Learn, Troubleshoot, and Share Feedback

Keyboard Shortcuts

• ⌘I — Import files or folders.
• ⌘E — Export Selected… (one item at a time).
• ⇧⌘Q — Add to Queue.
• ⌘1, ⌘2, ⌘3 — Switch to the Settings, Queue, or Console tab.
• ⌘/ — Open Sequency Help.

Appearance

Use the sun, half-circle, and moon buttons at the bottom of the Input Files panel to choose Light, Auto (follows your Mac), or Dark.

Import Files

1. Click Import... (⌘I) in the Input Files panel.
2. Choose one or more videos, camera RAW clips, ARRI frames (.ari, .arx), or folders of image frames. You can select several at once.
3. Click Import. Each clip or sequence appears as a row in the list.
4. Select a row to edit its settings. Select several rows to queue them together.

To remove items, right-click a row and choose Remove, press Delete, or click Clear to empty the list.

Drag and Drop

Drag files or folders onto the drop area (Drag videos or sequence folders here). Folders are scanned right away. A dragged folder is read without creating a permanent bookmark, so Sequency may ask for access again later. Importing with Import... remembers the folder.

Image Sequences

• Supported frame formats include EXR, DPX, PNG, TIFF, TGA, JPEG and WebP, plus ARRI .ari and .arx frames. HEIC and JPEG XL frames work when your Mac can read them.
• Import a folder, or pick a single frame and Sequency finds the other frames beside it.
• Frames need a frame number in the name (for example shot_0001.exr or 0001.exr). A folder needs at least two matching frames to count as a sequence. If you pick a single image, such as logo.png, or a numbered frame with no partners, it imports on its own as a one-frame item.
• Sequency looks inside subfolders too and lists each separate sequence on its own row.
• New sequences start with Video File as the output. Change this in the Container card to export frames instead.

With a sequence selected, the panel shows a Source FPS field. Set it to the frame rate the sequence was made for so durations are calculated correctly. For EXR sequences, Sequency reads the frame rate from the file header when one is stored, and shows Using source frame rate in the Frame Rate card.

Video Files

• Supported extensions: .mov, .mp4, .m4v, .mxf, .mkv, .webm, .braw, and .braw2. Animated GIF and animated WebP files import as clips too.
• MKV and WebM files can contain VP9, AV1, H.264 or HEVC video. AV1 decodes in hardware on Macs that support it.
• The row shows the resolution. The Settings tab shows the detected frame rate and duration.
• Keep the file in place if you plan to create several exports from it. Sequency stores a bookmark to keep access.

MXF support depends on the embedded codec. macOS typically supports ProRes OP1a variants, and Sequency can fall back to its own MXF decoders for several variants macOS cannot open. ARRI MXF clips are recognized and get their own ARRI controls.

Blackmagic RAW and ARRI clips have extra settings. See Camera RAW: Blackmagic RAW and ARRI.

Grant Access

If Sequency cannot read a folder, an orange Directory Access Required notice appears with a Grant Access… button. Click it, choose the sequence folder, and Sequency rescans it. This is common for EXR frames stored outside your Documents folder or on external drives.

Find Your Way Around

• Collapsible cards — Each group of settings is a card. A collapsed card shows its current value on one line. Click it to open it, and click its arrow or title to close it.
• Edited marker — A card you have changed from the source's values shows an Edited badge and a coloured bar, even when collapsed. With several items selected the marker is hidden.
• Jump To — In a wide window, the rail on the right lists every card. Click a name to open and scroll to it. Collapse All closes every open card. In a narrow window the rail becomes a strip across the top.
• Summary — A running summary of the output sits under the rail (or at the bottom in a narrow window).

Cards that do not apply are hidden. For example, Bitrate, Quality, and Audio appear only for a Video File output, and the Blackmagic RAW and ARRI SDK cards appear only for those clips.

Container

• Video File — Writes a single movie. Pick the codec from the Format menu: H.264 and HEVC (.mp4), ProRes 422 and ProRes 4444 (.mov), MKV with VP9 (.mkv), WebM with VP9 video and Opus audio (.webm), or Animated WebP (.webp).
• Image Sequence — Writes numbered frames into a folder. Choose PNG, TIFF, OpenEXR, Targa, JPEG or WebP in the Image Sequence Options card. HEIC and AVIF appear when this Mac can write them.

