Reconnecting the footage to the sequence

Could really do with you're help.
I have delete all the media files from my film (accidently). I have now recaptured every one of them again. There is no red slash through the clips on the browser.
Now that I have recaptured it all I cannot seem to get the footage to appear in the sequence. I have seen this problem been asked before, but the answers do not appear to help.
Can someone tell me how I reconnect all media in a sequence?
Thanks
Tom

If I reconnect the old media that I do not want - It then autmatically updates the sequence, but with the info I don't want.
How do I stop it looking at the old files? I have changed the scratch disk, etc.

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My 2008 Mac Pro running Lion will not play HDV1080i60 footage in FCP 7. When I open the sequence settings, all HDV codecs are hdv1, hdv2, hdv3, and so forth. Anyone have any idea how to fix this?

My 2006 - 2008 Mac Pro running Lion will not play HDV 1080i60 footage in FCP 7. When I open the sequence settings, all HDV codecs are hdv1, hdv2, hdv3, and so forth. However, when I open the project on my other Mac Pro running Snow Leopard and FCP 6, the footage works fine as it does on my newer Imac running Mavericks and FCP 7. I have tried a Quicktime update on the Mac Pro that the footage doesn't work on but it says that I already have the newest version of Quicktime installed. I have also tried reinstalling the Final Cut Pro Studio twice, still no fix. I'm completely out of solutions and need to be able to edit HDV footage on this machine. Any help would be great. Thanks.

there was a recent software update that seemed to screw HDV up. Do some searching here over the last month or 2 and you'll find a bunch of posts and some possible solutions.
Worst case scenario, do as Shane suggests. But might I suggest you take a look at the user tips section of the forum. there are some great tips on how to prevent these sorts of problems by cloning your startup drive, etc.

Having Issues Keeping My Footage from matching the Sequence

Hi Everyone,
I have a weird question. I am trying to bring my 1920x1080 footage into a 1080x1440 custom sequence. Premiere keeps preserving my footage at 100% but is scaling the footage down to fit the 1080 width. I want the wrong aspect ratio and I do not want Premiere to scale down my footage. This happens as well when you bring a 1920x1080 footage into a 1280x720 sequence. It scales down the footage. I want to preserve the large aspect ratio and move it around in the program window. does anyone know haw to prevent this. The only way I have found is to bring a sequence into a sequence and preserve the existing settings, but then I can not see my wave forms in the audio.
I need a preserved 1920x1080 footage to fit "oversized" in a 1080x1440 timeline. I do not want Premiere to assume I want it perfectly fitted within it, leaving black bars on the top and bottom. HELP!
Thanks!

Are you sure?
I have never seen PPRO automatically scale source footage to match sequence setting ...unless one has checked the options to do so.
Scale to Frame Size or Set to Frame Size

FCP - Rendering & Reconnecting the files

Hi
Rending-
I'm facing slow speed on the rendering and prepare video in Final cut.
The Video info is "1920 x 1080" & "Codecs: Linear PCM, MPEG-2 Video"
I think maybe because the sequence setting do not have the option for me to match with original files. I have rending each time when I move around the clip in the time line. And each time I'm rending it takes about a hour for 20 mins footage. When I try to write the video take even longer.
Reconnect the offline files-
After I have transfer the date to another external hard drive. I know the filing system can not recognize change location's files. But how do I set one time for FCP to recognize the new files with reconnect every time when I reopen the fcp?
Thank you

Two questions:
1. How much is your time worth?
2. Is this material going for theatrical or broadcast release?
If the answer to question 1 is "a great deal" or the answer to question 2 is "no", then it makes a great deal of sense to convert the material to ProRes LT (or ProRes if you are on FCP 6)
If the answer to #1 is "nothing at all" or the answer to #2 is "it is scheduled for release next year", then leave the material in it's native state and suffer your way through it.
x

How to include the timeline counter in the sequence

PPCS4
This sounds asif it ought to be simple, yet I can't find a way to do it!
How do I show the timeline counter in the sequence?
I want to create a DVD of project and include the time count on screen.
Can anyone help?
Cheers

Place the sequence containing your editing timeline into a new sequence.
In the Effects panel, type "timec" into the search box.
Apply the Timecode effect to your sequence clip.
Export via Encore to DVD. You may need to render first to see the timecode overlay depending on the format of your source footage.
Remember that F1 is your friend and that Google is pretty helpful, too.

