Sequence settings .. again

Hi
I found a bunch of threads about sequence settings but nothing that helped me with my problem.
I created a project and must have accidentally picket the wrong sequence setting. (Newbie) When I export the final product,
my footage now has a black bar on to and bottom which my original AVIs do not have.
I have not found a way to change this. If I choose one of the original AVIs to "create a sequence from file" it will
create a new, good project, but all my other editing will be thrown out, including the audio snippets and everything else.
Am I really stuck and need to start from scratch?
Thanks

If you are on CC, look at the settings of your good sequence and change the faulty sequence to match. This is done in the sequence settings menu. If you are on CS6 copy and paste your clips to the correct sequence.

Similar Messages

Custom Sequence Settings for Split Screen

Hello all,
FCP 6. I am doing a split screen where I am combining two 720x480 videos side by side. I did the whole project by scaling down both videos to match whatever the sequence settings were. How can I create a custom canvas/ sequence size to avoid scaling down the frames and cutting on the image quality?
I created a custom sequence setting doubling the width to 1440 and keeping height at 480.
Can I copy and paste the clips from the old sequence without the scaled down quality to the new sequence? How can I do that?
If I open a new sequence is the new setting going to be in effect?
Any other suggestions on how to deal with custom size frame/ split screen?
Thank you!

Dear Jim,
Thank you for help! Does make sense. I did all like you suggested. After removing 'basic motion' and pasting into new sequence, the clips appeared big default size instead of small. I re-applied motion attribute like you said, but isn't it scaling down again since I am sizing from big to small (50%) again?
It looks good on the screen but I am not sure about actual resolution of the clip. In clip-item properties-format I read frame size but I am not sure if this info is about the source file or the clip.
I would like to get around this issue without scaling down (keeping the scale in motion tab at 100%).
The way I tried to deal with the scaling and res before I got your answer, was after I changed the 'global' settings for the custom 1440x480 sequence, and after creating a new sequence, I went to sequence settings again (from top menu) and set to custom (1440x480) (with just global settings the pasted clips looked like before). After copying and pasting with removed attributes-distort, all was in the original right/left order normal size and resolution.
The way I tried seems to meet my need (as pasting attributes-motion to all again would be complicated as the design of the project does not stick to the clearly left/right pattern but fluctuates back and forth at times and there is too many short clips).
The only problem I have now is with the RENDER.
After I rendered what I did to your suggested solution and mine (two sequences), the whole project shows in low res. I checked the render settings in Sequence-Render Control, and both resolution and frame rate are set to 100% so I dont know what I do wrong.
Any suggestions??
THANKS!!!

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

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!

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?

Sequence settings for digibeta anamorphic capture?

I will be capturing from digibeta where the image is 16x9 anamorphic, using an AJA Kona card. What capture settings and sequence settings must I use to properly deal with the anamorphic image? I am renting the editing suite so I do not have access to it now. I need to prepare still images and titles using the same sequence settings that I will be using to capture. Does the Kona card come with sequence presets that I would not have in final cut pro 5.1, and if so can I edit my sequence settings to match?
Thanks,
Mike

The templates can be found in the new image settings, under "film and video" from memory.
But you could save yourself some trouble, and possibly aspect issues with an older version of Photoshop, by just making a new image in Photoshop that is 1024 x 480 (NTSC land).
Paste your images into that as your template.
Technically the images size IS 720x480 in your project, and then stretched out, but giving it 1024 x 480 starts you at a higher resolution, and avoids any graphics changing shape.
Though FCP handles larger images, and you would be fine to just have all stills under 2000 pixels, and resize in FCP.
Sure it needs to render, but then again you can do non-loss moves into stills.
Oh, and as for presets;
I prefer to use good old ProRes(HQ) rather then card specific codecs.
This way you can archive the project to a harddrive and later edit or change in a suite with a blackmagic card, or even a cardless machine(as in capture card!).
I believe there is an anamorphic Prores(HQ) anamorphic SD option,
or at the very least you can duplicate a Prores setting and tick the anamorphic option!
If you had the harddrive bandwidth and space you could choose to go uncompressed?
Digital beta is about 2:1 10bit, so close to ProRes(HQ).
Uncompressed is best though, but takes space and speed!
FC

