Revert Nested Sequence to Original Media?

Not sure if I asked this question clearly enough last time, but suppose you have a master sequence with nested sequences. Is there a way to change the clip references to the original media? Even if it can't be done on the timeline, is there a way to direct the export to do so to a final cut xml?

So far, I think the best work-around is contained here, where you use the Shift-T option to identify the in and out points of the original media.
http://help.adobe.com/en_US/premierepro/cs/using/WSEC1CCB36-CFD4-4d60-ABDF-B4F9BE339B05.ht ml
I suppose this section is the key to replacing the nested elements:
Reveal a source frame from a nested sequence
If you want to reveal a clip in a nested sequence (for example, to edit it), you can quickly open the source sequence at the exact frame you want to reveal.
1.In the Timeline panel, target the track in which a nested sequence is located by clicking the header of that track. If you target multiple tracks, the targeted track that is on top is used to select the nested sequence.
2.Drag the current-time indicator to the frame of the nested sequence that you want to reveal in its original sequence.
3.Press Shift+T to open the source sequence in the Timeline panel, with the current-time indicator at the frame you specified in the nested sequence.
4.Double-click the clip where the current-time indicator rests to open the clip in the Source Monitor.

Similar Messages

Media Encoder CC 2014 using cached versions of Precomps in AE and Nested Sequences in Premiere?

I'm seeing this weird thing where Media Encoder is using older versions of certain assets when exporting a Premiere Pro CC 2014 sequence. I'm seeing issues with nested sequences...Media Encoder uses an old version of a linked AE comp or it doesn't render a certain video track. With linked AE comps...I'm seeing Media Encoder use an earlier version of a precomp within the main comp.
When I look at the video in the Export Settings dialogue in Media Encoder, the old version of the AE comp shows .
If I look at the Export Settings dialogue in Premiere, it's up to date and looks right.
Anyone dealing with this or found a workaround? Thanks!
Calvin

I don't think I'd call this issue expected behavior...at best it's anticipated behavior that's going wrong. The only reason I wouldn't call it expected behavior is because what I'm seeing is AME reverting to a cached state on a FRESH LOAD of a sequence to render directly from Premiere. Basically, AME isn't open...sequence looks fine in PPro...load into AME via PPro export...look at export settings dialog in AME and note that the sequence is the old/cached version. So, it's not like the export was already in AME and THEN I made changes in PPro. It appears AME might be incorrectly identifying the newly imported sequence for export as an older, cached version.
However, I didn't get a chance to test your original solution so I'll try that the next time I see it happen. I also fixed the issue by clearing out the media cache and databases. NOT an elegant solution at all and TOTAL overkill...but it did work.
Thanks for the links!

Time remapping a nested sequence results in black/empty video

Hey!
I have a long sequence (47 minutes), which I wish to time remap (to increase the speed at certain Keyframes). I have therefore nested the sequence into a Master Sequence, where I perform the time remapping. However I experience what appears to be a weird bug: At a certain frame the video turns black/empty and stays that way - even though the original sequence still has video material.
It doesn't help splitting the clip (nested sequence) up in smaller clips and time remap those individually - the empty frames just appear earlier in each clip.
Export works fine
When I export the sequence as Media, the output seems fine however.
I hope, that you are able to help me or tell me, if I'm doing something wrong.
Thanks in advance!
Hardware info
I work on a MacBook Pro (Retina, 15-inch, Mid 2014).

it depends on how powerful the video card is, and how many accelerated effects are being used. it might slow you down a little, or alot. if you have an intel graphics, they arent very powerful to begin with, basically just good for browsing the web. however premiere tries to use them and they cause lots of problems. im not sure if its premiere or intel thats causing the problem, but they dont play nice together. if you have the nvidia version macbook, you might have opencl or cuda available in the renderer menu. if it was on opencl, could try cuda, or opencl if it was on cuda.

