How do you change sequence settings in Premiere Pro CS6, and earlier?

[RFendelman]

Is it possible to change a sequences settings once you've set up the sequence?

In Sequence Settings everything is grayed out so I can't change it.

[Ann Bens]

It does not work on nested sequences.

You have to go back to the original sequence but then its just as easy to drag a clip into the New Item icon.

[ACT.onn]

Ann Bens wrote:

It does not work on nested sequences.

You have to go back to the original sequence but then its just as easy to drag a clip into the New Item icon.

That is not what I asked. In fact that is the reverse of what I asked.

I went to an original sequence, the one where the raw unedited footage was. I cut out all footage. Saved and then attempted to change the sequence settings. They were still grayed out.

That "footage" sequence is used in numerous places in other sequences. Is this the reason I could not change the settings?

[Ann Bens]

I tried your workflow and could change the settings.

[josephs51576386]

Are you using cs6?

[ACT.onn]

Yes. I am a Creative Cloud subscriber.

Ann Bens wrote:

I tried your workflow and could change the settings.

So you had raw footage (RF) that you put on a sequence (A) that you put on a sequence (B). You then cut the footage from the sequence (A) and saved, then changed the sequence (A) settings?

Sequence (B)

     ^--Sequence (A)

          ^--Raw Footage (RF)

If you did and it worked then either I am doing something wrong, and that is more than likely, or there is something else that affects the ability to change the sequence settings.

[josephs51576386]

Well nevermind then.  I was thinking maybe it wasn't showing up because you weren't using cs6 but clearly that was incorrect.

[ACT.onn]

[Jim_Simon]

It only calls up that dialog the first time you add something that doesn't match (and only in CS6).

(This is yet another distinction that makes CS6 sufficiently different to warrant it's own forum separate from older versions.  Hint, hint mods.)

[ACT.onn]

But the problem is then I have to change each individual piece of the offending sequence in my final timeline to the new sequence. I need to be able to change a sequence setting on the fly. This would help when Adobe and the cameras I use decide to have a moment of stupidness.

[the_wine_snob]

Unfortunately, the closest workflow would be to create a New Sequence, and set Custom parameters, if a complete Preset does not exist, then Copy/Paste from the offending Sequence, into the new one.

Perhaps time for a Feature Request?

Good luck,

Hunt

[ACT.onn]

Hello Bill

How does that help. I have already used the footage in a sequence that I have placed in another sequence and edited the footage.

I had raw footage (RF) that I put on a sequence (A) then I placed that on a new sequence (B). I then edited the footage (sequence (A)) in sequence (B).

Sequence (B) - edited for content here

     ^--Sequence (A)

          ^--Raw Footage (RF)

I dont know if this is the best method of doing things but I figure it will allow me to put effects and stuff on the whole edited sequence after I am done editing without having to do it for each bit. This is a project that is around 30 minutes in length of footage. I am trying to trim down to a 5 minute presentation and I do need to also create a DVD of the full 30 minutes.

A feature request would be for Adobe to make any and all AVCHD footage recognized properly.

[Jim_Simon]

Premiere Pro does see it properly.  The footage actually is interlaced.

The better solution is for camera makers to stop using PsF and only record true progressive footage.

[Alan_Craven]

Jim Simon wrote:

Premiere Pro does see it properly.  The footage actually is interlaced.

The better solution is for camera makers to stop using PsF and only record true progressive footage.

The footage is not true interlaced either, as the two "fields" in each frame are identical.

If you treat PsF as interlaced then the image is softened by the de-interlacing.  You also run into problems with Mercalli, which regards the footage as progressive even when the sequence is interlaced. 

You also have problems with exporting Blu-ray legal files for Encore.  Blu-ray legal 25i exports from a Premiere 25 fps interlaced sequence with PsF files are re-encoded, but 24p are accepted. The same export from a 25p sequence with the edited files copied into it from the 25i sequence on which they were edited is accepted as 25i or 24p.

There are also problems with a squeeze PinP effect, according to Carl Soule, if you edit these PsF files in an interlaced sequence.

Certainly it would be better if cameras were made to record true progressive, though I do not know where that would leave HDV tape cameras like the Sony V1E, which records 25p as interlaced, with both fields identical.

[Jim_Simon]

The footage is not true interlaced either, as the two "fields" in each frame are identical.

I'm not sure that part is relevant.  The footage contains two fields, therefore it's interlaced.  How is any software supposed to know that the fields were recorded from the same moment in time?  That's why you have to tell PP to do so.

[Ann Bens]

Make a custom sequence and save preset.