 were shot 1080p24 fps Big mistake; now obvious.
Edited all in FCP 6. On trying to cut & paste sequences together I get " cannot nest sequences with different editing timebases".
I have 23 min.intro/ ceremony sequence as stand alone QT mov now. How can I best convert that and/or merge it w/ the rest ( 62 min. 24 fps sequences), or perform other action to unite the diff frame rates into one, w/ best looking quality for the DVD/ bride & groom? Trying to beat Xmas deadline...
Thanks in advance! Happy Holidays to all.
3 Ghz Intel Core 2 Duo / 8 GB / OS 10.6.8 FCP 6.0.6

I went back and forth on this.
Ordinarily, I'd conform to the format that the majority of the footage was shot in. But if you're going to DVD, and it's going to be compressed to 480 anyway, then why not down convert the 1080 footage to 480?. At the same time, I would imagine re-timing the 24 (23.98?) to 29.97 would look reasonably consistent with the 29.97 SD.
This could be done in FCP, but I think Compressor will produce a better result. The adjustments you need are in the Settings menu in the Encoder (with Audio set to pass through), Geometry (720x480 16:9 Anamorphic), and Frame Controls (Resize Filter set to Best).
This will not be a short encode, so I would first test a short section to double check your settings and sound sync are right, and to compare against the quality of tape 1.
Good luck.
Russ

Work flow? How to link multi-cam sequences for DVD output?

Pr cs4 (very new)
Still taking baby steps each day... please take my hand and help me!
Final output will be 2 DVD's (each DL) each about 2 hrs. Content are chamber music student groups in two recitals.
I have assets from two camera angles. I have successfully practiced on one of the groups performance (10 min.) following the steps illustrated in a multi-cam tutorial. http://www.adobe.com/designcenter/video_workshop/?id=vid0234
This leaves me with a great multi-cam sequence for that group located in the Project Panel, exactly what I want.
Now, I want to know what is the best method (workflow?) to ultimately produce a DVD containing about 10 of these type performances (one after the other) with chapter markings for each group, titles etc.?
I have yet to use Encore and I'm guessing that is where I'll send the finished edit for DVD production, though I don't know at what step I jump there?
Do I try to create one very long multi cam sequence of all the content, then send to Encore? Or can I create seperate multi-cam sequences (each performance) then link them together, adding transitions and make the DVD? This would be my preference to keep things more manageable, especially with audio synching.
With my practice multi-cam sequence on the timeline, I tried to drag the same sequence from the Project Panel to the end of the timeline to simulate how this would work, but it does not add to the timeline as a clip would.
This is probably childs play for you pro's, but we were all baby's at one time...I just happen to still be one!
Thanks for your patience and advice,
Kenny

Yes I did...now toss me a cookie please.
I am trying to quickly get up to speed in Pr CS4 to get this project completed. In the process, I'm trying to learn and understand the interface and correct terminology so as to make my questions intelligible to a community that posses vastly greater understanding than myself.
Is there anyone who can help with my main question at hand? Namely, how to go about creating a full length sequence (in the timeline) made via the nesting of synchronized multi-camera clips within a new "multi-cam sequence"?
As I said, I have completed a small test sequence in this fashion, nesting clips in a new sequence then using multi-cam monitor to record cuts. Now I need to add about 10 more of these together in a completed sequence to then send to DVD production.
Is this intelligible?
Thanks, Kenny
__0
_ \<,_
Date: Wed, 4 Nov 2009 09:11:06 -0700
From: [email protected]
To: [email protected]
Subject: Work flow? How to link multi-cam sequences for DVD output?
please take my hand and help me!
Well, at least you had the gumption to admit that up front.
>

How do you change the colors of individual cells within a 2D array?

