[Jason Milligan]

Keep in mind, if the images are different sizes, you will get unexpected results as the anchor points will be in different positions. If your images are the same size, they will swap perfectly.

[Jason Milligan]

Are you exporting the quicktime files directly from Flash?
There are third party software that give better results.

You can export directly as a swf, import the swf into AE, and render from there.
Be sure to enable “continuously rasterize” if you resize the swf at all.

[Jason Milligan]

I think it is safe to assume everything in this video was added in post including the lens distortion.
It looks to me like Timberlake was shot on a chroma-key stage and then comped into a virtual environment. I think Mark nailed it. Stuart’s method would be the way to go if you wanted to shoot something similar in a real location with no keying. You’d have a lot of rotoscope work to do, though.

[Jason Milligan]

As soon as the motion ceases, the built-in motion blur will disappear.
You could still keyframe a blur effect like “directional blur” or “compound blur” (or whichever is appropriate to your situation) so that as the inherent motion blur disappears, the blur effect increases. You could then orbit around that to your heart’s content. The real trick will lie in matching the original motion blur and timing the transition to a blur effect.

[Jason Milligan]

You can select keyframes and right-click (ctrl-click) them to get a contextual menu with a “keyframe velocity” option. Here you can input incoming and outgoing velocity for multiple or single keyframes. This can also be accessed under Animation>Keyframe Velocity.

Have you tried making adjustments there or does this not give you the type of control you are after?

[Jason Milligan]

Thanks, Mike.
I never knew Blends could be used in this way.
That’s really handy.

[Jason Milligan]

Is there a reason you are creating your swf in AE instead of importing the Targas directly into Flash?

[Jason Milligan]

Use the rectangular grid tool to make a grid. Apply a stroke.
Expand the appearance so the strokes become a single fill.
You can then use the warp and distort filters to twist and mold it.

[Jason Milligan]

What you are looking for is called “Tilt-shift photography.”

Here are two links you’ll find useful:
https://en.wikipedia.org/wiki/Tilt-shift_miniature_faking
https://www.tiltshiftphotography.net/

[Jason Milligan]

I also find this confusing, but smoothness, ease high, and ease low will allow you to do this, although not especially intuitively. Controlling the speed of the selector controls how quickly it applies a property to a character and this, in essence, controls the speed of the animation of the character. It takes a lot of experimenting with the values for me to get an acceptable result also. It would be great if it could be represented graphically in a future version.

You may have already read this, but here is the text from AE help:

Smoothness Determines the amount of time the animation takes to transition from one character to another when you use the Square shape.

Ease High and Ease Low Determines the speed of change as selection values change from fully included (high) to fully excluded (low). For example, when Ease High is 100%, the character changes more gradually (eases into the change) while it is fully to partially selected. When Ease High is -100%, the character changes quickly while it is fully to partially selected. When Ease Low is 100%, the character changes more gradually (eases into the change) while it is partially selected to unselected. When Ease Low is -100%, the character changes quickly while it is partially selected to unselected.