MKV output is not offered when the source is an MKV, MXF, Blackmagic RAW, or ARRI clip. See Codecs and Containers Explained for detailed comparisons.

Still Image Output

WebP offers lossy or lossless encoding with alpha and ICC profile support. HEIC and AVIF are shown only when the current macOS Image I/O runtime can write them. JPEG XL is accepted as input when the runtime can read it.

Animated WebP provides loop and frame-timing controls, with alpha support subject to the format. Animation output does not contain audio. GIF files remain supported as inputs.

Resolution

Turn on Custom Resolution to override the detected size. Enter a Width and Height, and use the link button to lock or unlock the aspect ratio. The reset arrow returns to the source resolution. Leave it off to keep the source dimensions.

Frame Rate

For a video source, turn on Custom Frame Rate to change it; otherwise Sequency uses the detected rate. For an image sequence the controls are always available. Use the slider (1–120 fps) or type a value, including decimals, in the FPS field. The 23.976, 29.97, and 59.94 buttons set the broadcast rates. See Frame Rates and Timing Basics.

Duration

• Change Duration — Turn it on and enter the target length in Seconds. Decimals such as 2.5 are accepted. Leave it off to keep the source runtime.
• Select Frame Range (image sequences) — Export only part of a sequence. Set SOURCE START and SOURCE END with the fields or the two-handle slider. Reset Range restores all frames. Select a single sequence to use it.

Bitrate (H.264, HEVC, MKV)

Use the slider (1–100 Mbps). Higher values give larger files with more detail. It is an average target, so simple footage can encode below it. With Copy from Source audio, a video already in the chosen codec at or below this rate is copied unchanged. ProRes does not use this card.

Quality

• H.264 and HEVC — Quality is set by Bitrate. CRF is not available: Apple's encoders have no CRF mode. The command line accepts --crf only for MKV (VP9) output with --bitrate 0.
• ProRes 422 — Uses a fixed data-rate profile.
• ProRes 4444 — Fixed data-rate profile. Turn on Preserve Alpha Channel when the source has transparency.
• MKV (VP9) — Choose a Speed: Quality (best, slowest), Balanced, Fast, or Realtime (fastest, lower quality).

Audio (Video File)

• No Audio — Mutes the export. This is the default.
• Copy from Source — Passthrough audio from the input video.
• AAC — Compressed audio.
• PCM — Uncompressed audio. Available only for QuickTime .mov (ProRes) exports.

MKV output has no audio. An MKV source supports only No Audio and Copy from Source. Blackmagic RAW clips do not support Copy from Source; use AAC (.mp4 or .mov) or PCM (.mov).

Image Sequence Options

Pick a Format, then set the options for it.

• JPEG — A Quality slider. No alpha.
• PNG — Bit Depth (8-bit or 16-bit) and an Efficiency slider. PNG is lossless either way; the slider trades file size against speed.
• TIFF — Bit Depth (8-bit or 16-bit).
• Targa — Standard Targa export with no extra options.
• OpenEXR — A Compression menu: None, RLE, Zip (Scanline), Zip (Block), PIZ, PXR24, B44, B44A, DWAA, or DWAB.
• Preserve Alpha Channel — Available for PNG, TIFF, Targa, and OpenEXR.
• Start Frame — The number given to the first exported frame (for example 1001). Sequency keeps consistent zero padding of at least four digits.
• Split Multichannel Layers — Appears for EXR sequences exported as PNG, TIFF, or OpenEXR. See Split Multichannel EXR Layers.

Blackmagic RAW and ARRI SDK

These cards appear when a matching camera clip is selected. See Camera RAW: Blackmagic RAW and ARRI.

Color Space

Turn on Enable Color Space Conversion when delivering to a different gamut or working with EXR sequences. ACES choices appear for EXR sources. Learn more in Color Management and ACES.

Export Selected

Export one item right away. It works on a single selected item; to process several, use the queue.