Offline edit, timecode and nested sequence question

I'm working from DVcam dubs on a 10 song, 5 camera video shoot. It will be mastered from original HDCam tapes eventually. Too keep things orderly I planned to create a sequence for each song, edit from a multiclip, then dump each finished song segment into a new master segment. However when I ran a test to see if this would work it seems that the new master sequence time codes only refer to the time codes from the individual song sequences, not the original tape (each clip starts at 01:00:00;00). Thus when I go to recapture from the original HD tapes, the time codes would be off. Is there a way to make this process work or should I be editing everything into one master sequence right from the start? I plan on making an offline copy of the final sequence using Media Manager so when I take it to the final production house they can just capture the final sequence with handles, not all 6 hours of tape. It's just cuts and dissolves. Any workflow suggestions would be appreciated.
G5 Quad Mac OS X (10.4.5) 4.5G RAM, DSR-11

The clips should still reference their original timecode on the tapes as long as you have not replaced the clips themselves with proxy clips or self-contained movies that have had their timecode modified. This should not be affected by nesting sequences.
You should probably collapse your multiclips before running Media Mangler.
I actually use the proxy clips method often when working with multiclip. As you are aware, the multiclip can only be as long as the longest angle, and you cannot have multiple clips in one angle, so what to do if several tapes are captured in pieces? -
I create a sequence which is an image of each tape, with the starting timecode modified to match the tape's timecode. I then export these to reference movies which I re-import to FCP. I then assign the relevant reel names to these proxy clips, and create my longer multiclips with these.
I cut my multiclip sequence, collapse it and use MM to create offline:remove unused. It creates a new sequence which correctly references my tapes and timecode. I was amazed the first time this worked for me.
Hope this helps.

Recompression in Nested Sequence

Does anyone know if a sequence is compressed if it's nested inside another sequence?
My project has several sequences, themselves made up of several nested sub-sequences, that I'd like to combine into one final edit, but don't want to put the video through rendering and compression several times over...

No, it's not. Material is only compressed or rendered once from the top down from the original media.

Archiving Projects that use Nested Sequences

I'm looking for some help using Project Manager to archive projects that use nested sequences.
I work at the University of Michigan, we are wrapping up a study that is based on files from many Premiere Pro projects. Each project started with 150 to 160 min of video footage from two cameras.
Of this we have edited down to a 10 – 20min finished sequence containing footage from both cameras as a two-camera shoot. I want to archive eachproject (to save HDD space) retaining only the used sections of footage in thePPro archived project, allowing us to make minor edits to the projects.
My workflow has been to rely heavily on nested sequences throughout each project. From two sequences containing all of the footage from Camera1 and Camera2 all the way to the final cut sequence everything is dependent on a series of interim nested sequences. So the last sequence “Final” is based/linked on the very first sequences. When I attempt toarchive this using Project Manager the nested sequence edits are not recognized as individual clips. I either end up with all of the original footage or no footage. I’m not sure how (if?) I can archive these projects in a way to eliminate all but the final file footage segments with 30 frame handles.
Can anyone point me in the right direction or offer some advice?

figure for $1000/terabyte drive
Alot less than that, you can get a good Dual HD enclosure for $100 and probably less than that, and 500 Gig Drives for about $250 a piece, so assume about $600 without shopping too hard.
I find it is alot easier to use HDs, and have a couple of copies for important projects. You can use the other items as another backup (never can have too many) and going to be easier than having to recapture, especially if there was dropped framess or timecode issues. Guess it comes down too how often do you have to go back annd re-edit a wedding DVD once it is done, and what will make your like easier when it is said and done, but if it happens, on the HD just open it up, otherwise you have to recapture the tapes which is a couple of hours at least it sounds like.
As to archieve DVDs, who knows. There have been claims that the original CDs were to last 100 years, some of the ones I bought when they first came out started to go a few years ago. Same for some other media.

