[John Cuevas]

Take your video, drag it to the make new comp icon. If you want it to be 1 minute, press cntl+k and change the duration to 1 minute. Couple of methods you can use now, one is to simply use Time Remapping(cntl + alt + t), then drag the second keyframe to 60 seconds and drag the layer out point to the end of the comp.

Another method is to use the time warp effect. Take the comp you created and extended to 60 seconds, and drop that on the new comp icon, rename it final. Now just add the Time > Time Warp effect to the precomp. It’s already set at 50% speed, so you should be done.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Optical Flares has dirty lens effects built in…pretty inexpensive plugin, totally worth the money.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

The big issue is you are working with a very compressed image, so removing all the white that occurs due to the motion blur is going to be practically impossible.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

You might also try a luma key and set it to key out brighter.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Instead of moving null around the mask path, place the null in the center of your 4 objects, parent the objects to the null, then just rotate the null.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

What do you mean the compositing options aren’t appearing? Do you mean the transfer modes? You can toggle between modes/switches by pressing F4.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

If you go into Effects and Presets and search for “Bad TV” there are a couple that will get you pretty close.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Found this, about 27 minutes into the video, he starts breaking down the agent dodge, pretty good explanation.

https://www.youtube.com/watch?v=HZOOwR-vth4

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

A green screen where you are shooting would save you the issue of matching lighting. So with a locked down camera you would shoot the background plate(you could even shoot one agent position). Then you position green screen, shoot agent dodges, actor should stay in the same place(tape marks for feet). Then it’s masking/composites and CC Force Motion Blur, Time > Echo Effect.

After Effects Agent Dodge Tutorial Search results

Haven’t watched any of those tutorials, but you might find some valuable information there.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Blog I found comparing the two, not sure if it’s still accurate(2014). You should be able to download the re-encoded file from each site and see how much they are compressing the files.

HD quality of YouTube vs Vimeo

Although YouTube supports both 720p and 1080p, but the HD video quality is unacceptable. It is due to YouTube’s bitrate is limited to 3Mbps for 720p and 6Mbps for 1080p. If you upload a high bitrate video, YouTube will re-encode for you and the result is very bad. So if you are going to use YouTube for streaming HD video with high bitrate, you must know how to optimise the video before uploading to the site.

Vimeo’s bitrate is limited to 10Mbps for 720p and 20Mbps for 1080p. For free user, you can only serve 720p video. So for my 1080p video, Vimeo will re-encode to 720p. But due to its higher maximum bitrate, or may be a better encoding server, the video quality is a lot better than the YouTube one.

Johnny Cuevas, Editor
ThinkCK

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.