1. Select one item in the input list.
2. Adjust its settings in the Settings tab.
3. Click Export Selected… (⌘E).
4. Pick a destination. A video export asks for a file name, and the file type follows the codec: .mp4 for H.264 and HEVC, .mov for ProRes, .mkv for MKV. An image sequence export asks for a folder (use Export Here).
5. Watch the progress bar. Use the stop button beside it if you need to, or the pause button where pausing is available (it is not offered for ordinary video-to-video exports). When it finishes, an Export Complete card offers buttons to reveal the result in Finder and, for video, to play it in QuickTime.

If the destination folder already contains files, Sequency asks Destination Not Empty. Choose Overwrite to replace them or Cancel to pick another folder. If you stop an export, a Retry Export button appears.

If an export cannot run, the button is dimmed and an Export Unavailable notice explains why. Hover over the button to see the reason.

Add to Queue

The same button works for image sequences, videos, and camera clips, and for one item or many.

1. Select one or more items in the input list.
2. Click Add to Queue (⇧⌘Q). The Batch Export Settings sheet opens.
3. Click Choose… to set the Output Folder. Sequency remembers it next time.
4. Optionally change the Filename suffix (the default is _converted).
5. Choose how settings apply. Leave Use sequence-specific settings off to apply the settings you see to every selected item; edits apply only to fields you changed. Turn it on to keep each item's own settings.
6. Turn on Allow overwrite by default if new queue items may replace existing files.
7. Click Add to Queue to confirm.

Sequency keeps output names unique, so a later batch does not silently replace an earlier queued export with the same name.

Manage Queue Items

• Open the Queue tab (⌘2) to see status badges (Pending, Processing, Paused, Completed, Failed, Cancelled) and progress bars. The tab shows a count of queued jobs.
• Click Start Queue to process pending jobs one after another. Stop All appears while the queue runs.
• On each item, use the buttons to pause or resume (not offered for ordinary video-to-video jobs), stop, retry a failed or cancelled job, or remove it with the trash button. A pending item can be put on hold and released again.
• The Overwrite button on an item allows it to replace existing files.
• Use Clear All to empty the queue.
• Image sequence jobs show a frame count (for example Frames: 120/240) while they run. Completed jobs show how long they took and buttons to reveal or play the result.

Install the Agent Tools Package

1. Open Sequency.
2. Open the Sequency app menu and choose Install Agent CLI.
3. Sequency verifies your App Store or TestFlight app transaction, copies a short-lived install code, and opens the private install page.
4. Enter the code on the website to download the signed and notarized Sequency Agent Tools package.
5. Run the .pkg installer. It installs /usr/local/bin/sequency-cli and lets you choose optional agent skill packages.
6. Restart or reload the assistant if it was already open.
7. Ask naturally, such as “Use Sequency to inspect this folder and make a ProRes preview.”

The app does not download, unzip, or install executable CLI payloads inside its sandbox. Installation is handled by the notarized macOS package, and normal commands run through the package-installed /usr/local/bin/sequency-cli.

What the Optional Agent Packages Do

• Codex — Installs the Sequency skill into Codex skill roots. Use /skills, type $sequency when available, or ask for a Sequency conversion naturally.
• Claude Code — Installs a Sequency skill and a /sequency command.
• Gemini CLI — Installs a Gemini extension with a /sequency command.
• VS Code Copilot — Adds Sequency instructions and a /sequency prompt to the selected workspace without replacing existing nested GitHub instruction folders.
• Antigravity — Installs Sequency as a native SKILL.md skill folder in the supported Antigravity skill roots.
• Templates — Exports skill and prompt files for review or manual installation when you do not want the installer to write them directly.

Use the CLI Yourself

After installation, call the package command directly from Terminal or from automation:

/usr/local/bin/sequency-cli <command> [options]

The external CLI validates the installed Sequency app before normal commands run. Local developer builds and tests may bypass that check only with the documented development environment variable.

Main Commands

The main commands are:

• agent — Checks readiness and prints the machine-readable command contract.
• info — Inspects files, scans image-sequence folders, and lists formats or color spaces.
• convert — Runs one conversion.
• batch — Runs multiple jobs from a JSON config file.

The Agent-Safe Workflow

1. Doctor: confirm this session can write video and image files.
2. Manifest: read the current list of supported codecs, containers, image formats, audio options, camera controls, and flags.
3. Info: inspect the actual source before choosing settings.
4. Dry run: preview the route as JSON before writing anything.
5. Export: run the real conversion.
6. Verify: check that the output file or image-sequence folder was created and is usable before calling the job done.