Premiere CC 2014.2 crashes when rendering or (rendering effects) In and Out SEQUENCE for playback in a Nested Sequence

I have 4 internal HDD and an External. No matter where I assign Media Cache Files or Media Cache Database Premiere crashes within 100-300 frames in a Nested sequence. I am trying to move the caches around, deleting them, restarting a fresh nested sequence... nothing! I cannot get the short film done because of it. I have even formatted my hard drive and started fresh thinking that solves the problem, but it still remains. Anyone know what I can do?
Running Windows 7 64 on Bootcamp.
Quadro 4000
32GB Ram
dual xeon quad core

Hi,
I would suggest the following steps:
http://blogs.adobe.com/kevinmonahan/2014/09/10/premiere-pro-cc-freezing-on-startup-or-cras hing-while-working-mac-os-x-10-9-and-later/
Run a disk permission repair on your boot drive, and
Reset Home Folder permissions and ACLs Error | Apple Support Communities
Thanks,
Rameez

Each edit is taking 5-10 seconds to process in some of my project file's nested sequences. What can I do?

I edit a weekly news show. For this show, I have created a Project File that I re-use as a template every week. It's a highly nested template, with a sequence for every used material (the anchorman’s footage, the news set, the media playing over the anchorman’s shoulder, the lower thirds, etc). It has three different camera angles in a multicam sequence, each sequence sharing the same nested sequences but just resized to look like a different camera angle. To make this easier to understand, here's an episode (explicit):
SKATELINE - Cory Kennedy, David Gonzalez, Jimmy Carlin In Enjoi Oververt and more.. - YouTube
In the past, the template has worked perfectly. However, everytime Adobe has a major update and I update the project file, for some reason, some of the sequences perform very sluggishly. With Adobe's recent update, the sequences for the anchorman’s footage and the media playing behind him are very slow to make edits in. Every action I do takes 10 seconds to process, even moving an image. However, if I work in the master sequence (With everything put together) everything runs perfectly smooth when I make edits.
In an attempt to fix this problem, I decided to recreate the project file from scratch, with the new update, but even then, my "anchorman footage" and "media behind him" sequences are very slow. What's even more bizarre is if I select a piece of footage in the anchorman sequence, my entire program sometimes crashes. I have tried rendering the sequences to help performance, but that hasn't worked. I have tried installing CUDA Drivers to use the CUDA version of the Mercury Playback Engine on my Macbook Pro Retina, but it also still isn’t working.
So why do you think that my sequences are operating so slowly? What could be causing it? Could it be that each sequence is used several times in the multicam sequence? If so, why has it worked smoothly until now? What can I do?

Yes same issue for me also, working in mutli cam nestings
Very Very Sluggish Performance, semi hangs in PP, if you actually wait long enough, or leave it hung whilst you do a post on here, for a few minutes then it may come back to response.
The issue is defo to do with nesting, I have tried turning off audio wave forms, which helps in the multicam nest edit but as soon as you put that sequence into a third nest then the sluggishness is major.
Basically, this looks to be the same issues that have been reported before with the new update.

Changes to master nested sequence not updating in new sequence

Good morning - I have spent the past half hour or so searching the forum for this topic but have not found the answer. If the answer exists elsewhere, please point me in that direction; otherwise, here goes:
I created a nested sequence by simply dragging one sequence (A) from the browser into a new sequence (B) in the timeline. Later, I went back to Seq A and replaced all of the audio (which was in-camera audio) with clean audio from a Tascam field recorder. So far so good. However, Seq B still plays the original camera audio and is not reflecting any of the changes I made to Seq A.
I tried deleting audio render files, quitting and restarting FCP, etc., all to no avail. I have the latest versions of the OS and FCP. Any suggestions would be much appreciated.

As you've probably found there are several ways to create/edit nests into sequences. The manual points out an advantage of using nested sequences is you can make a change and that change will be reflected in all the subsequent nests. As you've also found out, this isn't exactly true.
The only way I've found to have communications carry forward to nests from the original sequence is if I edit the sequence into another sequence via the Canvas overlay/edit keyboard shortcuts from the Viewer. I've found dragging and dropping to do as you've found.

