[Iancorey]

recreating the sort of stilted motion, weird reddish saturation, and overexposure that occurs at the end of a roll of 16mm film?

How do you not see that you are answering your own question?

Stilted motion? Sounds like dynamic movement over close keyframes.
Reddish saturation? Sounds like an animated Hue & Saturation effect.
Overexposure? Sounds like an animated Exposure effect.

[Iancorey]

Have you ever used After Effects?

[Iancorey]

You’re in the right place, bro. Search the forum for “growing” and “vines” and maybe “blooming”. This has been covered and there’s a decent tutorial out there.

[Iancorey]

High five!

The scaling artifacts are just from the preview. I’m sure in this day and age of imaging they’re less a side effect and more a reminder that you’re working in pixasp corrected mode.

[Iancorey]

Your footage looks skinny, right?

It’s Cmd+F should tell you that it’s interpreted as HDV pixasp, right?

If you enable the pixel aspect correction button* it looks normal (with some preview scaling artifacts), right?

*comp window, lower right, rectangle with horizontal arrows.

[Iancorey]

It would also be helpful to look at the waveform. Press LL.

[Iancorey]

AE 7.0.1 was supposed to improve the contrast. Have… ahem… HAVE YOU DOWNLOADED THAT UPDATE FROM THE ADOBE WEBSITE YET?!?!?!!!!!

[Iancorey]

This is something I’ve wondered about too. For your most basic, repeated motions (like fade in, fade out) you can set an animation preset by selecting the key frames of the animation and going Animation > Save Animation Preset. Then to recall it you can pick it out of the Animation > Recent list or Animation > Load Animation Preset. This saves a lot of time on common animations.

I agree. Having a shortcut to edit the value of the selected key frame would speed up the flow. I hope someone knows one.

[Iancorey]

Just off the top of my head, multiple layers of tweaked Fractal noise offset in zspace set to overlay.

One thing that I’d add (if I had any clue) would be to set an expression that would make the layer less opaque the closer the camera got to it. That way there’s no “snap” to invisible as the layer ends up behind the camera.

[Iancorey]

Great help! Thanks, fellas.