[Filip Vandueren]

Sorry, a little error in my logic there,
just use [0,0,1] or even less.

[Filip Vandueren]

Sorry, a little error in my logic there,
just use [0,0,1] or even less.

[Filip Vandueren]

what does the shake or combustion data look like?
Can you export it to a text-file there and upload a sample.

If that’s in a legible format, it shouldn’t be too hard to parse it and convert it to keyframes with a script.

[Filip Vandueren]

Hi,

try this:
Animate the first layer complete with a ease on the first key-frame to simulate gravity.

then give all the next layers these expressions:

Position:

thisComp.layer(index-1).position.valueAtTime(time-0.8) - [0,0,index];

Z-Rotation;

seedRandom(index, timeless = true);
random(-10,10)


For position, it follows the previous layer by copying the position it was at 0.8 seconds earlier.
The Z-rotation, rather obviously, get’s a random value between -10 and +10.

[Filip Vandueren]

Hi,

try this:
Animate the first layer complete with a ease on the first key-frame to simulate gravity.

then give all the next layers these expressions:

Position:

thisComp.layer(index-1).position.valueAtTime(time-0.8) - [0,0,index];

Z-Rotation;

seedRandom(index, timeless = true);
random(-10,10)


For position, it follows the previous layer by copying the position it was at 0.8 seconds earlier.
The Z-rotation, rather obviously, get’s a random value between -10 and +10.

[Filip Vandueren]

You can use a very simple expression for this using the pick-whip.

animate the write-on effect,

then activate the expression for the postion of your pen-layer.
Now just pick-whip from the expression to the write-on position.

fine-tune the position of the pen by moving the anchorpoint to the tip of the pen.

[Filip Vandueren]

You can use a very simple expression for this using the pick-whip.

animate the write-on effect,

then activate the expression for the postion of your pen-layer.
Now just pick-whip from the expression to the write-on position.

fine-tune the position of the pen by moving the anchorpoint to the tip of the pen.

[Filip Vandueren]

something went wrong, the last line was truncated:


box=[20,20,300,220]; // box you want to stay in [x1,y1,x2,y2]
motion=[312,123]; // motion-vector in pixels per sond [x,y]
startpos=[160,120]; // startposition

// calculations:
w=box[2]-box[0]; h=box[3]-box[1]; corner=[box[0],box[1]];
delta=motion*time; pos=startpos+delta-corner;
xx=pos[0]%(w*2); yy=pos[1]%(h*2);

corner+[xx,yy]


[Filip Vandueren]

something went wrong, the last line was truncated:


box=[20,20,300,220]; // box you want to stay in [x1,y1,x2,y2]
motion=[312,123]; // motion-vector in pixels per sond [x,y]
startpos=[160,120]; // startposition

// calculations:
w=box[2]-box[0]; h=box[3]-box[1]; corner=[box[0],box[1]];
delta=motion*time; pos=startpos+delta-corner;
xx=pos[0]%(w*2); yy=pos[1]%(h*2);

corner+[xx,yy]


[Filip Vandueren]

True, DV lowers the quality, epecially in fine color detail in saturated colors.

What’s probably happening is that because it is DV, it’s assumed to be interlaced video.
After effects deinterlaces (and throws out a field) for displaying.
(it looks like it has half resolution vertical)

You’ll have to either render it out using fields or interpret the footage as having no frames.

I don’t use premiere, but it’s possible it does the same thing: only displaying 1 field so you don’t see jagged edges on the computer-screen.

When you export or dump to video-tape, it’s probably solved.
If not, ask this question in the premiere forum.