Two Sequence Settings?

Hello,
My name is Kenny, and the question I have is, is it possible ot have two sequence settings at the same time in the same sequence?
I exported a file from After effects as an Quicktime, format Animation, then placed it into Premier, it automatically figured the settings
and configured the sequence to play the clip. However the rest of my clips with no effects are just regular AVCHD files, Pixel Ratio 1.0
just like the clip i exported from After effects.
I placed a regular AVCHD clip into the same sequence after configuring the settings for just the after effects files, but im not sure if its ok you know.
So is it possible to have two sequence settings, one that can generally make all my footage work together, or no? I apologize if I'm making a big deal
about this, I'm just curious is there's an answer.
Please and thank you for your time.
Best,
Kenny

I see. I'm working with two different formats now, and it seems to be working. Thank you for the clarification.
Best,
Kenny

Similar Messages

FCP Adding two frames to Starting Timecode change in Sequence Settings

Hi I am trying to change my starting timecode in my sequence to 09:58:00;00 but FCP keeps adding an extra two frames to make it start at 09:58:00;02 - my sequence is in DF. I am changing this by going into Sequence Settings > Timline Options > Starting Timecode. Anyone else have this problem? It's awfully frustrating - perhaps a glitch?

IF you ripped to DV NTSC, it should have come in as DF.
What are the specs of the Digibeta material?
Are you delivering on Digibeta or as a QT file?
Is your client asking for a master beginning with 09:58:00:00 DF starting timecode? You could set the starting timecode for 09:57:29:00, then add an additional second of black at the head of the timeline. The client is most likely needing DF timecode for 'show timing' purposes...is this to go to broadcast?

Two sequences with different settings?

In Premier Pro CS6, is it OK to use two sequences with different settings?

Yes, no problem.
You can make as many sequences with differents settings as you want.

How do I match a clip to sequence settings and sequence presets?

I'm getting the warning: Attention - This clip does not match this sequence's settings or any or our sequence presets.
I'm trying to figure out how to set things up in Compressor so that my clips do match my sequence settings and presets. The issue seems to be with the audio not matching.
Here are the sequence settings:
Audio-2 Outputs
Frame Size- 1920x1080
Vid Rate-24fps
Compressor-Apple ProRes 422 (proxy)
Aud Rate 48.0 KHz
Aud Format 32-bit floating Point
I shot all the footage with a Canon 5D Mark II. I'm using Compressor to convert all my original clips. The only thing I don't seem to be able to match is the Audio. I can't find any way in Compressor to encode clips that have "two outputs" in the Audio column.
The dialogue box for "Sound Settings" in Compressor doesn't offer any sort of options, that I can find anyway, to generate clips with "two outputs."

These are the Compressor settings:
Description: Apple ProRes 422 10-bit video with audio pass-through. Settings based off the source resolution and frame-rate.
File Extension: mov
Estimated size: 16.36 GB/hour of source
Audio Encoder
Apple Lossless, Stereo (L R), 48.000 kHz
Video Encoder
Format: QT
Width: (100% of source)
Height: (100% of source)
Selected: 1920 x 1080
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Selected: 24
Frame Controls: Automatically selected: Off
Codec Type: Apple ProRes 422 (Proxy)
Multi-pass: Off, frame reorder: Off
Automatic gamma correction
Progressive
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 0
Temporal quality: 0
Min. temporal quality: 0
These are the sequence settings:
Frame Size: 1920 x 1080
Editing Timebase: 24fps
Field Dominance: None
Pixel Aspect Ration: Square
Anamorphic 16:9: Off
Video Processing YUV allowed (8-bit)
Compressor: Apple ProRes 422 (Proxy)
Millions of Colors (24 bit)
No Data Rate Limit
No Keyframes Set
Quality: 100
Audio Settings:
16-bit 48.000 kHz Stereo
I made screen shots, but don't see how to paste them into this post.

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 misunderstanding

Hello everybody. I have searched the forums and have went back to the manual for FCP but cant seem to find the answer to my questions. Any help would be appreciated.
I am curious about the sequence settings in FCP. I believe that a mistake was made in the very beginning and i know that the editing timebase cannot be changed once a sequence has been created and edited in. It seems that other changes can be made though.
Before I go further, here is my set up... I shot on HDV 1080 24p (1440X1080).
My sequence settings for the project seem to deviate from what I shot at. Some things are as they should be and others are not. The frame size is good, the pixel aspect ratio is good, and my audio settings seem on track too.
However, The field dominance is set to Upper(odd)....this should be set to 'none' since i shot progressive correct??? My editing timebase is 29.97, since i shot 24p and it cannot be changed... how does this effect my project/the final output to dvd ?? My quicktime video settings are set to HDV 1080i60, it seems that I can change this back to what it was shot at, but my question about this is what exactly does this effect in relation to my project and final out put of the project to DVD??
I have not had any major problems viewing or working on my project in FCP. I have done a few tests with compressor and then burning to dvd, and my quality seems to be less than what I would like. I have tried different compression settings including HD MPEG-2 @ 18Mbps.
Could the loss of quality be coming from my current settings in FCP or are they more than likely in Compressor. If my frame controls in compressor are on, what should the rate conversion be set to, and what qualities does this effect? I also am not understanding the deinterlace settings. If the output field setting is to 'same as source', why does it even give you a choice if you shot progressive?? I AM Confused about these settings as well.
I realize there are many questions bundled within this post. Please be patient with me and any info would be appreciated.
thanks
joe