How do you change the colors of individual cells within a 2D array of numeric indicators?
I want the VI to check a data value and if it is failing, white out a square at a specific index coordinate. I have it working with color boxes, but I'm not sure how to use the property node function, to change the color of individual cells, by coordinates.
I have attached the VI using color boxes. If you run the VI, the box corresponding to the Step control should turn white.
I want to do the same thing, using numeric indicator boxes inside the array.
Thanks for any suggestions...
Attachments:
Fill DME matrix.vi ‏95 KB

Get rid of all these sequences! That's just bad form.
Your code has a few logical problems. Why do you create a boolean array if you later only look at the last element (Yes, the FOR loop does nothing useful, except in the last iteration because your outputs are not indexing. All other iterations are useless, you only get the result of the last array element. My guess is that you want to color the index white if at least one of the numbers is out if range. Right?
It is an absolute nightmare to manage all your numeric labels. Just read them from a 2D array. Now you can simply find the index of the matched elements and don't have to spend hours editing case structure conditions.
Attached is a simple example how you would do what I meant (LV7.1). Modify as needed.
Message Edited by altenbach on 04-04-2006 02:04 PM
LabVIEW Champion . Do more with less code and in less time .
Attachments:
Fill_2DME_matrixMOD.vi ‏70 KB

How do I output the smoothest video when changing or mixing frame rates from the original footage?

I have been experimenting with various Media Encoder settings, and wondered if there was anything else I can try to get the smoothest video output possible, especially when changing frame rate and possibly resolution. For clarification, let me start from the beginning and explain what I'm doing and what I've tried so far. I'll try to be as brief as possible, but if I do go into too much detail, I apologize.
My original footage is AVCHD 1080p - 60fps. (my camera only does 60fps...specifically 59.94fps) We're not talking interlaced video here, I'm staying away from that. This is definitely full frame, progressive video at 60 frames (not fields) per second. My output will ultimately be for the web. I have been keeping my output codec (H.264) and bit-rate (VBR 2-pass, relatively high-bitrate) consistent, and have been trying numerous output options and even sequence settings to see what would yield the best results. I am using Premiere Pro CS5.5 along with Media Encoder. Here's what I've done and the results I've observed:
1. I created a sequence with 1080p - 59.94fps settings to match my original footage. I then output both 1080p and 720p versions at 59.94fps, and at 29.97fps. The 59.94fps output files looked absolutely great, as would be expected. Extremely smooth. The 29.97fps output files were generally smooth, but not near as smooth as the 59.94fps. This is expected since it's half the frame rate as my original footage. However, my question is this: What exactly is Media Encoder doing when "down converting" from 60p to 30p? From a technical stand point, is it dropping every other frame? I'm just curious to understand exactly what it does. I tried the Frame Blending option as well, and that only yielded a bit more blur to the images which wasn't desirable for any of the output files.
2. Just to see what would happen, I created a sequence with 1080p - 29.97 settings. I then output both 1080p and 720p versions at 29.97fps. The video was much more choppy in these cases, even with Frame Blending on. Now, I know not matching my sequence settings with my original media isn't ideal, but I again just want to understand why this yields less smooth video than the 29.97fps options above. Why does cutting the sequence settings frame rate in half from the original, then outputting the same frame rate as the sequence yield video that is not as smooth?
3. Next, I wanted to try mixing frame rates to see how Premiere and Media Encoder handled the footage and output files. Premiere handled it great, no issues there. However, I had some interesting things happen when I output the files. Here's what I did: I created a sequence with 1080p - 59.94fps to match my original footage. Then I took the same exact footage that was in my sequence, copied it in my project panel and interpreted it at both 23.976 and 29.97 fps, yielding slow motion video. The slow motion video looked great in Premiere, so I went ahead and just added it to my sequences, along with the original 59.94 footage. I also created separate sequences for the 29.97 and 23.976 footage respectively, each with matching sequence settings, then added a nested sequence to another original footage sequence (with 59.94fps sequence settings) to see which yielded the best results. Basically, I'm trying to output 59.94fps that match my original footage, but also throw in some slow motion footage at different framerates. I'll explain my results in a moment as they are a bit convoluted, however, here is my question: When mixing frame rates and trying to output the smoothest video, am I going about this the right way? I would assume you would use your sequence settings that match the original footage (which is what the majority of the footage will be), then bring in a nested sequence for the slow motion (as oppose to just dropping the slow motion video directly into my main sequence), and then output to the same frame rate of the majority of the footage, in this case 59.94fps. Is there a better workflow for this?
The results to #3 above were as follows. Initially, it looked like it didn't matter if I nested the slow motion sequence into my main sequence, or simply dropped the actual slow motion video into my original 59.94fps sequence. It seemed to produce smooth results either way. Frame Blending blurred the video a bit, but didn't seem to make much difference, and quite honestly I like the footage without Frame Blending in general. However, when I closed down Premiere, and opened the output files later (opening in Quicktime), the footage looked choppy. In fact, it would go from choppy to smooth and back, almost like it had an irregular cadence (don't know if I'm using "cadence" in the right context here). I would then open up Premiere again, import the output footage into my project panel, and play the footage in Premiere, and it would play back smooth again. Is this a Quicktime issue? I was playing 1080p 59.94fps files when this happened, so maybe it's just because it's a large file. Doesn't seem to have issues with the 720p files I created. But it sure threw me off with my testing because I then started second guessing the settings I was using. My iMac is the latest 2011 model with plenty of RAM, so I wouldn't think it's the computer. Thoughts?
4. Next, I noticed on ALL my output files (again, using the H.264 codec from Media Encoder) that the color of my video seemed to flatten quite a bit. It seems that the original footage has more contrast and saturation than the output files. I figured maybe this was just how it was, but when I re-imported the output files back into Premiere, they looked IDENTICAL to the original footage. And in Media Encoder's Source/Output windows, I don't see any difference there either. Is Quicktime again the culprit here, doing some odd things to the color of my videos?
5. Regarding Frame Blending, when is the best situation to enable this option in Media Encoder? I've read it is when mixing frame rates, but I honestly didn't see too much of a change except for a bit more blur, which I didn't care for.
6. Lastly, my conclusion is that 60fps yields the smoothest video, which is an obvious conclusion. However, I know that 60fps isn't the best or easiet frame rate for web delivery. It seems 30p is more the standard. Are there any integrated web players that would play 60fps? Can you get 60fps video on YouTube/Vimeo? If yes to any of these questions, can they do 720p and 1080p at 60fps?
Those are all my questions. I hope I am clear enough without being overly wordy and hopefully I didn't put too many questions into one post. Thanks in advance for any insight, I really appreciate it.

