[Kevin Camp]

you’ll need to make paths that follow the top and bottom edges of the black line, then put your text on those paths.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

you could do it by splitting the text layer and sandwiching the photos cylinder between them…

start with the photo layer and add cc cylinder.

create your text layer and add cc cylinder to that too, but in the ‘render’ setting of the cc cylinder effect, set it from ‘full’ to ