[Filip Vandueren]

Hi there,

in video-land what we usually do instead of maximizing or hyping it, is toning it down.
You’d think that just adding that last bit of extra contrast or sharpness would make the image jump out at you more. And indeed, if you do that, it will look much better on your computer-screen.
But alas: if you do anything like that for video, your image will probably go out of broadcastspec. Or with sharpening it might become more ‘flicker-y’

Do a search on broadcast safe colors and you’ll get a lot of good advice of how the last steps in video are to be undertaken.

[Filip Vandueren]

Have you tried emptying your cache ?

[Filip Vandueren]

I’m assuming you’re files are not simply called picture000.tif – picture999.tif.
But that there’s a bunch of images with different file-names, that are imported as “force alphabetical order”‘

If it’s the former case, it’s as Mylenium said, just a case of putting the current frame-number inside a string, and my solutions would be massive overkill 😉

[Filip Vandueren]

I’m assuming you’re files are not simply called picture000.tif – picture999.tif.
But that there’s a bunch of images with different file-names, that are imported as “force alphabetical order”‘

If it’s the former case, it’s as Mylenium said, just a case of putting the current frame-number inside a string, and my solutions would be massive overkill 😉

[Filip Vandueren]

Have you allready shot your footage?

It was probably shot with a polarizing filter in front of the lens:
This is normally advised against, because when you pan the camera, you get dark areas that move through the sky.
You see that happening in the panos.

There’s also some additional masks to create a vignette look.

I think it will be very hard to achieve this effect without top quality footage to start with.
I also would keep the levels in check. Because if you have white areas that are over-exposed, you’ll never get them toned down in post.

You can try the method in my tutorial, but experiment with different transfer modes. I used screen, but using Multiply or Hard Light can give you a whole nother look.

if you have some footage, can you post a link of a fragment or just a still ?

[Filip Vandueren]

Can’t be done with a simple expression.
But here are two recipes for a workaround:

create a script, that looks in the folder you imported from, and then creates an invisible text-layer with every filename on a different line.
Then you can use an expression to calculate what framenumber of the imagesequence is being displayed.
The name of the picture is in the text-layer on the line of that same number.

without a script:

re-import the image sequence as a folder of images.
Make a comp of them, with sequenced layers of length 1 frame.

With an expression, look inside that comp and figure out which layer is visible at a certain time.

[Filip Vandueren]

Can’t be done with a simple expression.
But here are two recipes for a workaround:

create a script, that looks in the folder you imported from, and then creates an invisible text-layer with every filename on a different line.
Then you can use an expression to calculate what framenumber of the imagesequence is being displayed.
The name of the picture is in the text-layer on the line of that same number.

without a script:

re-import the image sequence as a folder of images.
Make a comp of them, with sequenced layers of length 1 frame.

With an expression, look inside that comp and figure out which layer is visible at a certain time.

[Filip Vandueren]

Make sure you use the advanced 3d renderer, you can set it in the Composition settings, advanced tab

[Filip Vandueren]

I think you mean:
“u” this show all properties that have keyframes
“u u” twice, will show all properties that are changed from the original value (or have keyframes)

[Filip Vandueren]

How big is the original. So are you scaling it over 100% ?

Also, are you previewing the rendered file, or just realtime throught Firewire ?
Make sure the “Pixel Aspect Ratio correction” is off.