Did you ever figure out which output worked the best? I have the same original footage; trying to determine the best output settings to make a dvd for tv.
thanks!

How do i output CMY reg marks over BLK master reg mark without the BLK being knocked out on BLK film

how do i output CMY reg marks only CMY films where they are over the BLK master reg mark without the BLK being knocked out on BLK film

You're evidently doing some kind of custom registration, but not explaining what it is.
First, what kind of printing are you doing that requires ten seps (CMYK and six spots)?
By definition, the Registration Swatch prints solid on all seps, both process and spot. But you talk of a CMY registration mark as if it is distinct and separate from K. Don't you also want your CMY seps to be registered not only to each other but also to the K?
You mention a "master" registration (as opposed to…?) needing to appear on the K sep. If a registration mark only appears on a single sep, what is it going to serve to register to; and how if there is no corresponding mark on the other sep(s)?
You seem to be under a not uncommon misconception that separations are somehow associated with Layers. They're not, unless you just want to organize your drawing that way for some reason.
If you want to create your own registration or fold or other printer marks which separate only to specific process inks, simply create and assign Swatches defined with 100% values of the desired component inks. There is no need to set these marks to overprint.
If you want to create your own marks which separate only to specific spot inks, those will need to involve object-level overprinting. You do not have to do that using multiple objects. You can assign multiple Strokes to a single path and set the overprint attribute on the Strokes individually.
It almost sounds like you are designing for screen printing on garments, and want to use registration marks. But because there is no "trim" region on the garment, you are trying to build the files in such a way that the marks end up being overprinted (therefore hidden) by subsequent inks. The default assumption in forums like this is always commercial offset printing. Otherwise, you should always state the printing method for which you are designing and describe the pertinent parameters.
Edit:
>"... this is a silk screen process with each colour applied over the other..."
We were typing at the same time. So it's as I suspected (or similar). Your description of what the printer wants is still confusing.
JET

How to change output video resolution. I have 1920x1080 video but sharing from FCPX only allows 640x480. I want 1920 output. How can I resolve this?