/usr/local/bin/sequency-cli agent doctor
/usr/local/bin/sequency-cli agent manifest
/usr/local/bin/sequency-cli info --file "/path/to/source.mxf" --json
/usr/local/bin/sequency-cli convert --input "/path/to/source.mxf" --output "/path/to/review.mp4" --codec h264 --dry-run --json
/usr/local/bin/sequency-cli convert --input "/path/to/source.mxf" --output "/path/to/review.mp4" --codec h264 --json

For BRAW, ARRI, custom MXF, MKV, and EXR sources, the dry-run JSON is especially useful. It shows prepared camera settings, color spaces, alpha behavior, frame size, and audio behavior before the export starts.

Camera and Audio Defaults

The CLI prepares camera and audio settings the same way the app does after probing the actual source. This prevents automation from guessing at BRAW, ARRI, MXF, or EXR defaults.

• ARRI review video defaults to the SDK-managed Rec.709 / D65 / BT.1886 render target for native-parity exports.
• ARRI scene-linear EXR dry-runs report ACES2065-1 to ACEScg with ARRI camera settings in the route summary.
• BRAW scene-linear EXR defaults to ACES2065-1 to ACES2065-1, matching the Blackmagic SDK's ACES AP0 handoff unless you explicitly choose another output.
• Audio-capable sources preserve the app's playable audio default unless you pass --audio noAudio. Dry-run and completion JSON include the prepared audioOption.

Useful Human Terminal Examples

See what Sequency can do

/usr/local/bin/sequency-cli --help
/usr/local/bin/sequency-cli info --formats
/usr/local/bin/sequency-cli info --color-spaces

Inspect a file or sequence folder

/usr/local/bin/sequency-cli info --file "/path/to/source.mov"
/usr/local/bin/sequency-cli info --scan "/path/to/frames"

Make a review video from frames

/usr/local/bin/sequency-cli convert --input "/path/to/frames" --output "/path/to/review.mov" --codec ProRes_422

Export frames from a video

/usr/local/bin/sequency-cli convert --input "/path/to/source.mov" --output "/path/to/output_frames" --container imageSequence --format png

Preview a conversion without writing files

/usr/local/bin/sequency-cli convert --input "/path/to/source.braw" --output "/path/to/review.mp4" --codec h264 --dry-run --json

Important CLI Options

• --container videoFile|imageSequence chooses whether the output is a movie file or a numbered frame folder.
• --codec h264|hevc|ProRes_422|ProRes_4444|mkv|webm|animatedWebP chooses the video codec.
• --format jpg|png|tiff|tga|exr|webp|heic|avif chooses the image format for image-sequence output. HEIC and AVIF are available when the Mac can write them. It is not used for MP4 or MOV.
• --audio noAudio|copyFromSource|aac|pcm|opus controls audio for video outputs. opus is for WebM only, and Animated WebP has no audio. Do not choose noAudio unless you want silence.
• --lossless and --loops <count> control WebP and Animated WebP output (zero loops repeats forever).
• --preserve-alpha true keeps transparency when the chosen format supports it.
• --exr-compression zip|piz|dwaa|dwab and the other EXR compression names control OpenEXR output size and speed.
• --braw-decode-intent and --arri-decode-intent control camera-native decoding when you need to override the safe defaults.
• --json makes output easier for agents and scripts to read.

Batch Jobs

Use batch when you have many exports to run from a JSON file. Batch files can define default settings once, then override individual jobs as needed.

/usr/local/bin/sequency-cli batch --config jobs.json --dry-run
/usr/local/bin/sequency-cli batch --config jobs.json --continue-on-error

How to Read Errors

For normal human terminal use, Sequency prints an error plus a “How to fix” line. For agents and scripts, add --json. JSON errors include a code, message, exit code, and remediation so the assistant can choose the next step without guessing.

{
  "status": "error",
  "error": {
    "code": "inputNotFound",
    "message": "Input was not found.",
    "exitCode": 2,
    "remediation": "Check the path and run info or dry-run again."
  }
}

Blackmagic RAW

Import a .braw or .braw2 file. The Blackmagic RAW card appears.