Sequence settings not maintained between FCP & Motion

My sequence settings in FCP are the same as in Motion however when I bring in a Motion file that I’ve created or a template it seems to revert back to square pixels. I found the “Correct for aspect ratio” in the view menu, which made the Motion file appear more like the FCP, but when I save the file and a template they still come into FCP in the wrong aspect ratio. In pref. settings for both projects (FCP & Motion) the Pixel Aspect Ratio is HD (960x720), not square. My project size is 1280 x 720. Can anyone help me understand how to get the Motion Project to play nice with FCP. When I stretch and adjust the Motion file to fit the FCP aspect ratio the render looks crappie.
Using FCP Studio 2

Thank you, Thank you!!! Now I understand what you were talking about in the 16 x 9 post answer that you gave.
From the 16 x 9 post:
"This is what happens in FCP as well. The only thing i find is that when I drop the project back into FCP it defaults to having an Distort value of 33. I have to click on it and change it back to 0 to make it display properly."
In that post you didn't mention "Aspect Ratio" parameter in the motion tab. I remember something else I had to adjust like that. Again, thank you. Now to see if the render is still crappie.
No the render of the font on the Motion file is still crappie. Aside from changing the font, does anyone have any suggestions?

Quicktime not an option on Sequence settings Video preview

In the sequence settings, under video preview, "Quicktime" is not listed as a Preview File Format.
Running Windows 8.1, 64bit
I have installed the latest Quicktime, uninstalled it, reinstalled it, repaired it, to no avail.
Also I have done the same with Premiere Pro, uninstalling and reinstalling.
Here is a screenshot of the drop-down menu that does not have the Quicktime option.
I have run out of ideas for how to get this to appear, so I came here :/
Thanks in advance!

[Here's the one response from the duplicate thread.]
The Preview format options have always been somewhat limited. Consider this, that the previews should be just that - previews. When you have sufficient effects added to a clip to where it won't play smoothly in the timeline, you might wish to render it to get a better idea how the finished product will look. However, when you do the final export, best to NOT check the box for "Use Previews", since you would then be re-encoding (recompressing) the clip a second time. Better to export right the timeline, encoding straight from the source to final destination, diregarding any render previews you might have made.
Maybe you can elaborate on the intended use or workflow of your desired preview format? I'm a PC user and I think that on the Mac, with FCP, one had the option to render previews as QuickTime and those files could then be stitched together at the end without transoding them again, but not so with Premiere.
You might find that different Sequence Presets will provide different render preview options. 1280x960 is a non-standard format so that could limit your options.
Thanks
Jeff Pulera
Safe Harbor Computers

Match sequence settings to clip settings should avoid rendering, right?

I drag my media to my timeline and that helpful pop-up stops and asks to match the sequence settings to the clip settings. I say yes, and because the two now match perfectly, this should eliminate the need to render --- right??
I've tried to match the squence before dropping in my media, but can't seem to find the right settings myself.
I can't waste time rendering. Please, any help on this is greatly appreciated!

Update:
I downloaded the Pavtube HD Video Converter App (it costs $35, but it seems worth it). It has a setting menu specefic to mediums; one for Finalcut Pro that includes an option for Apple ProRes. I used the ProRes HQ setting and left the size as original (remember I captured in 4:3). When I put into Finalcut, however, I get a message that says it is not optimized for Finalcut and, once again, I have a rendering issue. However, if I go back to Pavtube and export again, this time changing the ProRes options to resize at 1920x1080, I can import into Finalcut with no problem and no rendering. The catch is that in Finalcut, my video is now stretched to fit widescreen and unfortunately the 1920x1080 is the only size I've been able to export as and then import into FCP without any problems. This is resolved when I export using quicktime convesion and set the size back to 4:3 (shown in screen shot), but brings up another problem - squished text.
Just now seeing other posts to my questions...I will try those suggestions. Thank you!