I have 1920x1080 video file that I edited. When I attempt to share the edited file from FCPX, it only allows 640x480 output resolution. I want 1920 output. How can I resolve this?

Hi,
Final Cut will output the video at the resolution of your project's timeline.
You can change the settings and scale your project up though by adjusting the sequence settings and then, if necessary, copying and pasting attributes to scale up the sequence.
I had this question before and made a video explanation of how to re-scale a sequence here - https://www.youtube.com/watch?v=***9d-rHsKo&feature=youtu.be .
If you have any more questions about this then just drop me a message here.
Cheers,
Ben

How are you outputting your 24fps projects to tape?

Hi There,
I am just looking for any input on how everyone is laying down there 24fps projects to tape? We have found a method that seems to be working - but is very tedious and not perfect...
Here is the lowdown:
1080p23.98 ProRes HQ sequence -----> outputting to Kona LHe Card -----> To Sony DVW-A500 D-Beta Deck.
At this point, we are getting the Kona card to add the pulldown because of the dramatic increase in quality over FCP - BUT because we are going from a NDF timecode to a DF format there are the obvious sync and drift issues.
So here is what we did:
- created a sequence with the exact same settings as our normal FCP output sequence (1080p23.98) and dropped in an hour of bars with TC reader.
- Output this sequence to tape.
- The use the deck to go to the all the in and out point timecodes we will need - ON THE DECK ITSELF. Then check the broadcast monitor, to see what the timecode on the bars reads and insert a marker in the timeline for our inpoint and outpoint.
This way, although our output sequence looks a little funny in FCP (say for example, one minute or bars will actually look 2 frames short) by the time it goes to tape with the pull down inserted, it ends up the right length.
Now, the problem we are having is we can only seem to get as close as being a half frame from perfect. Our 1 frame two beep will either enter a half frame early or a half frame late, depending on where it is located in FCP - up until now we have always just accepted this, but it can be frustrating because it makes inserting any changes in an episode not possible. This is the same regardless of whether the tape was pre-striped and episodes inserted OR Assembled to tape.
If anyone has any alternates that are working better for them, it would be greatly appreciated!
NOTE: Outputting a 29.97 NDF tape is NOT a valid option - because aside from commercials, this would never be accepted by a broadcaster.
Thanks again.

No such thing as a "half frame" in video. Audio, yes, video...no. Full frames only.
This is what I used to do:
http://lfhd.blogspot.com/2006/09/online-workflow-overview.html
This is what I do now:
http://lfhd.net/2008/10/22/timecode-calculator/
Figure out what my NDF timing has to be to hit the proper DF timing when outputting. But if I had to meet Discovery/NatGeo specs of needing commercials to hit on 00 frames...then I wouldn't work in 23.98 NDF timelines...nor shooting formats.
Shane

I have three websites in one file. How do I separate them into three individual files?

I have three websites in one file (Domain.Sites2). How do I separate them into three individual files without taking the site down or loosing files?

Duplicate the domain file 3 times (keeping the orignal as a backup). Name each domain file for the website you want it to contain. Then open each domain file and delete the two sites you don't want it it.
Since you're running Mt. Lion you'll need to read the following in order to be able to open the different domain files.
In Lion and Mountain Lion the Home/Library folder is now invisible. To make it permanently visible enter the following in the Terminal application window: chflags nohidden ~/Library and hit the Enter button - 10.7: Un-hide the User Library folder.
To open your domain file in Lion or Mountain Lion or to switch between multiple domain files Cyclosaurus has provided us with the following script that you can make into an Applescript application with Script Editor. Open Script Editor, copy and paste the script below into Script Editor's window and save as an application.
do shell script "/usr/bin/defaults write com.apple.iWeb iWebDefaultsDocumentPath -boolean no"delay 1
tell application "iWeb" to activate
You can download an already compiled version with this link: iWeb Switch Domain.
Just launch the application, find and select the domain file in your Home/Library/Application Support/iWeb folder that you want to open and it will open with iWeb. It modifies the iWeb preference file each time it's launched so one can switch between domain files.
WARNING: iWeb Switch Domain will overwrite an existing Domain.sites2 file if you select to create a new domain in the same folder. So rename your domain files once they've been created to something other than the default name.
OT

How can I output text in a browser window in JAVA?