To my knowledge HDV at 1080 is interlaced.
You could:
Open a new sequence and drop a HDV clip in/FC will ask if you want to conform the sequence to the clip-click yes/sequence settings will now match the clip and show you exactly what you are dealing with. This info can also be found in the columns for each clip and sequence but I find sequence view is easier to understand what you have.
Creating a Blu-Ray via Compressor is your only option for HD on a disc. DSP has no relevant HD options as HD-DVD lost the format war to BR over two years ago.

MY CLIPS ARE NOT MATCHING ME SEQUENCE SETTINGS.

I have had the misfortune of having to convert some Flip camera files into FCP for a presentation. As I am dragging them into my Timeline (which has a standard DV NTSC 48kHz preset) I get the message that my clip and sequence are of "different
formats" and I get an instruction box whihc asks me if I'd like to switch the sequence settings to match the clip. My question is, How can I see the specs of the clip I'm importing and locate the reasons why the two don't match. I also have sometimes used MPEG streamclip to convert to a DV file to be imported into the sequence, and I get, often the same message. I know something is over my head here.
Thank you for any suggestions.

You can see the clip specifications in item properties. What are the original specifications of the media? Please provide complete and exact information. You can find that in movie info in the QT player. It's possible in the conversion is Streamclip was not done correctly.

Sequence Settings Video Previews and GPU?

Dear PrP CC Users,
I wanted to get some information partaining to sequence settings.
In the bottom box of Sequence Settings: Video Previews. There are three un/tick boxes:
Maximum Bit Depth
Maximum Render Quality
Composite In Linear Color (requires GPU acceleration or max render quality)
Normally I tick all of them. I have a Windforce GTX 770 4GB CUDA mercury engine enabled. I have also set to Optimise rendering for: Performance.
My questions are as follows.
-Do these selections effect the final output of a timeline for delivery or is it merely for during regular playback and preview rendering?
-Also, when I export using Media Encoder through dynamic link, is it bad to Use Previews for a faster export, often I export to ProRes4444 for Grading, I heard that Preview files will always differ as its created by the GPU and can slightly change the colours dependent on the GPU you have, thus is it better to export and allow it to re-render using the CPU in Media Encoder (I always set maximum bit depth and quality)?
-Lastly, in the export process, when I select Maximum Bit Depth, there are options of the bit depth value (32, 48, 64) does this become redundant since I checked maximum bit depth?
Thank you.

The first two boxes only affect previews. The same boxes in the Export Settings dialog will override those and determine the output.
Using previews for export is generally not a good idea, as doing so will incur an additional compression step. The exception is when the previews are lossless (or nearly so, as with DNxHD).
Not working with ProRes, I've never seen those options.

Sequence Settings - Animation vs NTSC compression

i'm currently in the midst of editing a corporate video project for a client, who offers internet-based services. one of the videos i will deliver is a film comprised of 12 scenes; in the most important of the 12 scenes there is a woman that goes onto the client's web site. i shot the actress in front of the computer and the web surfing was recorded with the software ishowu.
now, here's my dilemma: the highest resolution video with the screen animation has the "compressor: animation" setting / 23.98 fps. The footage with the actress is NTSC video, 23.98 fps (DVX100 / frame pulldown removal process). and the two just can't go together. if i put the web site screen capture video onto the 23.98 / NTSC sequence, the quality goes down dramatically. If I change the sequence settings to "compressor: animation" Final Cut keeps crashing.
Any suggestions on what to do?