Time remapping / slow motion extremely jumpy with nested sequence!

I have just finished the rough-cut of a ceremony when I went back to add effects-- slow motion, color correct, etc. only to find that ANY time-change is jittery-- extremely jittery, like it's skipping frames.
For trial purposes I created a new timeline with only one video clip placed multiple times. I reduced one to 50% with frame-blending, the other 50% with NO frame-blending and the final using time re-mapping with frame-blending. At 50% I don't expect fluid movement, but they are all acceptable... Until I put a different timeline in the timeline (I think it's a "nested sequence").
When speed is slowed on ANY nested sequence it is jittery. Whether it is a single nested sequence or a multi-camera sequence, it jumps.
Has anyone else had this problem?! Is this a bug? I never noticed it until this wedding. I am using CS3 and I cannot afford the time to re-edit this ceremony with 2.0.... Unless I have no choice.

Hi Wil,
I have tried using both. Time remapping on the clip (not nested) works fine, so does 'speed change.' But both time remapping and speed change result in jumpy frames when applied to a nested sequenced clip.
I tried this on another (much lower system) and have found the same results. I am begining to think it is the footage but it seems odd that it is perfect when applied to a clip in the timeline but NOT to a timeline in the timeline (nested).
I am on vacation and do not have access to a faster machine until next late next week but for now I will try the export again to be sure Encore sees the same thing.
I am dumbfounded because I had been using 1.5, then 2.0 and now CS3 for weddings for years and have never noticed this. I have noticed it on the both the last project and now this current one.
I thought it could have been the original footage (or a camera problem except that the problems are not there until a nested sequence comes along. I will try moving the footage to my internal drive now and see what happens...
Thank you so far for giving me ideas.

Converting a nested sequence into a single clip

Hi,
I was wondering if anybody could tell me how to convert a nested sequence into a single clip?
I have captured several forty minute mini-dv tapes and there were a lot of timecode breaks, my user preferences made FCP generate a new clip every time the timecode changed.
I like to make subclips from a single master clip when I edit so I added all the broken clips into a sequence and nested them which has created a single clip within a sequence, but it has labeled the footage as a 'sequence' in the browser as opposed to a 'clip'.
I think I need to strip the footage of its timecode but to not want to have to print to a blank mini-dv cassette and then re-import, if anyone knows of a solution to this problem it would be a great help.
Many thanks.

File - Export - QT Movie... Current Settings... don't make it self contained and DON'T trash your original captures either!!
CaptM

Audio mixes not correct when inserting nested sequence.

Ah, yet another anomalous behavior issue...
I commonly edit packages for a program I regularly work on, then drop the nested sequences into the show timeline...it's easier that way, and the EP likes it that way. However, I occasionally come across an issue where the nested audio sequence doesn't "remember" the mix levels of the component parts. For instance, I just made an audio adjustment to the open of the show, and dropped the nested open into the show timeline...where it promptly "forgot" the music rampdown I'd just done.
The workaround? I slipped the audio track, blowing out the render files...then dragged the clip back into sync, re-rendered again...and then the mix stuck.
Probably I should do this sort of stuff in Soundtrack, eh?

FCS has lots of quirks (I hesitate to call them bugs because they are not always repeatable). Still, people need to keep in mind that the FCS suite is built upon an ancient (in computer years) core technology (and code). While everyone is holding their breath for 64bit thinking it will be faster, I'm cringing because I know what a massive bit of code this suite represents and the thought that a complete rewrite will get everything correct is simply unimaginable.
[/rant on] My simple hope is they do not keep chasing after these consumer formats (including BR) and simply focus on making the core of the program function exactly as it should - especially media management. The whole 32bit/64bit nonsense is a distraction. Stuff that is stable and works the same every time - even if a little quirky- is MUCH more valuable in the professional environment than dumping in loads of new stuff. [/rant off]
Have fun.
x