How can I output text in a browser window in JAVA?

"response.getWriter().print()" is the most common method when using servlets

How to create the Access sequence for the Vendor+material+plant combination

Hi all
Please let me know How to create the Access sequence for the Vendormaterialplant combination..
Whats the use? What its effect in purhcase and taxe..
brief me please

Hi,
you are asked to maintain the access sequence for the tax condition for which you are putting 7.5%.
goto OBQ1 or img..financial accounting new...global settings.... taxes on sales and purchases ......basic settings.....
find the tax condition type. see in it which access sequence is attached.
if there is none then use JTAX used for taxes in India.
or you can create the similar one for your.
to create the same goto OBQ2.
new entry or copy JTAX.
and assign the access sequence to condition type.
this will resolve your problem if you just need to assign the access sequence.
regards,
Adwait Bachuwar

How can I debug a sequence that has a subsequence is running in a separate thread?

Hi,
How can I debug a sequence that has a subsequence is running in a separate thread?
I have to have a continues check for a digital in signal to be able to terminate the sequence if a physical button is pushed.
This is running in a separate thread, but this way I cannot debug the main sequence.
Is there any workaround for this?
Thanks,
Andras

This KB might help you:
http://digital.ni.com/public.nsf/websearch/46D1E157756C37E686256CED0075E156?OpenDocument
Let me know if this does not help.
Allen P.
NI

How do I display the individual frames of a clip in the timeline?

I've imported an image sequence into Premiere Pro and dragged it into a video track so it shows up as a clip. So far, so good. But when I click on the display options for the track and "Show Frames", all it gives me are these large, unhelpful thumbnails along the the length of the clip that don't even match the timeline ruler at the top. I can't select individual frames to shuffle them around or delete them. I've tried looking in Preferences, View, etc., all over the internet through different forums, and right clicking everywhere in every window to try and find an option to turn on an individual frame view, and I found zilch. Any help with this problem would be much appreciated.

No, it's not. The 'order' of animation is something that has to be carefully planned and tweaked by the animator, and anyway, there are different kinds of animation. Some is completely abstract, without any apparent order. And if all you have is a raw image sequence, like I do, then sometimes you have mistakes in one frame that were corrected in another, and you want to find them and take them out, not to mention experimenting with the timing. Let's say you have a motion that makes an arc in 12 drawings. If you take out 2 or 3 at different places towards the end, you can give the appearance that the animation subject complete the arc at an accelerated pace without the motion seeming 'incorrect.'
What I need to do is to be able to grab and pull individual frames like this so I can properly put together my project.

How to repeat output billing documents

Hi Guru;
How to repeat output billing documents ; because after VF04 maintain billing due list,
all intercompany billing doucments can not be printed throught our local printer. We are using Biling type as intercompany billing and output as print.
Regards,
Raj

Hi Raj,
Please use T-Code VF31,output from Billing
under Message Data select the output type that you need, enter the transmission medium as print and select processing mode as Repeat processing.
And in billing data mention the correct billing document for which you want repeat output.
Hope Above will resolve your problem for Repeat output for Billing Documents.
Regards,
Sandeep

How to find out which sequence a certain column used?

you konw column C in table T is created by a sequence.
How to find out which sequence column C is using?

In the meantime I think it ought to becompulsory to
only assign sequence values in triggers.
Why? I can see no good reason for this. I think it's a good idea to have stuff like this
coded in only one placeI don't like your argument for compulsory using triggers for sequences for exactly the same reason as you, ie that I like to keep my code in one place. If I'm reading some pl/sql code which uses a sequence I like to see the fact that the sequence is used in the pl/sql code, rather than to check to see if theres a trigger on the table and then see which sequence that uses.
"naming conventions can work, provided they're enforced. Alas, like other standards, they can only be enforced by active policing".
Thats what code reviews are.
" there is also the special case of one sequence populating more than one table...."
This is My Pet hate. I don't think there's ever a case where this is absolutely necessary. Again code reviews
Unfortunately I have to live with a system which does this.
and I appreciate we can't all have code reviews, etc.

How Do I Output A Sequence As Individual Frames?

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