David,
Thanks for the helpful answer.
To address one of your points: the video will be first shown at a trade show, on a huge HD plasma screen, and will also be delivered on multiple DVDs for the client. The trade show is a high profile event, which is why I don't want to take any chances with such compression issues.
Whenever I use the DV/DVCPRO NTSC settings, the picture gets blurry and visible noise comes in at around 8-9 seconds into each capture.
Before iShowU came around, I wonder which software production houses have used to capture screen / showcase products.
I have a small arsenal of video software at my disposal (Final Cut Studio, After Effects, and a small army of other goodies) and can pretty much re-size, crop, re-compress, color-correct anything, provided the right tools.
One thing that worries me even more than video screen capture on a mac is the same thing on PC. One of the client's services is video on demand downloads, which is only Windows-compatible. I have yet to find a good solution (besides AVI-only tools) to the same dilemma, since I need to record the screen as I start downloading a video from my SO's PC. Any suggestions on that would also be greatly appreciated.
The project has a modest budget set aside for unforeseen issues, so I wouldn't mind buying extra software, if it turned out to provide excellent video quality.
cheers,
Elena

Sequence Settings - missing tabs

Hope it's just a silly question...
My sequence settings window has only two tabs: Timeline options and render control. Do I have to change anything anywhere to be able to change other things as Samplerate, fieldorder etc...
I'm feeling a bit stupid at the moment..
Thanks for your help!

So there is no possibility to change the samplerate to 44.1k or cut a movie in 640x480? Ok, I could render it in whatever size I want to. But if my original footage is 640x480 it doesn't really make sense to scale it up, cut it and scale it down. Hmm, that's weird...

Mixing Timeline Sequence Settings

Hey all,
I have this sitcom that I've filmed. Episodes 1-4 are shot with a Sony HDRFX7. And then for Episode 5 (finale) we filmed it with a different camera. JVC HD something.
Problem is, our opening title theme song clip is made up of clips from episodes 1-4. (works fine in those episodes)/
But the same clip show must be used in episode 5 (with clips from episode 1-4). But the timeline sequence settings are different now. So the opening theme got all messed up when i copied it into the episode 5 timeline.
Is there anyway to fix this issue? I haven't tried manually fixing it. But is there anyway to have two different sequence settings? Or any other suggestions?

Please provide detailed sequence settings AND footage settings... (in this case two footage settings). select your footage, hit command-9.
Frame Size?
Aspect Ratio?
Pixel Aspact Ratio?
Anamorphic?
FIeld Dominance?
Editing TImebase?
Compressor?
Audio Settings? Rate/Depth

Custom Timebase in sequence settings for 15 fps animation

I have an stop-motion project, where we are capturing images to playback at 15 frames per second. I have set up FCP to do this in the past, but I cannot find where the preference is. I thought you could just set your sequence settings to use a 15 fps timebase, but all of the options are from 24p to 60. I have an older project file that has the 15 fps timebase, so i could just copy that sequence, but am I missing the obvious preference option to make a 15 fps sequence, or did they take that option away between fcp 3 and 4.5?

I was thinking about working at 30 fps, and setting the image sequences to use a two second rather than one second duration to simulate the 15 fps playback rate of the movie, but the problem is that the cut made in fcp is only an offline edit, made using lo-quality quicktimes that have to be replaced with the original image sequences for the final export.
Its not to big of an adjustment to do this, but I don't see why I have to now, and didn't need to before, especially since I will double my file sizes.

Exporting at Sequences settings... Changes aspect ratio.

I'm preparing some 16:9 DV footage for a Multi-Clip edit. So I'm Exporting a few sequences to my HD to re-import as a clip, at that point they are in sync for Muli Clip.
When I Export and deselsect 'make self contained movie', it comes back into FCP at Full Screen. I really want to use this option to save a ton of HD space. If I export and check 'make self contained movie', it re-imports at the correct Wide Screen aspect ration. How can I not make a self contained movie and maintain aspect ratio? I've had this problem since I bought FCP and gone through all the updates.
When I Export a Movie, I'm simply going to Export>QuitimeMovie (use sequence settings).
Thanks for your time.
-Monty

I don't know where else to access that checkbox besides Sequence Settings, there it has been checked since the project started.
Well my Multi Clip training only goes as far as Lynda.com's coverage. My original clips that I capture were from two different cameras that didn't share the same time code or start time. Also, both camera started and stopped many times individually and lastly I had an external audio source to fly in. So to my thinking at the moment, I had to sort the video and audio clips into 1 sequence per camera so they all share the same start/stop time and duration. At this point since Multi-Clip doesn't edit Sequences, only clips, I export the sequences and re-import them as clips. If you feel like explaining an easier way, I'm all ears, thank you.
Message was edited by: TheMonty

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!