PP 5.5 - DNxHD Matched Sequence Settings exports washed out video

Just want to make sure I'm not missing something. We shot on Scarlet, and after color we got back 1920x1080 DNxHD files.
Im concerned because after conforming, I'm using Match Sequence Settings to export from Premiere and my export video is washed out and different than the original.
Here's the original DNxHD video that I got from our colorist. (all i did was change the filename)
https://www.yousendit.com/download/TEhXNU1KTlF6RS9xYk1UQw
This is the file Premiere spit out after using Match Sequence Settings (a little shorter because original clip had handles)
https://www.yousendit.com/download/TEhXNU1KTlE0b0R2WnRVag
Sequence Settings below. It's also worth it to note that even though I'm choosing 1080p 23.976 DNxHD 175 10-bit and clicking okay, whenever I click configure again under "Video Previews", the dropdown list has defaulted back to 1080i 59.94 DNxHD 220 10-bit. weird. 709 vs. RGB is not making a difference for me.
My Export settings, just for good measure. "Use Maximum Render Quality" isn't making a difference for me
Side by Side comparison. You can really see the difference in the hair above her left eye. Original has a bit more contrast.
I can get good looking exports using other codecs and settings, PhotoJPEG works pretty well, but I know in a lot of cases DNxHD is kind of a standard for finishing work, and up until now I've done mostly broadcast and I've never worked with this Avid codec before. This is our first project with this camera so I want to make sure I'm doing the post-color work correctly. Our colorist already kinda boned us by not haing a red rocket and basically forcing me to take this codec. I'm just wondering if there is some color management step or setting that I'm missing. I really need this export to match the original.
Thanks for all your help, hopefull i can learn something here

Have you tried comparing the footage from inside of Premiere? Put each of the before and afters over top of each other in Premiere itself and see if they look different. Honestly I downloaded your test file and played them from inside premiere right side by side and didn't notice the problem that I see occuring in your pictures. However I did notice a bit of aspect change or something. But nothing related to color.Anyways just try placing them in premiere and comparing them both from inside Premiere.
If just simply placing the files inside Premiere doesn't fix the issue to begin with. Then attempt to change your preview file format in premiere to something besides Quicktime.
But honestly in the pics you posted I can see a clear difference however when I pull both of your files from rapidshare into Premiere Pro on my windows machine using the standard mpeg preview codec I see no color differences.
Like Jim said though Quicktime can't be trusted for color accuracy it has several known gamma issues.

Wrong sequence settings used on my timeline; can I copy the timeline to a new sequence with correct settings?

The clip properties are Frame size 1440x1080, 23.98 fps (yes a problem for FCE), Compressor: Apple Intermediate Codec, but unfortunately I did all of my hard work on a 30 minute film on a sequence that has SD settings (Frame size 720x480), 29.97 fps, compressor: DV/DVCPRO- NTSC. I first noticed there was a problem when I could only get the exported quicktime movie to appear as a 4:3 when it was supposed to be a 16:9. I have overcome that problem by exporting using quicktime conversion and customizing the settings to reflect the correct item properties of the original clips.
But my concern is that my project is still fundamentally based on a timeline that was created in a sequence with SD settings and that maybe I have lost some resolution quality. I am sitting here looking at the iDVD preview and I am not always sure it looks as sharp as the same clip viewed in FCE dropped in a sequence with the right settings. But maybe iDVD preview isn't as sharp, or maybe it's just myimagination. Any thoughts?
Ideally, what I would liketo do is to copy my timeline out of the first sequence with the wrong settings,and to copy it into a new sequence with the proper settings. But I am wondering if that timeline is now "infected" with the wrong settings,and brings these over to the new sequence. The guy on the Apple help linetold me this was unfortunately the case. Am I really going to have tocompletely do this work over again to get a completely correct workflow?
Any way around this?

