Moving Images (jpeg) Sequence Settings

I am making a slide show of pictures from multiple digital cameras. When it renders it ONLY renders to blue and not the typical green. It also takes about 10 minutes to render ten pictures. FCP did not always react in this way and it is driving me crazy how much time this is adding to my editing.
do i need my sequence settings changed? the jpegs are not all the same size
Working on a C2D 24" iMac with 1GB RAM.

"When it renders it ONLY renders to blue and not the typical green."
Green is not rendered. It means you have real time playback. Blue or Steel Grey (hard to tell on small screens) means the render is complete.
You most likely have large Jpegs that require a fair bit of rendering. 8 megapixel images, for example, are nor really required for use with FCE. Bigger files mean longer render time.
Al

Similar Messages

Image Sequence Settings in QT Pro - what is the Frame Rate range available?

I am considering purchasing QT Pro for Windows. I wish to make a time lapse movie out of a series of pictures. I would like to know what the range of options is for the "Image Sequence Settings" in File->Open image Sequence... menu. Does is it go well beyond 1 second?
Thanks!
Chris

Frames rates are from 10 seconds per frame up to 60 frames per second.
I make many image sequence movies and just start with one frame per second.
I then "add scaled" to a properly timed audio only file. This way you can get nearly any frame rate you could ever need.

Exported image is always stretched... source clips 1080p, sequence settings 720p.

So I'm trying to export a file from FC7 at 720p, but it always comes out stretched, no matter what resolution I have the export set to. The source clips are mostly 1080p, but I chose to edit 720p because my Mac was just too slow to be able to efficiently edit in 1080p.
Sequence settings:
Frame Size: 1280x720 (HD 720p)
Pixel Aspect Ration: NTSC - CCIR 601 / DV (720x480)
Anamorphic: Off
The clip settings are mostly 1920x1080, however I'm also working with some still images that vary in resolution. In editing, all of the clips are zoomed in, as I'm trying to cut out some aspects of the image, and focus on specific details within the clip's frame.
In the canvas, the image looks just as it should be, but whenever I export, it is noticeably stretched. I feel like I've run out of options, and I'm thinking of re-editing the entire thing (it's not that long) in 1080p. My gut tells me that it has to do with the clip formats being different from the sequence settings, but I can't figure out anything else that I could try to get it to export properly.
I was hoping if anybody had any ideas, they could shoot them my way. I'd appreciate it.
Thanks!

Unfortunately this did not work, but I feel like it should have when I observe the clip settings. Interestingly, when I set the sequence Pixel Aspect Ratio to square, the image on the canvas appears stretched in the same way that it does in all the exported files that I had previously created. The clip settings are as follows:
Resolution: 1920x1080
PAR: Square
Compressor: H.264
Frame rate: 59.94
Other images that I used are varying resolutions, but also have a square PAR. The sequence settings are as I mentioned in the opening post, but here are some added details that vary from the clip settings:
Compressor: Apple Proress422
Frame rate: 29.97
I tried changing all of the PAR of the clip settings to match the sequence settings, but this didn't work either. Honestly, I think I might just resort to working within 1080p where the sequence settings are changed to match the clip settings exactly, because I opened up a test sequence and it works just fine this way. I appreciate the help a lot though, thank you!

What are the best image sequence settings (fps)

Hi all,
I have a video that I'm wanting to loop and as it's only six seconds I've made an image sequence out of it and can loop it nicely. The problem is it's a bit jerky so I was wondering what other people use for the frame rate etc.
I've made the movie in photoshop, it is a 3D model which I've animated on the timeline (360 degree revolve). I can specify any frame rate for the timeline, any for the export and any for the image sequence overlay.
I imagine that I would match all three but what is going to give me the smoothest result?
Also I'm exporting as png's, they seem to give lower file size is this the best format?
Cheers
G.