Working with Nested Sequences

I'm working with a 1 hour, 20 minute multi-cam (2 cameras) Sequence of a concert, with many edits. One of the music pieces was complicated, so I separated it out into a separate Sequence, and did the editing. Later, my occasional fcp tutor created a new nested Sequence, into which he transferred the separated piece. The nested Sequence is exactly the same length as the original Sequence.
Since the two cameras required different kinds of Color Correction, we did this in the nested Sequence. Then we exported the nested Sequence as a self-contained QT file. O.K. so far.
But then later, after my tutor has gone, I realize that I don't understand nested Sequences. When I double click on the nested Sequence in the timeline, I'm taken back to the whole concert Sequence in the timeline, out of which the nested Sequence was created. So, Question #1: I can't adjust the audio in a nested Sequence? Question #2: Now, I realize I need chapter markers and I create them in the original whole Sequence, but too bad, they don't appear in the nested Sequence (which has the color correction that I want). How can I transfer my newly created chapter markers in the nested Sequence so that I can now re-export it with the chapter markers?
Thanks, Robert

1. Duplicate the 'whole' sequence (The one with the chapter markers)
Give the duplicate an obvious name. Like "FinaL WITH CHAPTER MARKERS".
2. Delete all clips in this duplicate sequence. (Command-A, then Backspace)
The chapter markers will remain. Don't alter the original sequence in any way!
3. Go to the nested sequence. Copy Everything (Command A, then Command C)
4. Go to the (now empty) Duplicate sequence. Paste (Command V)
Rienk

Can I delete Original Media folder after its all been transcoded?

So i remember reading that most footage you import should be transcoded. Though Final Cut Pro "works natively with formats like h.264 and dslr movs, it is better to have it optimized into Pro Res and transcoded." Having listened to that, I have Optimized all of my media that I have importated however now I have double the media in my FCP Events folders because I have both Original Media and Transcoded media. This leads me to a few questions...
1) Can I delete the Original Media folder if all my my media is transcoded? How will this effect my timeline and projects? Will this free up space? How can I verify all of my clips have bene transcoded?
2) Can I delete the Transcoded Media and go back to using the Original Media? Will this mess up my timeline and projects that I have started editing or will it revert the media in my projects back to the Original? Which would run faster/better performacne Original Or Transcoded? I shoot all of my footage on a Canon 7d DSLR 24/30 fps 1080p, H.264.
3) What workflows have you used so that you dont dobule anything? If this project is a loss, what should I be doing in future events when importing? Should I send to Compressor and transcode there BEFORE I import into FCP. That way I am only importing the Transcoded stuff?
Thoughts?
Mike

1- Yes, you can delete the Original Media folder, FCP will only read from your Optimized Media folder then. But move it to the trash first, then launch FCP X and test it out, before emptying the trash.
2- Yes, again, test it as I mentioned in 1 above. Once you remove either Original or Optimized, it's gone, that's it.
3- Always let FCP do the transcoding, doing it in Compressor gains you nothing. You shold base your decision to optimize on the hardware you're using and the amount of storage space you have available. H.264 is super compressed. ProRes uncompresses it and is more of it's natural file size.

Finding your place in a nested sequence

Plop an ordinary clip in the timeline, move the playhead to a spot in the clip, double-click the clip in the timeline, and the clip pops up in the source monitor with the playhead at the same spot in the clip.
Place a nested sequence in a timeline, move the head to a spot in the nested sequence, double-click, and the original sequence opens up in the timeline window, but the playhead is not in the same place (it's where you left it the last time you were working on that sequence).
If I've got a nested sequence in a new timeline, is there any way to quickly assertain where the corresponding place on the original sequence is?
Thanks in advance!

Use the keyboard shortcut "M" to perform a Match Frame operation.
Nein!
Use Shift+T: Reveal Nested Sequence. It will open up the nest in a Timeline panel tab (if it isn't already) and park the playhead at the matching frame.

Revert Nested Sequence to Original Media?

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