Al,
very much appreciate your time on this. Hopefully just one more question. I am trying to figure out whether or not converting the tremendous amount of footage I have from this project shot in 24p will be worth it. In my mind, it is only worth it, if by not doing it, I will end up with a finished product that does not have as good of a picture quality. At this point, I dont care at all about having the 'film look' 24p is supposed to give you, I just dont the picture quality degraded somehow because FCE doesnt support 24p, and I am using a 29.97fps sequence to edit it.
So with all of that said, my question is this:
1. When you said before that when a clip hits a sequence it conforms to the properties of the sequence, what do you think is happening to the clip? For instance, if the clip in the Browser as you shot it has got 1440 pixels for every 1080 lines and you place it on a 720x480 sequence, is some of that information literally disappearing? That seems hard to believe. I would think that kind of conversion would require a program to execute it and some processing time, but the drag and drop on a sequence is instantaneous. And my HD footage on the SD sequence still seems to look better to me than my SD stuff, although that could just be perception. Same issue with the frame rate. When I drag and drop a 24fps clip onto a sequence set for 29.97 fps, how can the clip now have more frames per second? That would be additonal information that was never captured in the first place. How is that possible? I do believe that the clips are changed in some way that affects the output, but it doesnt seem possible that 'conforming' to the properties of the sequence is the same thing as if you shot the original footage with those sequence settings. Something else must be meant by that right?
2. Will converting the original clips in streamclip change the frame rate..them from 24p to 29.97? If they are still 24p, then don't you still run into the same problem when you edit in FCE? And if they are changed to 29.97, how is that better than just dropping them onto a sequence set to HDV 1080 29.97fps and having it conform to that? What exactly is the upshot of doing the streamclip conversion? Especially if I don't care about the 24p look now.

Overkill on .avi files for sequence settings?

I've gotten decent now with the move to HD from DV, but my family still has a Canon S5 IS that shoots SD 640 x 480 .AVI files that I need to deal with.
I did a very quick test (that took a while to render and then encode), but since I wanted it in 16X9 format and I'm comfortable with AIC and Apple ProRes 422, I set up a new project as:
Sequence Preset: AIC 720p
Capture Preset: HDV- Apple ProRes 422 (although I just imported the .avi file into the browser).
Rendering took a few minutes, but it came out fine.
I then exported it as a self-contained QT Movie and took it into Compressor where I exported it as a 640 x 360 for the web. The 2:21 movie test took about 23 minutes to encode.
Is this overkill for .AVI files?
Is there a better way to create the sequence settings?
Should I first use Compressor or MPEG Streamclip to convert it to AIC or ProRes 422 LT and then take it into FCP 7 or just import as I did and drag to the timeline and then expect a long first render?
Thanks,
Dave

I ran a few more tests last night trying to get the Sequence Size Settings for the down a bit to speed up rendering and for exporting from Compressor.
I set the Sequence Settings (for a new sequence) to be Apple ProRes 422 and custom-sized it at 848 x 477 to keep the 16x9 ratio for my flash video player for the 640 x 480 .avi files. (It chops off 3 pixels, but it seems fine.) I'm ultimately going to export from Compressor at 640x360 anyway.
But, I went back to the original sequence timeline which was ProRes 422 at 1920x1080 and experimented:
When I imported the raw .AVI file (no pre-transcoding) into the Browser window and then set In and Out points in the Viewer and dragged it to the timeline, the avi snippet which was 640x480 now expands to fit into the 1920x1080 timeline and views fine in the Canvas window. I then grabbed an HD 1920x1080 clip (shot from my Canon Vixia SF100 Camera--.mts file already converted to Apple ProRes 422) and set In and Out points and dragged it to the timeline. Both files seemed to play together nicely.
I bring this up because a few months ago when I was editing some of the HD footage from the Vixia, I tried to drag in a 640x480 clip and it looked like a postage stamp when viewed in the canvas. I'm not sure what is different from a few months ago and now where the 2 size clips seem to conform better.
I have a mixture of instructional video and family stuff I will be doing. Both will ultimately (after web) go to DVD and possibly Blu-ray.
*My new question:*
Should I keep using the Apple ProRes 422 timeline (or 422 LT) so I can integrate the SD and HD footage and again, ultimately be able to put both on Blu-ray?
As has been said in this forum many times, "hard drives are cheap", and even though this workflow creates storage issues, this should give me better archival quality for the SD stuff and future ease in exporting to Blu-ray along with the HD footage.
Is there a better way to go about this? Is the ProRes 422 overkill? It all looks very good on my MBP in fullscreen.
Thanks,
Dave

Mistake: too large sequence settings. Now: how to export?