Ok. Thanks for the pointers, I've gone and tried a couple of options.
I've did manage to crop the file down so it's now 696x953px. I then did a few other tests and found that if I took the Photoshop timline down to one second and adjusted the frame rate this way it was easier to get the final amount of frames (maybe just easier to work it out in my head, I am still fairly new to this).
I've then adjusted the timing in the image sequence settings to give me the speed and length of loop I'm after.
My final settings that have given me a good result and very small file size are:
Photoshop
48fps (1 second timeline)
Export as PNG
InDesign
Speed 12fps
This gives me a 4 second loop which is shorter than I orignally planned but looks quite good.

Using Animation in your Sequence Settings ... Amazing!

Well here's the thing ....
And I'll start off by saying I have so much to learn about FCP but this has made a big difference to how my images look, especially graphics and titles.
So I'm working away at my project and the graphic images that I import into the timeline from the viewer are just ok and I'm a bit disillusioned like so many people seem to be on these forums about how the image degrades from the viewer to the canvas. And of course it is apparent later on the QT file and then the DVD that's produced at the end.
So one day, and I can't remember how it came about, I open the sequence settings and change the Compressor in QT Video Settings to Animation! Well what can I say, the image in the canvas was absolutely perfect and in some cases, it's actually a little better than how it looked in the viewer before I brought it across.
I have to produce a DVD where each week, some of the moving footage and graphic images have to be changed over. A total of about 15 minutes and all of it of course is in this Animation sequence. The downside of using Animation is
(1) the rendering time is horrendous, (or is that horrenderous?)
(2) as I'm editing, the playhead disobeys what you ask of it and you get the spinning beach ball quite often (can take 1-4 minutes before you can continue again)
(3) sometimes when you're playing through the timeline the image on the canvas and the sound quality are poor (processor running out of puff I guess)
It's a bit of a nightmare but I have no choice but to use Animation now the Marketing Department have seen the difference and expect the higher quality on the images. Cannot get this quality with any other setting I've tried in the Compressor setting. HDV1080 for instance means the rendering problem goes away but the difference in quality is obvious. The project has many different files and formats from HDV to H264s to Pro Res 422s and lots of various jpegs in various forms. But regardless of the project, I have experimented with unrelated sequences in different projects with the same result.
My questions are..... has anyone else experienced this, is there another setting that would bring about the same results and lastly, would the rendering and the other problems significantly be reduced with say the top-end iMac?
I have to tell you I almost didn't post this coz I have so little experience with FCP but it would be great to get your feedback. The weekly project I produce may take more time than it should but I have to say I'm happy with the results.
Thanks for reading.
Peter L

Well... the animation codec is primarily used for sneakernetting files from one platform to another, mac to pc for example. It's a bear for a lot of computers to even play out a file without choking. The concept is make animation file, put on disk or drive, carry across the hall to the pc station, convert to something the pc station can use without choking.
I would suggest you try a little experiment: take your input material and convert it to prores (NOT HQ) before import or WHEN you import (log and transfer) and work with that natively. HDV as HDV is really a cruddy medium. Prores will give you a much better color space and have actual frames all the way through, which hdv does not. Take a one minute section of material, load on some graphics and filters etc, render it out, do your whole production process and see what it looks like. Once you move beyond the artifacts inherent in hdv and h.264 encoding you might be surprised.
Bad mistake to point out to marketing folks how cool it looks. You must be young!

Sequence Settings - LiveType & FCP for widescreen

I am creating a project using text clips created in Live Type to be played on widescreen monitors (I assume they are HD but am not positive). Clips are only white moving type on black background. no images.
What would be the best setting to use for project in Live Type? I know I have to use the same sequence setting in FCP. I have tried a few different things and don't seem to get it right. (having to render in fcp when I edit clip) I did watch the video on "Editing non-standard FCP codecs. But I want to start with my LT clips being optimized for the final output.
Thanks.