• Decode Intent — Camera / Sidecar Look (the default) decodes with Blackmagic's display look, which suits previews and editorial. Scene Linear ACES 2065-1 hands Sequency scene-linear ACES AP0 data for EXR-style workflows. OpenEXR exports then default to ACES 2065-1, and other outputs can be mapped to another space in the Color Space card.
• Use Sidecar / Embedded Look — Applies the look stored in a .sidecar file next to the clip, or the one embedded in the clip.
• Highlight Recovery — Turn on to recover detail in bright areas.
• ISO, Kelvin, and Tint — Override exposure sensitivity and white balance.
• Exposure — A slider from −6 to +6 stops.

In Camera / Sidecar Look mode Sequency turns its own color conversion off by default, to avoid applying a transform twice.

Audio: Copy from Source is not available for Blackmagic RAW clips. Choose AAC for .mp4 or .mov output, or PCM for .mov.

ARRI

Import an ARRI .mxf clip, or .ari / .arx frames. A folder of .ari or .arx frames imports as one clip. The ARRI SDK card appears.

• Decode Intent — Native Parity (the default) keeps the ARRI SDK's own display and look path. Scene Linear / ACES exports through Sequency's linear ACES workflow.
• Proxy Mode — Full Resolution, Half Resolution, or Quarter Resolution decoding.
• EI, Kelvin, and Tint — Override exposure index and white balance.
• Detected MXF Scene Encoding — Shows the log encoding Sequency found in the clip.

With Native Parity, an ARRI Render Target menu chooses what the SDK renders: Embedded / Camera Look, the clip's flat log scene encoding, or Rec.709 / D65. Sequency color conversion stays off, so the SDK's result is not transformed twice.

With Scene Linear / ACES, the ARRI Scene-Linear Path menu chooses between ACEScg (Linear) and the clip's detected log encoding, which exports as a flat, log-looking image. EXR output defaults to ACEScg and video output defaults to a display-referred transform. Use Embedded / Camera Look applies the camera look, and Reset Input to Detected undoes a manual input color space change.

Good to Know

• MKV output is not offered for Blackmagic RAW or ARRI clips.
• If a required color transform cannot run, the export stops with an error rather than writing wrongly labeled color. See Color Management and ACES.
• Cards marked Edited differ from the values Sequency detected in the clip.

Turn It On

1. Import an EXR sequence and select it.
2. In the Container card, choose Image Sequence.
3. In Image Sequence Options, set the Format to PNG, TIFF, or OpenEXR.
4. Turn on Split Multichannel Layers. A Detected Layers list shows each layer, its category, and a 32-bit tag for full-float layers.
5. Export or add it to the queue as usual.

The option is hidden for JPEG and Targa output, and for sources that are not EXR sequences.

What You Get

• One subfolder per layer inside the output folder, for example RGBA and Depth. Dots in layer names become underscores (ViewLayer.Normal becomes ViewLayer_Normal).
• Color passes (beauty, lighting, emission, and similar) go through your color settings.
• Data passes (depth, normals, position, UV, motion, IDs, masks, and similar) skip color transforms, so their raw values are preserved.
• PNG and TIFF are forced to 16-bit when splitting, to protect data. OpenEXR output is not affected.
• Cryptomatte and deep-data parts are left out automatically.

Select Frame Range, Change Duration, and Start Frame apply to every layer.

Containers vs. Codecs

A container (.mp4, .mov, .mkv, .webm, or a folder of image 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, MKV (VP9) exports to .mkv, WebM (VP9 with Opus audio) exports to .webm, and an Image Sequence output creates a numbered folder of PNG, TIFF, OpenEXR, Targa, JPEG, WebP, HEIC or AVIF files.

MXF is supported for input when macOS can decode the embedded codec (for example, ProRes OP1a), and Sequency can route several MXF variants through its custom readers when AVFoundation cannot ingest them directly.

Blackmagic RAW (.braw, .braw2) is an input-only format in Sequency. The app decodes it through the bundled Blackmagic RAW SDK, then exports through standard video or image-sequence outputs such as ProRes, PNG, and OpenEXR. ARRI clips work the same way. See Camera RAW: Blackmagic RAW and ARRI.