Why is my exporting taking over 1 minute per second of video in the sequence?

Hi folks, brand new to Premiere Pro (CS6) here, previous FCP user many years ago. I have a bunch of AVCHD footage shot on a Sony DSLR, and I'm currently playing with bits and pieces of it trying to figure out my ideal workflow. My footage is 1920x1080 (1.0), 59.94 fps, progressive. I took a random 15 second clip and threw it into a new sequence, put a Warp Stabilizer on it, rendered it, and now I'm trying to export it. However, regardless of whether I'm doing a 1080p H.264 export or a 720x480 AVI export, it seems to be taking FOREVER...about 15-20 minutes for this 15 second clip. I must be doing something wrong. Help?
System specs:
Intel 4770K, overclocked to 4.2 GHz
NVidia GTX 780 (with GPU acceleration enabled, though looking at the GPU loading in GPU-Z shows it consistently at 0% for any type of rendering/exporting)
16 GB DDR3 1600 RAM
Windows 7 x64
For the sequence preview file format, I'm using P2 1080i-1080p 60Hz DVCPROHD, at 1920x1080. Max Bit Depth and Max Render Quality are unchecked.

Thanks, but I don't see much of a difference with that checked. Even a 4 second long file is taking 10+ minutes to export with just a warp stabilizer added and previews rendered.
Maybe the fact that I'm using 59.94 fps footage has something to do with it? I can't think of anything else. I'll try recording some stuff in a different format and see what happens. That would be a shame though, I'd like the final product to be in 1080p instead of 1080i.
Still not seeing any GPU usage at all, regardless of what effect or anything I'm using.
[EDIT] And all of a sudden, everything seems to be working fine! No idea how. Weird! [/EDIT]

How to move a sequence, and only the media in the sequence?

I need to move a 30 min. sequence, and associated media, to work on a different, remote editing system.
I'd like to just get the media in the sequence with maybe 5 sec. handles. Every test I've run through Media Manager has copied each, complete, original media clip (not just the portion used) - many of which are over 20 minutes long - despite having only used a small portion of each clip. (So in the media manager Summary section the bar graph of "original" amount of space used, is always the same as the "modified"). In the past I think this was called "Bounce"...
2. If I accomplish this, can I email the sequence data only, and have it link up in the original editing system, or will the media file names be so unique that the original system won't recognize them and link up.
Thanks in advance for the help.

Hi -
Question 1: The obvious first question is - did you select Delete unused media from selected items?
!http://www.spotsbeforeyoureyes.com/MediaManagerDeleteUnused.jpg!
If you did, does your media have a Reel Name associated with it?
2) You can email the project sequence information (you will want to zip it first before sending), Then you can relink to the media as long as the media has the same names. If will be a matter of re-directing the sequence to the new directory location of the media - which you will do through the Reconnect dialog box.
But you might want to just buy an external hard disk drive, copy the media and project there and FedEx the whole thing to your collaborator.
MTD

Settings, preferences for the Sequence

i'm capturing footage i shot with the panasonic 100a,
and before i bring footage into a project to edit
i need to make sure my original presets are what i need from here on out....
i just want the most 'pure' treatment of my footage once it's in the sequence,
not going through thing it doesn't need. in the end, my final film must be just like it is when i put in the computer.
i'm not familiar with settings like:
* field of dominance, such as lower(even)
* pixel aspect ratio
* video processing, like YUV allowed (8-bit)
* white point
* compressor (i don't see why i'd won't compress my footage, if it's not to be
made into a steaming video clip or the alike)
* data rate limit
on my panasonic the setting i shot with, instead of '24 p' was 'scene advanced'.
thanks alot for any advice.
wkm

Select the Easy Setup that matches the source materials' properties. i.e. if it's anamorphic choose that etc... You can probably capture it at 29.97 even if you've shot 24fps. It will look exactly the same either way. The only reason to capture it and remove pulldown is if you're going to print back to film. You neededn't worry about any of the custom settings at all... just use the easy setup that matches what you shot.
Jerry

