Wiki · Autograph / Timing / Image sequences

Autograph frame-rate and image-sequence handoff checklist

Published 2026-07-13 · Wiki · Timing / Image sequences / Workflow

A practical checklist for moving image sequences and timed media into or out of Autograph without creating silent speed changes, missing frames, handle errors, or editorial mismatches.

Why this page exists

Autograph combines motion design, compositing, video, multi-channel EXR, OpenFX effects, and 2D/3D work in one timeline. In that environment, a sequence can be visually correct while still carrying the wrong timing assumption. A folder of 120 frames has no universal duration until a frame rate is assigned, and a clip's source range is not necessarily the same as its visible or editorial range.

Record the timing contract first

• Project rate: write down the intended timeline rate, including fractional rates such as 23.976 or 29.97 rather than rounding them to 24 or 30.
• Source interpretation: record the rate at which an image sequence should be read. Do not assume the file count or filename pattern carries that information reliably.
• Frame range: state the first and last expected frame, whether both endpoints are inclusive, and whether handles are included.
• Editorial position: distinguish source-frame numbering from the clip's position in the parent timeline. Frame 1001 in a render does not imply timeline frame 1001.
• Retiming status: note whether speed changes, frame blending, optical-flow interpolation, posterization, or hold frames are live or already baked into the media.

Image-sequence checks

• Confirm that numbering is continuous and consistently padded, for example shot_v012.1001.exr through shot_v012.1120.exr.
• Check for duplicate numbers, missing numbers, mixed extensions, and accidental alternate versions in the same folder.
• Open the first, middle, and last frame rather than trusting a single thumbnail. This catches truncated renders, stale tail frames, and unexpected handle content.
• For EXR, inspect channel names, data/display windows, alpha, compression, and metadata separately from sequence timing. A valid EXR file can still belong to the wrong frame or version.
• Keep review movies separate from authoritative image sequences. A movie encode may hide a missing frame by repeating, blending, or dropping frames.

Frame-rate mismatch test

1. Choose a short range with an obvious one-frame event, such as a flash, cut, marker, or single-frame slate.
2. Import the sequence and verify its interpreted rate before placing it in the final composition.
3. Compare source duration, visible duration, and expected editorial duration in frames, not only seconds.
4. Render the same short range to a sequence and a review movie.
5. Re-import both outputs and confirm that the one-frame event lands on the same frame in Autograph and the receiving application.

Handles, trims, and transitions

• Keep available media, requested source range, and visible range conceptually separate. Transitions may require frames outside the editorial cut.
• State handles explicitly as a count per side, for example eight frames before and eight frames after the cut.
• Do not rename a sequence in a way that hides its original source range unless the mapping is recorded elsewhere.
• When a retimed shot is returned to editorial, identify whether handles are measured before or after the speed change.

Variable-frame-rate and movie-source caution

Phone captures, screen recordings, conferencing files, and some web downloads may not behave like fixed-rate production media. Before detailed work, transcode or otherwise normalize uncertain sources to a tested fixed-rate mezzanine or image sequence, while preserving the original. Verify sync and duration after conversion rather than assuming the nominal metadata is sufficient.

Delivery note minimum

• Timeline rate and source interpretation rate.
• First and last frame, handle count, and endpoint convention.
• Whether retiming and motion interpolation are baked.
• Filename pattern and version.
• Known gaps, intentional holds, or repeated frames.
• Receiving application used for verification.

Practical rule

Do not describe timing only as a duration in seconds. For VFX handoff, the reliable unit is a documented relationship between frame rate, numbered source frames, source range, timeline range, handles, and retiming state.

Useful next pages

• Autograph render review and delivery checklist
• Autograph retiming, motion blur, and deflicker plugin checklist
• Autograph to Nuke EXR and OCIO handoff checklist

Sources checked

• Maxon Autograph product page — checked 2026-07-13. Used for Autograph's combined motion-design, compositing, video, multi-channel EXR, OpenFX, and timeline workflow context.
• OpenTimelineIO: Time Ranges — checked 2026-07-13. Used for the distinctions among available range, source range, trimmed range, visible range, and parent timeline coordinates.
• OpenEXR Technical Introduction — checked 2026-07-13. Used for EXR channel, window, compression, metadata, and production-image context.
• Adobe After Effects: importing and interpreting video and audio — checked 2026-07-13. Used as a receiving-host reference for explicit footage interpretation and frame-rate verification.