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Image Sequences

1. Select Image Sequence in the input picker.
2. Click Select Sequence Folder or File and choose either a folder or a representative frame (PNG, EXR, TIFF, TGA).
3. Review the detected sequences list. Sequency uses smart sorting and pattern matching to group frames.
4. If you see Directory Access Required, click Grant Access…. This is required for Sequency to read sequences outside of standard folders or to access deep EXR metadata.
5. Optional: adjust Source FPS if the sequence timing isn't automatically detected.

Drag a folder onto the app to scan it instantly. Sequency will detect all contained sequences and list them in the sidebar.

Video Files

1. Select Video File in the input picker.
2. Click Select Video File and choose a movie (`.mov`, `.mp4`, `.m4v`, `.mxf`).
3. Confirm the filename and resolution displayed below the picker.
4. Keep the file in place if you plan to create multiple exports from it; Sequency stores a bookmark to maintain access.

MXF Professional Broadcast Files

Sequency supports MXF (Material eXchange Format) files with extensive codec coverage including ProRes, FFV1, DNxHD, AVC-Intra, MPEG-2 IMX, and DV50. Files from professional cameras (Sony PXW-FS7, etc.) and NLE exports are fully compatible.

Choose a Container

• Video File — Creates a `.mp4` (H.264 or HEVC) or `.mov` (ProRes) file.
• Image Sequence — Writes processed frames into an empty folder. Supported formats include PNG, EXR, TIFF, and TGA.

Pick a Codec (Video File Container)

• H.264 — Balanced quality and size for previews or web delivery.
• HEVC — Better compression than H.264; requires modern playback hardware.
• ProRes 422 — Editorial mezzanine format with high quality.
• ProRes 4444 — Maximum fidelity with support for transparency (alpha channel).
• MKV with VP9 — MKV container with VP9 encoding (WebM compatible). Choose from Quality/Balanced/Fast/Realtime presets.

See Codecs and Containers Explained for detailed comparisons.

Frame Range Selection

Export partial sequences instead of entire files. Set a custom Start Frame and End Frame to export only the range you need. Useful for testing, retakes, or delivering specific shots from longer sequences.

Sequence Options

• Compression — Adjusts the file size vs. encoding speed tradeoff for PNG and EXR (DWAA/DWAB).
• Bit Depth — 8-bit for standard workflows, 16-bit for high-dynamic-range detail (available for PNG, EXR, and TIFF).
• Preserve Alpha Channel — When enabled, transparency is kept in the export. When disabled, images are flattened over a black background. Available for PNG, EXR, TIFF, TGA, and ProRes 4444.
• Start Frame — Set the first exported number (e.g., 1001). Sequency keeps consistent padding.
• Multichannel EXR Splitting — Automatically separates render passes (RGBA, Depth, Normals, etc.) into individual folders.

See Codecs and Containers Explained for detailed comparisons.

Resolution

Turn on Custom Resolution to override the detected width and height. Leave it off to preserve the source dimensions.

Frame Rate

Use the slider or numeric field (1–120 fps) to control playback speed. Drop-frame presets (23.976, 29.97, 59.94) provide broadcast-compatible timing.

Desired Duration

Enter a duration in seconds to retime the sequence smoothly. Leave 0 to keep the original runtime.

Bitrate and CRF (Video File Container)

• Bitrate — Higher values (Mbps) yield larger files with more detail.
• CRF — Quality dial for H.264/HEVC. Lower numbers (18–24) mean higher quality.

Audio Options (Video File Container)

Preserve, convert, or strip audio tracks:

• Copy — Passthrough audio from the input video without re-encoding.
• AAC — Compressed audio, good for web delivery.
• PCM — Uncompressed audio for maximum quality.
• No Audio — Strip audio from the export.

Color Space Conversion

Automatic engine selection: ColorSync for sRGB/P3/Rec.709, OCIO for ACES and camera logs. Enable conversion when delivering to a different gamut or working with VFX pipelines. Learn more in Color Management and ACES.