Multicam - viewing all angles in the sequence

OK, I am a novice when it comes to multicam on FCP.
I can't seem to figure this small thing out...Can you NOT see all the angles of a multiclip while the footage is in the SEQUENCE? I know that you can see all the angles in the VIEWER, but I want to drop the whole 2 hours onto the timeline, and trim and swap angles there. But I can't see all the angles while watching in the CANVAS I have a Convocation, with a line cut and three ISOs, and I just want to cut away to the other angles when, well, I want another angle.
Not possible? How should I approach this?
Thanks,
Shane

OOoooo...thanks Michael! Perfect!
Only...I am stuck with a problem. They shot two nights, and the first night all the cameras matched...so that works great. BUT, they want me to use the SECOND night, and what did they do? They used a DIFFERENT CAMERA that shot a DIFFERENT FORMAT. So I can't multiclip. This is a two hour show.
I might transcode the different camera...I think the time taken to do that would make up for me trying to do it via stacking. Ugh...things can never be easy, huh?
Thanks!
Shane

POOR image quality once files are in the sequence

I have been doing screen captures in Screen Flow and/or IshowU HD Pro to combine with DV NTSC footage in Final Cut Pro. First of all, all of the captured screen footage looks really bad when exported with compression unless it is exported lossless. Any attempt at compression seems to make a very poor fuzzy image. If I take a high quality lossless screen capture in to final cut it looks bad once it is in the sequence window. Specifically all writing that is small or any hard lines on the screen appear to be jaged, and generaly unreadable. Both screen capture programs (IshowU and Screen Flow) seem to work fine, I believe the prolem is within Final Cut, any ideas? Any help will be much appriciated.
Thank you,
GS Love
Message was edited by: gslove

sorry about the shout. thanks for the great feedback, you guys are awesome.
ok, so here is the info:
compressor: animation
frame size: 1440 x 900
frame rate: 29.97 fps
target: web dist. ... so will eventualy need to de-interlaced
monitor: canvas window (i think) i am viewing the footage on my laptop screen
The viewer/monitor is probably not the problem. I distributed a similar project on the web with the same problem. The video footage was excellent but the photoshop palettes were un readable.
It is being edited with footage from the GL1 (DV/DVCSpro/NTSC) which is 29.97 fps and a frame size of 720 x 480. The footage that we are having the problem with is footage that is captured from a screen capture program, we are trying to see pallets from photoshop clearly on a documentary/ tutorial.
When we view clips from the screen capture program in the final cut browser window they are perfect. But as soon as they go into the sequence (even after rendering or exporting) they look like poop . . The images look offset, like seeing double. Also a bit of colorfull digital noise, just in letters and lines that were black in the source footage.

I need help changing the sequence settings to my video

I shot on a JVC Everio in 720x480 29.97fps. I normally shoot in 1080x420 so I know the picture quality isn't going to be AS good. Normally, when I drag my clips into the timeline Premiere changes the sequence settings for me and everything looks fine. However when I drag this footage (the 720p) in, it becomes elongated and fuzzy.
I've messed around with the sequence settings by using DV-NTSC widescreen 48kHz and DVCPRO50 480i NTCS widescreen. When I drag my clips in they're cropped really close and they still look a bit off when I change the image to fit the screen (DVCPRO 50 looks a little bit better).
When I shot the video it looked crisp and clear on the monitor. I'm wondering if it looks strange because of the sequence settings and if so, what would be the best settings for this video.
The final video is going on youtube and I would like to make it look as good as possible!
Please let me know if you can help me out!

However when I drag this footage (the 720p) in, it becomes elongated and fuzzy.
What 720p? You gave us two frame sizes. Neither of them are 720p.
1080X420 is a very strange frame size. And you say it is normal? A 720p video is 1280X720 non-interlaced.
Chances are very good that it is 480i video you shot with a frame size of 720X480 and it is interlaced.
That video should be interpreted with a Pixel Aspect Ratio (PAR) of 0.9091 (rectangular pixels that are taller than they are wide) - and what that means is that it isn't 16:9 it is 4:3 and should be edited in a 4:3 sequence. If, however, Premiere Pro is seeing the footage as having a PAR of 1.0 (square pixels) then you may have to right click on the clip in the Project Panel and select Modify|Interpret Footage and set it to D1/DV NTSC (0.9091)

Is there a way to create a renaming preset where the sequence starts at the number "0" zero?