H.264 (AVC)

Widely supported and efficient. Pick H.264 for previews, client reviews, or web uploads. Quality is controlled by the Bitrate setting; increase it when the footage contains fast motion or fine detail. H.264 does not carry alpha in Sequency.

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. Like H.264, quality follows the Bitrate setting.

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. Its data rate is fixed by the codec, so the Bitrate card is not shown.

ProRes 4444

The highest-quality ProRes flavor with support for alpha channels. Turn on Preserve Alpha Channel in the Quality card when the source has transparency. Choose this for compositing, VFX, or archival masters where color precision matters most.

MKV (VP9)

A royalty-free alternative that writes a .mkv file. It uses the Bitrate card and a Speed choice (Quality, Balanced, Fast, Realtime). MKV output has no audio, and it is not available when the source is an MKV, MXF, Blackmagic RAW, or ARRI clip.

WebM and AV1

WebM output uses VP9 video (8-bit, or 10-bit for HDR PQ and HLG) and Opus audio. WebM and MKV inputs can contain VP9, AV1, H.264 or HEVC video; AV1 decodes in hardware on Macs that support it and in software elsewhere.

Image Formats

WebP supports lossy or lossless output, alpha, and embedded ICC profiles. HEIC and AVIF output are available when the current macOS Image I/O runtime provides a destination writer. JPEG XL input is available when the current runtime provides a working native reader.

Animated WebP output supports loops, frame timing, and alpha where the format permits; animation output does not include audio. GIF files remain supported as inputs.

Image Sequence Formats

An Image Sequence output exports each frame as a separate image. Use it when your downstream pipeline expects numbered frames. Choose an empty destination folder with enough disk space; if the folder already has files, Sequency asks before overwriting.

• PNG — Lossless, 8-bit or 16-bit, with alpha.
• TIFF — 8-bit or 16-bit, with alpha.
• OpenEXR — High-dynamic-range frames for compositing. Pick a compression such as Zip (Block), PIZ, or DWAA. Supports alpha.
• Targa — Simple 8-bit format, with alpha.
• JPEG — Small lossy frames with a Quality slider. No alpha.
• WebP — Lossy or lossless, with alpha.
• HEIC / AVIF — Small lossy frames with a Quality slider, when this Mac can write them.

Alpha Channel Support

Alpha can be preserved in ProRes 4444, Animated WebP, and in PNG, TIFF, Targa, OpenEXR, WebP, HEIC and AVIF sequences. H.264, HEVC, MKV, WebM, and JPEG output do not keep alpha.

Blackmagic RAW and ARRI Controls

When a Blackmagic RAW or ARRI clip is selected, extra cards appear with the decode and look controls for that camera. Camera / Sidecar Look (Blackmagic) and Native Parity (ARRI) use the camera maker's own look. Scene Linear ACES 2065-1 (Blackmagic) and Scene Linear / ACES (ARRI) are for higher-fidelity EXR-style workflows. Details are in Camera RAW: Blackmagic RAW and ARRI.

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 preset buttons.
• 48, 50, 60+ fps — High-frame-rate playback or smooth slow motion.

Changing the Frame Rate

The Frame Rate card changes how quickly frames play back. For a video source, turn on Custom Frame Rate to change it; until then Sequency uses the detected rate. For an image sequence the controls are always on.

Drag the slider (1–120 fps) or type a value, including decimals, in the FPS field. Keep it equal to the source to maintain the original duration.

Change Duration

Turn on Change Duration in the Duration card and enter a target runtime in Seconds. Decimal values such as 2.5 work. Sequency repeats or skips frames to fit. 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. Turn the switch off to match the source duration again.

Select Frame Range

For a single image sequence, Select Frame Range in the Duration card exports only part of it. Set SOURCE START and SOURCE END using the filename frame numbers (for example 1001 to 1096), then check the count shown below the slider. If Change Duration is also on, the new duration applies to the selected range.

To number the exported frames from a particular value, use Start Frame in the Image Sequence Options card.

Source Frame Rate Hint

The Source FPS field in the Input Files panel (shown when a sequence is selected) tells Sequency the rate a sequence was made for. Adjust it for custom renders so durations and retiming are calculated correctly. For EXR sequences Sequency reads a frame rate from the file header when one is stored.