There are presets for livetpe and for fcp that are 16:9.... some are HD, some are not... but in any event you should be using the same in each program. Also you'll have to render any livetype animated title in FCP... even if the sequence settings match. OR you can export a QT movie of the livetype animation and import it into FCP for the edit, then the "render" will have been done via the export of the QT movie. The best would be uncompressed HD, however this would take some very serious hard drive speeds (think fibre channel array) to play the files back with.
Jerry

Help with correct sequence settings for exporting QT

hi -- I am about to export a QT movie of a sequence in FCP. There are three different properties of clips in the sequence -- footage I shot on a Panasonic HD HMC150 was compressed with Apple ProRes422 and footage I shot on the JVCHD - can't remember model - uses the 720p24 codec. All other properties for these clips are the same.
I also use some archival footage in the sequence was shot at 29.97 fps, 720x480, compressed using the DV/DVCPro NTSC and a different pixel aspect.
I also use jpegs.
Here's the question. The Sequence Settings are HDV 720p24. Do I need to change the properties for the clips that don't match the Sequence Settings BEFORE I export a QT File? Or, do I export a QT file then import it back into FCP at the 720p24 setting and export that sequence as a QT file.
Thanks

ok here's the info everyone has been asking for -- and, please remember, I have solved the exporting QT to make a DVD now . . . .
The pressing issue is that, somewhere in the process -- the images that fit within the 16:9 got bigger so that less of the image is in the frame.
Sequence Settings:
ok here's the info everyone has been asking for -- and, please remember, I have solved the exporting QT to make a DVD now . . . .
The pressing issue is that, somewhere in the process -- the images that fit within the 16:9 got bigger so that less of the image is in the frame.
I made stills from the same frames in the different sequences to show the difference between them. Unfortunately, I can't attach these images in the forum.
So here's the sequence settings as of now for both the original and current sequences:
Easy Setup:
Format - HD
Codec - HDV 720p24
23.98 fps
1280x720
Sequence Settings:
1280x720
Aspect Ratio - hdtv 720p 16:9
pixel: square
compressor appleprores 422
Field Dominance - none
editing timebase: 23.98
Render Codec - same as sequence codec
Clip Codecs:
Primarily HDV 720p24
Some Apple ProRes 422
Archival Footage - Dv/DVCPRO NTSC
Okay, now here's where things start getting hairy. I read in the FCP manual today that I should convert the sequence setting to the same codec as the majority of the clips -- in this case that was 720p24. So I changed the sequence codec from AppleProRes 422 to 720p24. Then I rendered the sequence before exporting it as a QT file. -- not noticing until after I burned a DVD about the image size problem.
Now, this evening, while I was checking the settings of the older original sequences -- trying to figure out what went wrong -- I realized that the original sequence used the AppleProRes 422 codec!! So, I converted my current sequence from the 720p24 codec BACK to Apple ProRes 422 - hoping this might solve my larger image problem -- BUT the image size stayed the same. Am I just compressing over and over again and screwing up my sequences.
The weird thing is that MOST of the sequence copies that are not the original -- converted to the changed codec even though I had only the sequence I was changing open ---- there must be a reason for all this. I hope you all can figure it out for me. I've been spending hours at it.
Thanks again.

Wrong sequence settings...

I have a piece of footage that I retrieved from my Canon XL2, selected an in and out and moved into my sequence. My project has a number of other sequences in it and they have all been fine. The film I selected has also been used in other sequences. Yet, in this sequence it isn't scaled correctly. Sorta like inserting a 16:9 into a 4:3 non anamorphic seq or something.
The really strange part (at least for me) is that I can select an in and out point for the same section of film and drag it down to the same seq but in a new track above the earlier one and it comes in correct. I'm shooting 16:9 24p (same as I always shoot) and I've never had any problem like this before. So I'm a bit confused as to how I might fix it.
I had finished the production of this particular sequence before I realized that it wasn't taking up the entire viewer window and exporting it produces an image that is squeezed and distorted looking. I checked my seq settings and everything appears correct there except that it was originally NOT set as anamorphic for whatever reason. but checking it doesn't see to fix it.
Thanks for any help you might be able to provide.
glenn