Export Now

1. Adjust all settings in the Settings tab.
2. Click Export Now….
3. Pick a destination. Video exports save as `.mp4`, `.mov`, or `.mkv`; PNG exports require an empty folder.
4. Watch the inline progress bar and confirmation banner.

Pause and Resume Exports

Never lose progress on long renders. During any export, click Pause to temporarily halt processing. Click Resume to continue from exactly where you left off. This is especially useful for overnight renders or when you need to free up system resources temporarily.

Add to Queue from Image Sequences

1. Select one or more sequences in the sidebar.
2. Click Add to Queue to open the Batch Export sheet.
3. Choose an output folder and optional filename suffix (default `_converted`).
4. Confirm to add each selection as a queue item.

Add to Queue from Video Files

1. Load the video input.
2. Click Add to Queue.
3. Select a destination file (video) or folder (PNG). The job is added immediately.

Manage Queue Items

• Open the Queue tab to see status badges and progress bars.
• Press Start Queue to process jobs sequentially.
• Use Clear All to remove pending jobs or the × button to cancel an individual item.
• PNG jobs display frame counts when the total is known.

Containers vs. Codecs

A container (`.mp4`, `.mov`, `.mxf`, `.mkv`, or a folder of PNG/EXR files) wraps your media so other software can open it. A codec defines how the video inside that container is compressed.

Sequency chooses the correct container for each codec: H.264 and HEVC export to `.mp4`, ProRes exports to `.mov`, VP9 exports to `.mkv` (WebM compatible), and PNG/EXR exports create numbered folders.

MXF Professional Broadcast Support

Sequency provides extensive support for MXF (Material eXchange Format), the professional broadcast container standard. MXF files from cameras and NLEs are fully supported with the following codecs:

• FFV1 — Lossless archival codec
• ProRes — Full support for ProRes 422 and ProRes 4444
• MPEG-2 IMX — Broadcast standard format
• DV50 — Professional DV format
• DNxHD/VC-3 — Avid broadcast codec
• AVC-Intra — Descriptor-driven support for Panasonic cameras

Sequency has been tested with files from Sony PXW-FS7 (XAVC in MXF), Adobe Premiere (DNxHD exports), and professional broadcast IMX workflows.

H.264 (AVC)

Widely supported and efficient. Pick H.264 for previews, client reviews, or web uploads. Increase the bitrate or lower the CRF value when the footage contains fast motion or fine detail.

HEVC (H.265)

Delivers similar quality to H.264 at roughly 30–50% smaller file sizes. Requires modern playback hardware (macOS 10.13+, iOS 11+, many recent TVs). Avoid if your audience uses older systems.

ProRes 422

An Apple mezzanine codec designed for editorial workflows. It balances high fidelity with manageable file sizes and is ideal for round-tripping between professional NLEs.

ProRes 4444

The highest-quality ProRes flavor with support for transparency (alpha channels). Choose this for compositing, VFX, or archival masters where color precision matters most.

MKV with VP9

MKV container with VP9 encoding (WebM compatible). VP9 delivers excellent compression efficiency, especially for web delivery. Choose from four speed presets:

• Quality — Best visual fidelity, slower encoding.
• Balanced — Good compromise between quality and speed.
• Fast — Faster encoding with acceptable quality.
• Realtime — Maximum speed for quick previews.

EXR Sequence

A professional OpenEXR image sequence format. Supports 16-bit half-float precision, multi-channel data, and advanced compression like DWAA and DWAB. Ideal for VFX pipelines and ACES workflows.

Multichannel EXR Splitting

When working with multichannel EXR files (such as those from 3D renders), Sequency can automatically separate render passes into individual folders. This includes common passes like:

• RGBA — Beauty/color pass.
• Depth — Z-depth for depth of field effects.
• Normals — Surface orientation data.
• Other custom passes — Any additional channels in your EXR.

PNG, TIFF, and TGA Sequences

• PNG — Lostless, widely compatible, and supports 8-bit or 16-bit color.
• TIFF — High-quality uncompressed or lossless format often used for printing or archival.
• TGA (Targa) — Common in retro gaming and legacy VFX pipelines; supports 8-bit alpha.

