[Charles Thin]

Sounds good, but I still would have a little problem with that : I also have post-animation effects which I do not want to depend on the animation (ie I don’t want those effects to be distorted). That would imply re-creating the effect in every text layer wouldn’t it ?

My current setup, from the top down :
-> Final comp with extra effects
-> Animated flag comp
-> Flag comp (not animated)
-> Text layer

Your suggestion, form the top down, if I understand :

-> Text comp with text layer, and animation copy-pasted from original animated flag comp
-> Flag comp (not animated)

[Charles Thin]

Hi everyone,

So the magic button “Collapse transformations” needs to be activated all the way up and down the comps. Now that I’ve done this it looks (a lot) nicer. Will this also look like this when rendering the final comp ?

[Charles Thin]

Hi again,

So no I cannot afford to make any of my content wider in terms of pixels. One possibility here, which I would accept, is to take my main comp and increase its resolution (ie, its canvas size) by a large factor, then blow up everything until it fits back on the canvas (ie by that same factor).

But I do have comps that are using this main comp (mostly to create some camera travelling effect where only a part of the main comp is seen at any time). How do prevent that blowing up from messing too much with that ?

Thanks in advance,
Charles

[Charles Thin]

I can’t, really. The keyframes in the Position property of the character are dark gray and round, probably because it’s more than just the position somehow, anyway it’s the result of copy pasting from the path data. I tried, but it just modified the character position sequence in a … weird way.

The path I made with the pen tool simply. Then I added a (dashed) contour to make it visible, and then I added the “trim path” property, then I set the End sub-property to be zero at start time and 100% at the end. In between the “tip” of the path linearly moves from the actual beginning to the actual end along the path. If I keep that synchronized with the character movement then the tip is just under the character, and it looks like the character is leaving that spur behind. Which is what I want. I just set “Automatic orientation” and voilà !

(Of course the path is not dynamically linked to the character’s position path … I have to copy and paste again every time I modify the path. If you have a suggestion for that as well …)

Regards,
Charles

[Charles Thin]

Hi Steve, hi Dave

Thanks for the heads up on raster vs. vectors.

To answer the general question : I will rendering a video out of this animation which will be part of a movie I’m making in Adobe Premiere Pro. So it will end up being 1080p video.

Actually there are multiple views of the boat, which I alternate between depending on its orientation on the path. Therefore I have simple pixel graphics for front view, side view, back view … each of which I have isolated in its own composition (back_comp, front_comp, …), in case I need to make a modification later. In a separate composition called Boat I order those comps for each view in chronological order so it changes view at the moment I need. This composition called “Boat” goes in the main composition which contains the large base map. This is where I first see the fuzziness.

I have activated the option you suggested for all the individual view compositions within the Boat animation comp, and also for that Boat comp in the main comp – in fact I now have i activated everywhere – to no avail. What I am missing ?

Thanks again and in advance,
Charles