What I am trying to achieve is the following:
Fro example, I am photographing a handbag and I need to rename the file using a barcode and a barcode scanner.
My sequence of images goes like this:
Image 1: Tag shot
Image 2: Front
Image 3: Back
Image 4: Inside bag
Let's say the barcode once scanned produces a code such as TRE8801AZT16-Z
Right now my current preset is "Custom Text_Image # (1)"
This results with the images being renamed as:
TagShot: TRE8801AST16-Z_1
Front: TRE8801AST16-Z_2
Back: TRE8801AST16-Z_3
Inside bag: TRE8801AST16-Z_4
What I need is the sequence to start at zero so the tag shot is _0 and my images are named like this:
TagShot: TRE8801AST16-Z_0
Front: TRE8801AST16-Z_1
Back: TRE8801AST16-Z_2
Inside bag: TRE8801AST16-Z_3
Is this possible? If yes, how?
Thanks for the help
Cody

About as close as you can get is to right-click on a single clip and Make Multiclip Sequence. Hit OK to make an sequence out of the single clip. Open the sequence made and delete the multiclip and edit the clip you want back into the sequence.

I connected my external hard drive to my new imac to put all of the information from my macbook onto it. i have been working on the macbook now and want to reconnect the external hard drive so my imac is updated with the work. How is that done?

I connected my external hard drive to my new imac to put all of the information from my macbook onto it. I have been working on the macbook now and want to reconnect the external hard drive so my imac is updated with the work. How is that done? or is it possible?

As I said, I don't use Time Machine, so it'd be best to wait for an "expert" answer, but, with my very limited knowledge, I'd say: probably not - so, for now, I'd suggest you read up on Time Machine:
http://web.me.com/pondini/Time_Machine/Home.html
http://support.apple.com/kb/index?page=search&src=support_site.home.search&local e=en_US&q=time%20machine
And, you might be attracting more knowledgeable answers if you were to post this question in the Time Machine Forum (part of the Snow Leopard forums).

I can not play the sequence in preview mode. How do I fix this issue?

Each frame loads in the preview window when highlighted, but I can not play the sequence.

I am working on a project for school. I have been draging clips down to the timeline and matching it with a few voice overs. Nothing too complex. I have been previewing my work as I go by pressing the space bar, Im not sure what I did but now Premiere will not play the preview in the Program sequence window.

Sequence header at the end of the sequence in the report

Good afternoon everyone,
I have a strange issue with my TestStand Report (any kind of report type) : some time ago the headers (with the name, the parameter's values, the module time, the status) of the sequence and sub-sequence were at the begining. Now they are a the end of the sequence, which means instead of having the status of the sequence first, I have the status of all the steps contained in the sequence BEFORE having the status of the sequence.
I have checked and double checked the Report options : nothing tells that the headers must be at the end.
I have 2 bench on which my sequences are running and one of them has the sequence headers upside down in the report and the other has the headers in the proper order. Their report options are exactly the same and I can't find where the configuration is different !
Does anyone have some idea ? Please ?
TestStand revision : 2010

To Norbert :
The steps in the body are ok, in the correct order yes.
I've attached two extract of report (check the Report Correct first), change the extention from ".txt" to ".html", the html one wasn't authorized by the forum.
To jiggawax
I'm not using XML format, only text or html. Where is located the ReportOptions.ini file ? I cannot find it with a basic search, could it be hidden ? As I am not managing this file in the configuration of the benches, it might be the origin of the problem !
Both benches are running the same client sequence indeed : the client sequence are located on a network reachable by the benches.
I doubt that one the client sequence can override a report callback but afterall I should make sure of this possibility.
Thanks for your help !
Attachments:
Report Correct.txt ‏12 KB
Report Upside down.txt ‏15 KB

Reconnecting the footage to the sequence

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