CS6 New Sequence Settings - MBD & MRQ Help

Does it make a difference whether or not I set the MBD & MRQ in the New Sequence > Settings Tab or in the Export Dialog Box?
Do these same settings in the New Sequence > Settings also determine how Adobe handles video previews?
Currently I use AVCHD footage. Do I increase my color bit depth while working in my Timeline? If so, to what?
I was under the impression that whenever I import media into Premiere Pro it automatically up-samples media to 4:4:4 and 32 bit float color. Is this incorrect until I activate MBD & MRQ in the New Sequence > Settings Tab?
Any help would be greatly apprecated.
Thanks in advance

>I was under the impression that only RGB color space was expressed as 8bit, 10bit, 16bit and 32bit floating point.
There are pixel modes for 8,16 integer + 32bit float for both RGB and YUV.
>YUV is actually the only one expressed in chroma subsampling numbers as 4:4:4 etc. RGB has three distinct color channels expressed in bits per channel (Red, Green, Blue) while YUV has three different components which consist of lumanance and two chromanance. Big difference between both. In all actuallity it really should be expressed as Y'CbCr. YUV is actually an analog system.
correct. there is no reason to put "4444" after RGBA.
here are most of the pixel formats supported by Premiere...
PrPixelFormat_BGRA_4444_8u is the standard format Premiere always used.
PrPixelFormat_ARGB_4444_8u is what After Effects used
MaxBitDepth converts to, and uses,
For RGB:
     PrPixelFormat_BGRA_4444_32f
For YUV:
     PrPixelFormat_VUYA_4444_32f
     PrPixelFormat_VUYA_4444_32f_709
PrPixelFormats
** Currently supported types
*/// Packed formatsPrPixelFormat_BGRA_4444_8u // 4 byte BGRA, standard windows 32 bit pixels (was kPixelFormat_BGRA32)PrPixelFormat_VUYA_4444_8u // 4 byte VUYA (was kPixelFormat_VUYA32)PrPixelFormat_VUYA_4444_8u_709 // 4 byte VUYA (was kPixelFormat_VUYA32)PrPixelFormat_ARGB_4444_8u // 4 byte ARGB (the format used by AE) (was kPixelFormat_ARGB32)PrPixelFormat_BGRX_4444_8u // 4 byte BGRXPrPixelFormat_VUYX_4444_8u // 4 byte VUYX PrPixelFormat_VUYX_4444_8u_709 // 4 byte VUYX PrPixelFormat_XRGB_4444_8u // 4 byte XRGB
PrPixelFormat_BGRP_4444_8u // 4 byte BGRPPrPixelFormat_VUYP_4444_8u // 4 byte VUYP PrPixelFormat_VUYP_4444_8u_709 // 4 byte VUYPPrPixelFormat_PRGB_4444_8u // 4 byte PRGB
PrPixelFormat_BGRA_4444_16u // 16 bit integer per component BGRAPrPixelFormat_VUYA_4444_16u // 16 bit integer per component VUYAPrPixelFormat_ARGB_4444_16u // 16 bit integer per component ARGB PrPixelFormat_BGRX_4444_16u // 16 bit integer per component BGRXPrPixelFormat_XRGB_4444_16u // 16 bit integer per component XRGB PrPixelFormat_BGRP_4444_16u // 16 bit integer per component BGRPPrPixelFormat_PRGB_4444_16u // 16 bit integer per component PRGB
PrPixelFormat_BGRA_4444_32f // 32 bit float per component BGRAPrPixelFormat_VUYA_4444_32f // 32 bit float per component VUYAPrPixelFormat_VUYA_4444_32f_709 // 32 bit float per component VUYAPrPixelFormat_ARGB_4444_32f // 32 bit float per component ARGB PrPixelFormat_BGRX_4444_32f // 32 bit float per component BGRXPrPixelFormat_VUYX_4444_32f // 32 bit float per component VUYXPrPixelFormat_VUYX_4444_32f_709 // 32 bit float per component VUYXPrPixelFormat_XRGB_4444_32f // 32 bit float per component XRGB PrPixelFormat_BGRP_4444_32f // 32 bit float per component BGRXPrPixelFormat_VUYP_4444_32f // 32 bit float per component VUYXPrPixelFormat_VUYP_4444_32f_709 // 32 bit float per component VUYXPrPixelFormat_PRGB_4444_32f // 32 bit float per component XRGB
PrPixelFormat_YUYV_422_8u_601 // 8 bit 422 YUY2 601 colorspace
PrPixelFormat_YUYV_422_8u_709 // 8 bit 422 YUY2 709 colorspacePrPixelFormat_UYVY_422_8u_601 // 8 bit 422 UYVY 601 colorspacePrPixelFormat_UYVY_422_8u_709 // 8 bit 422 UYVY 709 colorspacePrPixelFormat_V210_422_10u_601 // packed uncompressed 10 bit 422 YUV aka V210 601 colorspacePrPixelFormat_V210_422_10u_709 // packed uncompressed 10 bit 422 YUV aka V210 709 colorspace

Two Sequence Settings?

Similar Messages

Maybe you are looking for