Common Frame Rates

• 24 fps — Film-style motion.
• 25 fps — PAL broadcast regions.
• 30 fps — Traditional NTSC video and many web videos.
• 23.976, 29.97, 59.94 fps — Drop-frame broadcast standards. Sequency offers presets.
• 48, 50, 60+ fps — High-frame-rate playback or smooth slow motion.

Changing the Frame Rate

Adjusting Output Frame Rate changes how quickly frames play back. Keep it equal to the source to maintain the original duration.

Desired Duration

Enter a target runtime in seconds to have Sequency retime frames evenly. Example: a 240-frame sequence at 24 fps lasts 10 seconds. Setting the duration to 5 seconds doubles the playback speed; setting it to 20 seconds slows it to half speed.

Source Frame Rate Hint

The Source FPS field in the sidebar helps the sequence detector when frames lack metadata. Adjust it for custom renders so the app interprets timing correctly.

Hybrid Color Architecture

Sequency uses an intelligent dual-path engine to handle color conversions. The app automatically detects the optimal path based on your source and destination color spaces:

• Apple ColorSync (Core Image) — Used for standard conversions (sRGB, Display P3, Rec.709). This path is natively optimized for macOS, offering the fastest performance with zero GPU overhead.
• OpenColorIO (OCIO) — Used for professional color science that ColorSync can't handle. This includes ACES workflows, camera log formats (ARRI LogC, RED Log3G10, Sony S-Log3), and custom OCIO configs. This path is GPU-accelerated via Metal for maximum precision.

When to Enable Color Conversion

Leave Enable Color Space Conversion off when your source already matches the delivery color space (for example, an sRGB render destined for the web). Turn it on when you need to convert EXR or wide-gamut renders to a standard such as Rec.709 or Display P3.

Input vs. Output Color Space

Input Color Space tells Sequency how to interpret pixels before processing. Sequency automatically detects profiles from file metadata, but you can override them manually. Output Color Space sets the target gamut for the export.

VFX & ACES Workflows

Sequency is optimized for linear-light VFX pipelines. When working with EXR or ProRes 4444 sources, you can choose from several ACES and Log presets:

• ACEScg & ACES 2065-1 — Standard spaces for CG rendering and archival.
• ACEScc & ACEScct — Logarithmic spaces for color grading.
• Camera Log — ARRI LogC3 and Sony S-Log3 support for normalizing raw-style footage.

For EXR files, Sequency uses 16-bit half-float precision and the NativeEXR/OpenEXR library to ensure maximum fidelity during conversion.

Tips for Best Results

• Match the output color space to the software that will receive the export.
• Use wide-gamut codecs like ProRes 4444 when targeting HDR or film finishing.
• If colors look muted, double-check the input profile and confirm your playback app honors embedded color profiles.

Track Progress

• The Settings tab shows a progress bar and Pause/Resume/Stop controls for the active export.
• Completion cards confirm whether an image sequence or video finished successfully.
• The Queue tab displays status badges, frame counts, and per-item controls.
• The Console tab lists detailed logs you can copy for support.

Permission Errors

If you see Export Unavailable or Directory Access Required, click Grant Access… and re-authorize the folder. This ensures Sequency can write output files and read security-scoped media.

Two-Step Conversion

When Sequency detects a problematic source codec (like ProRes 4444 XQ or 10-bit RGB) that macOS might fail to transcode directly, it automatically triggers a Two-Step Conversion. It first creates a ProRes intermediate, then converts that to your final format, ensuring a successful export despite complex source data.

PNG Destination Already Contains Files

The image sequence exporter requires an empty folder to prevent overwriting existing frames. Choose a new folder or clear the old files before retrying.

Unexpected Color or Gamma

• Verify the input color space matches your source media (e.g. ACEScg for EXR).
• Confirm your playback tool (VLC, QuickTime, Resolve) honors the embedded color profile.
• Check if Preserve Alpha Channel should be enabled or disabled for your specific delivery.

Exports Stuck in Queue

• Make sure you clicked Start Queue.
• Ensure source and destination drives remain mounted and writable.
• Check the Console tab for errors; failed jobs remain in the list so you can retry.