This problem is endemic and prevents advanced image tools from being used for delicate adjustments in advertising and film when copying intraframe 25fps in DPX or even TIFF format. Such neglect should be shameful...

Hi Anita,
 

Thank you for sharing this. I understand the frustration when precision matters at the frame level, especially in advertising and film workflows where color fidelity and temporal accuracy in DPX or TIFF sequences are non-negotiable.
 

Photoshop's video timeline was designed primarily for layer-based animation and simple frame sequencing, not as a frame-accurate rendering pipeline for professional moving-image workflows. For 25fps DPX/TIFF sequence rendering with full color pipeline integrity, Adobe Media Encoder (in conjunction with After Effects or Premiere Pro) is indeed the intended toolchain; those applications have dedicated hardware-accelerated rendering engines built for frame-sequential output with proper temporal handling.
 

That said, to better understand your specific use case and ensure this feedback reaches the right team, could you clarify a few things:

• What specific operation are you performing in Photoshop? Are you editing individual frames of a DPX/TIFF sequence (e.g., retouching, compositing) and then re-exporting, or are you attempting to use Photoshop's Video Timeline to render out a complete sequence?

• What rendering artifacts are you seeing? For example, color shifts between input and output frames, dropped/duplicated frames, incorrect frame rate metadata in the output files, or bit-depth reduction?

• What is your color pipeline? Are you working in a specific OCIO color space, using a film log profile (e.g., Cineon Log), or relying on Photoshop's internal color management for the DPX interpretation?

• Have you tried using File > Export > Render Video with the image sequence option set to your target format (e.g., TIFF) and verifying the frame rate matches your source? Sometimes the timeline's document frame rate setting doesn't persist correctly to the render dialog.

If your workflow specifically requires applying Photoshop's advanced image tools (e.g., retouching, generative tools, adjustment layers) to individual frames and then reassembling the sequence, a recommended professional approach is:

• Import your DPX/TIFF sequence into After Effects or Premiere Pro

• Use Edit Original (or Dynamic Link) to open individual frames in Photoshop for precise edits

• Let Media Encoder handle the final frame-accurate render back to DPX/TIFF at your target frame rate

This keeps Photoshop doing what it does best (per-frame image manipulation) while the video pipeline handles temporal and format integrity.

I've moved your post to the feature request section. Votes from the community help prioritize these kinds of workflow improvements.

Best regards,

Anshul Saini