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 in the Color Space card when you need to convert EXR or wide-gamut renders to a standard such as Rec.709 or Display P3.

A status line under the switch tells you what will happen, for example whether OpenColorIO is active for the chosen pair.

Input vs. Output Color Space

Input Color Space tells Sequency how to interpret pixels before processing. Output Color Space sets the target for the export. Both menus group their choices:

• Standard — Common spaces such as sRGB, Rec.709, and Display P3.
• Camera & Log — Camera log encodings.
• ACES — ACEScg, ACES 2065-1, and related spaces. This submenu appears for EXR sources and EXR output.
• OCIO Displays, OCIO Roles, OCIO Colour Spaces — Choices from the bundled OpenColorIO configuration.

EXR Workflows

When an EXR sequence is selected, Quick Presets set both menus in one click:

• ACEScg → sRGB for desktop playback.
• ACEScg → Rec.709 for broadcast delivery.
• Linear → sRGB for ACES 2065-1 linear renders going to sRGB.

Camera Clips

Blackmagic RAW and ARRI clips can be decoded with the camera maker's own look or as scene-linear ACES. In the camera-look modes, Sequency turns its own color conversion off by default so the look is not applied twice. See Camera RAW: Blackmagic RAW and ARRI.

Video-to-Video Conversions

For a video source exported as video, color conversion may have limitations. Sequency shows a warning in the card; for best results, export to an image sequence.

If a Color Transform Cannot Run

When a conversion you asked for is not available, the export stops with an error instead of writing pixels under the wrong color label. This applies to image sequence, MKV, MXF, Blackmagic RAW, and ARRI exports. Pick a different input and output pair, or turn conversion off, then export again.

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 color space and confirm your playback app honors embedded color profiles.

Track Progress

• The Settings tab shows a progress bar with a percentage for the active export, plus pause (where available) and stop buttons.
• An Export Complete card confirms whether an image sequence or video finished, how long it took, and lets you reveal it in Finder or play a video in QuickTime.
• The Queue tab (⌘2) displays status badges, and frame counts for image sequence jobs.

Use the Console

Open the Console tab (⌘3) to see detailed logs. Type in Filter log to show only matching lines; the counter shows how many lines match. Click Copy to copy the visible lines to the clipboard, which is handy when you contact support.

Permission Errors

If you see Export Unavailable or Directory Access Required, click Grant Access… and re-authorize the folder. Keep external drives mounted and writable.

Export Unavailable

When the export buttons are dimmed, the reason is shown in an Export Unavailable notice and when you hover over the button. Common reasons:

• No item selected — Select an item in the input list.
• Export Selected handles one item at a time — Use Add to Queue for several items.
• Directory access required to read frames — Click Grant Access….
• EXR format not supported by macOS (possibly multi-channel or deep EXR) — See Missing EXR Support below.
• Linear PCM audio requires QuickTime .mov exports — Switch the Audio card to AAC, or choose ProRes.

Destination Already Contains Files

When an image sequence destination folder is not empty, Sequency asks Destination Not Empty. Choose Overwrite to replace the files, or Cancel and pick an empty folder. Queue items have an Overwrite button for the same choice.

Export Failed, or Stopped on a Color Error

If a color conversion you selected cannot run, Sequency stops the export and shows an Export Failed message. It will not write pixels under the wrong color label. Choose a different input and output color space, or turn off Enable Color Space Conversion, and try again. The Console tab has the details. See Color Management and ACES.

Missing EXR Support

If Sequency reports a missing EXR plug-in, macOS 13 and earlier might need Apple’s AppleEXR plug-in, which is built in on macOS 14 and later. Follow the in-app instructions to install the required system update or enable the plug-in.

Unexpected Color or Gamma

• Verify the input color space matches your source media.
• Confirm your playback tool honors the embedded color profile.
• For Blackmagic RAW or ARRI clips, check the decode intent; the camera-look modes already apply a look.
• Export a short sample with and without conversion to compare results.

Exports Stuck in Queue

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

Agent CLI Update Notice

If a newer Sequency Agent CLI package is available, a bar reading Agent CLI … is available appears above the tabs. Click Get Update to open the installer page, or Dismiss to hide it.