Not really seeing that option in the preview window, however, it wouldn't be anything with the preview window for the following reason.
1) When viewing a problem clip, the full width of the widow is filled, but the height portion has black bars at the top and bottom. (this is a problem as it should be filling the entire window.
2) I drag from the same piece of footage, a new video clip down into the time line above my problem clip, and when I click to view it, it displays in the same viewer as it should.
So with no changes to the viewer at all, one clip displays properly and another does not. Both clips come from the same footage and both clips are in the same sequence. I can even drop the newly selected clip in the same timeline as the problem clips and it displays properly. So something is wrong with the clip settings themselves, but I don't see what, or how to fix it.
Thanks,
glenn

Media Encoder CC won't import a JPEG sequence to the queue

I am running Media Encoder CC 7.2.2.29 (64-bit) on OSX 10.9.4.
I have a JPEG sequence GoPro timelapse image sequence that I want to encode into a video clip. All files have a .jpg extension. They are 4000x3000 and have an RGB color space. The Color profile is SRGB IEC61966-21. All images are 3.9MB.
According to the ME help I should do the following.
To add an image sequence, choose File > Add Source. In the Open dialog box, choose the first file of the image sequence. Enable the Sequence Import checkbox for your file type, and then click the Open button.
I follow the instructions and select the first image in the sequence. The "JPEG File Sequence" checkbox is active and I check it and click the Open button. The dialog disappears and nothing happens. There are no warnings.
How does one get JPEG sequences to import to the queue?
Please advise.
-Travis

Yes, import into premiere work fine. The nice part about using AME directly is you don't have to have to create a project or use an old one every time you want to crunch a timelapse. Also, AME has this nice feature where it will autoname the output file IMG[FirstStill]-[LastStill] (ie IMG[GP001234-GP001297]). This was helpful because GoPros change the first number in the sequence every time you stop and start time lapse.

Authoring to DVD w playback monitor capable of HD, Sequence settings?

Hello Macaroonies,
As the subject line reads, I'm working on a project w a final output for playback on DVD hooked up to a HDTV ready 16:9 monitor.
I'm working in the sequence setting preset NTSC 3:2 (720x480) and plan on converting the finished edit to progressive as a last step. The theory here is to maintain a less-renders-required workflow in standard Ntsc (ie 480i) and convert to progessive just before output.
Is this the highest quality setting possibility in this case? Are there better ways to author to DVD and take advantage of the monitors capabilities?
The monitor itself is reformatting the image from 4:3 to 16:9 and it looks good. As an option, should I have the anamorphic setting activated within FCP sequence settings?
Thanks, Mac ain't cheeze
Drew

Alright, that helps a lot.
This is something of a gray area, but if you're ultimately going to be playing back on this monitor - and only this monitor - you can forgo the Anamorphic thing because you can simply use the LCD monitor's in-built menu to fill the frame (as, I believe, you said you're doing currently).
Of course, in the off chance that this project needs to be played on any other monitor (or a 4:3 monitor), you're backed into a corner.
Personally, I would favor going Anamorphic - and adjusting your monitor appropriately - but the distortion issues confuse/annoy many people.
Now, if you're looking to make a progressive (as in 480p) DVD, I would suggest trying out the DV NTSC 48kHz - 23.98 sequence preset. Or it's anamorphic sibling. (How where you thinking of going progressive?)

Sequence Settings when using low resolution video

I am going to create a project that will consist of DV 720 x 480 and some really low resolution video from digital still image cameras.
1. If I export as DV NTSC, what is technically happening with the video that is in my Sequence that is smaller than 720 x 480? Is it being stretched to 720 x 480?
2. If my project did not include the 720 x 480 video, would it be better if I adjust the sequence settings to match the size of the low resolution video?
Thanks.