I am new on premiere (and in video editing), but I have spent many hours during last holidays learning and producing a short video.
The first media I included in was a large image. I think, that this is the reason why the sequence settings are big: 4928 x 3264 pixels (I didn't know about sequence settings at all).
Then, I added my video clips, recorded in DV format 720x576.
Now I understand why the video clips appear to be scaled more that 500% to fullfill the photogram!!
I have seen a video about sequence settings, and it seems that good sequence settings reduce cpu usage during editing (real time preview). Good to know!
But my question is: can I export good quality video with this settings?
I have tried DV PAL, and H264+DV PAL, producing big files: 250MB or 2GB for a 10min. video, with horrible video quality.
I would appreciate any help to avoid re-doing all the proccess.
Thanks!
Kin

I have the last version (downloaded from adobe site one month ago).
You are right: what I wanted to do is to edit a short video from clips recorded using a DV camera. I would like to see it with decent quality in a tv (as I can see the original dv recordings) or a PC. I don't mind the format, but of course, it makes no sense to export to produce full definition, etc. What I get is very bad (even in a 13" laptop screen: pixelation, etc. Yesterday I got better results using h264 and "settings from seq.", but still, significantly worse than original material and using big resolution in the output video, which makes no sense).
From the tutorial video about "selecting sequence settings" I understood that the final scaling is done during the encoder step. I though that the scaling at that time would not take into account the sequence settings, only the format of the original footage and the exported video. But maybe this is not the case.
It seems that it scales up first and using a big scale (>500%) is terrible, even if at the end it is scaled down.
Yesterday I tried to change the sequence settings but I did not succeeded. I read that after you add clips to a sequence the settings cannot be changed (or some settings cannot be changed). Now that you confirm that I should change the sequence settings I will try again.
The most critical parts are:
- The audio was created with an external program so that now it is a unique track of the full length. I need to hold the exact timeline so that voice is synchronized with the video. If I cannot manage to change the sequence settings, your proposal of create a new sequence and copy paste seems really helpful! (I was thinking on create a new project from scratch, but this seems much better).
- I have adjusted the video scale. Most cases is just "resize to photogram size" but there are animated parts (I mean, change scale on time), both in still images and in a few video sequences. I think I will have to redo this, but this is not so much work.
Thank you very much for your help!

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.

Some sequence settings/exporting help

I was given a video (specs below) that I am supposed to insert a couple of logos (some transparent pngs) that overlay the entire thing then send it back to the person that sent it to me. Its in an aspect ratio that is unfamiliar to me (320x240). He must have used a web cam. Every time I export it it comes out in 720x480 making the human and everything else in the video look fatter. Also, the video's file size is only 17MB and when I export it it comes out at 633MB! If you guys could help me out with this that would be unreal (and make me look good in front of the boss)! Places I think I could be going wrong is within sequence settings and export settings. I'm trying to export it as a quicktime movie using the quicktime compressor? Specs include:
source: /Users/robmatthews/Desktop/Video 8.wmv
format: Windows Media Audio 9 Standard, Mono, 32.000 kHz, Windows Media Video 8, 320 x 240, Millions
fps: 12.07
fps playing: 13-15ish
data size: 52.10 MB
data rate: 686.89 kbits/s
duration: 0:00:10:35.02
normal size: 320 x 240 pixels
current size: 447 x 336 pixels
Thank a lot in advance

This is quite a mountain to climb.
You have highly compressed WINDOWS MEDIA in a typical web pixel size, 320x240, and they want you to add a logo, but then no doubt return it in exactly the same format, right? You'll be VERY hard pressed to do that in FCP....it will require time, money, and loss in resolution when all is said and done.
You can't just use the file they sent and slap a graphic on it. I doubt that your clients realize that. You have to convert to an editable format that FCP recognizes, thus resizing the footage from 320x240 to 720x480, converting it from Windows to DV or DV50, converting the frame rate from 12fps to 24fps or 30fps...add the logo, then reencode it back to windows 320x240 with software that you will have to but to get it that way...like Flip4Mac. And the quality will looks significantly worse. A LOT of work for a bad outcome.
I doubt that this was shot at 320x240 at 12fps. This is not the master, this is the compressed result. If they want logos, they need to give you the FULL RES MASTER for you to work with, then you can send them a FULL RES master back for them to then encode for the web. I'll wager that they will want to send you an AVI or other PC format though...which again will need to be converted, edited, and converted.
As I said, quite a mountain, and I don't think FCP is the best choice here.
Shane

Sequence settings .. again

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