#1: If you make a 720x280 DV NTSC sequence and insert the low-res video, how it appears in the canvas will be how it appears upon export.
#2: Depends on your intended output.

Does exporting DV using "Match Sequence Settings"

I am capturing VHS and Hi8 home video using a Canopus ADVC-300 and Premiere Pro CS6. The output is DV, about 14GB/hour. Most of the captures are unattended (have a 4 TB disk, backed up of course, but space is not a big concern right now). I'd like to get everything imported before starting any serious editing, so I capture each tape twice: the first time, the video itself; then I rewind, turn the timestamp indicator overlay on, and capture again with the camera running at 2x speed. That way I can quickly find when a particular segment of a tape was recorded without winding the tape around in the camera, looking for the scene and the time isn't overlaid over the image.
I have two questions:
1) Since the captures are unattended, I need to trim the blue screen off the end of each captured files to save disk space. I'd like to confirm that if I trim a sequence and export with "Match Sequence Settings" set, that Premiere will not re-encode the DV except for the parts that I actually changed (I sometimes use dip to black around damaged segment of tape). Based on the export speed, I don't think it's recompressing and the quality looks the same but I'd like to double-check.
Does Premiere Pro CS6 always mark the timeline with the colored bar if processing is required? The "dip to black" parts get a yellow bar, but the rest has no bar. That would be a clue.
Also, the export dialog has "Use Maximum Render Quality" unchecked by default. I check it -- does it matter?
2) What is the best way to permanently associate a date/time with the captured video? I didn't see any way to bake it into the DV for each segment. I'm using comments in sequence markers, set at the start of each clip, but the sequence markers don't move if I ripple-delete, say 10 seconds of noise in the middle of a track. I can't figure out how to get markers attached to the video track instead of to the sequence. I found some videos that say how to do this, but they don't seem to apply to CS6. I found that if I export the sequence, the markers then do get backed into the DV. But I need them not to move if I ripple-edit. Is that possible?
3) My plan is to add a 3 or 5 second overlay title to the beginning of each segment saying what it is and when it was captured, but only for the final export. Is there a trick that I could use to create a title from a marker? This is not a big deal, but seems like a useful feature.
Sorry if the answer to these questions are obvious -- thanks for your patience.

Thanks for replying. The reason I want to re-export the captured DV is because I capture unattended, and don't know how much video there is on a 2 hour Hi8 tape or VHS tape.
I could find out by fast-forwarding through the tape and stopping, but it's more efficient to just capture the entire tape and then trim the end off the tape and re-export. I'm planning on archiving the raw DV capture, and 1-1/2 hours will fit on a 25GB BluRay disk. Two hours won't.
Thanks for the tip about the project panel. I never scrolled it to the right far enough to see the "description" or "log note" field. Hopefully those notes will wind up in the metadata of the DV .AVI file, but even if it doesn't, I'm planning on archiving the Premiere Pro project file with the DV .AVI file.
The copy/paste from marker to title is what I'm doing now. I just wanted to make sure I wasn't missing something easier.
So... does anyone know if Premiere Pro will pass-through the original DV if I re-export after making minor edits?

FCP Sequence Settings

Help, I am using a mix of jpeg stills with jpeg video for final out put of a DVD and Bluray 16:9 what settings do I use in the Sequence settings? I am keen to use the full quality of my material as I am using the Nikon D3s. Until now I have been using settings Frame size:1920x1440, Pixel Aspect Ratio:Square, Field Dom: None, Compressor Uncompressed 10bit 4:2:2
In the Audio/Video Settings: Sequence Presets Uncompressed 10-Bit pal 48KHZ

You'll want a frame size of 1920 x 1080. I would just make put the Jpegs into an Apple Pro Ress with 1080i setting. That way your renders should be pretty quick as opposed to using a Long GOP compression like HDV. It will also afford you a very nice color space and beautiful picture for Blu-ray. Once you're done with the cut, simply export it using File>Export>Quicktime and use that file for your Blu-ray and Standard Def DVD.

Sequence Settings FCP to Color and back again

Sorry in advance if i missed the answer to this when previously searching the forum.
Ok, I have a sequence in FCP. I duplicate it removing any problematic effects and place it all on one time line. I send the sequence to Color. In the settings I notice that the quick time settings are a different ratio to my fcp settings. I change them to 1440 x 1080 (same as FCP). When I send the rendered graded sequence back to FCP the sequence changes to a different frame size?
I can go into sequence settings in FCP and change them but is there a way of keeping the same aspect ratio / pixel ratio and dimensions between the 2 applications.
It feels like I have missed a step when setting the applications up but I can't find where.
Any help will be much appreciated

morphretouch,
Since you are working w/an interlaced format you should be aware of a couple of bugs in Color that will cause the program to mess up your field order. The first bug is using certain nodes in the Color FX room and the second bug is caused by resizing/reframing in the Geometry room (this includes resizes that are done in FCP as that information is carried over into Color). Even if you resize something in Color and then hit the "reset" button the bug will still happen because Color still thinks you resized the image (the border of the frame in the Geometry room will be red instead of white).
More details about the Color FX bug can be found here:
http://www.kenstone.net/fcphomepage/using_color_fxnode.html
A work around for the Geometry room bug can be found here:
http://forums.creativecow.net/thread/223/7110
The work around is in a post by Saul Budd, about half down the page, and starts with the line "I've just had a "D'oh!" moment ..."
-Andrew

Sequence Settings for Computer-targeted Projects

Hello,
It seems to me -based on a scan of the forum's topics- that there are many people who would like to use FCP for creating computer-targeted output, that use still images as the source material. That is, projects not destined for tape or broadcast, that were not shot on video. I realize there are 3rd party apps that do this sort of thing, but the reality is there's no need to spend more money. Creating Ken Burns type effects for example, is very easy to do in the Motion Tab. It's the related sequence settings and render settings that cause the real problems IMO.
For those who do this kind of work successfully on a regular basis, it would be good to create a list of settings that work well, so others can avoid the painful process of trial and error. Sadly the manual (great as it is) isn't much help on topics relating to still image projects. They mention things like square pixels or image size in passing, but they do not give examples of how to start this type of project from scratch.
So post away; let others know what settings work for you. If you can post the project type, source type, and then the settings, so much the better. Something like:
Type: Web Slideshow
Source: TIF, PSD
Frame Size:
Field Dominance:
Timebase:
Video settings:
etc

Bogie: if some of the sequence settings listed are dependant on the imported material (think that's what you're saying), why are we even able to change them? I guess this is an Apple design issue but seems strange if they "are not part of the creation process", that they should be in the same panel as the other items that are, etc.< </div>
Umm, no.
The question here asked about export settings, they did not ask about project or sequence settings. If you meant to ask about sequence settings, that's an entirely different thread and, frankly, it's all covered in the manuals.
To repeat what Zeb has said, because we can't quite seem to get us all speaking the same language here, use conventional, known formats for your production and creation of effects; DV is a great place to star because it's flexible and it's built into FCP (h264 is not a production format, Animation isn't either, nor is MPEG2).
Render your sequences and export them as self-contained movies. Bring them into Compressor and (doh!) open that manual for a few hours of casual and frustrating reading. Compressor is where you will create your transcoded, encoded and compressed movie for delivery to the Web.
What settings will you use in Compressor? Those are determined by your Web host's demands. The smoothest path to Web delivery is to give your Webhead a DV file and tell them to use their favorite compression and encoding tools to create their own favorite formats and bitrate settings.
bogiesan

Moving Images (jpeg) Sequence Settings

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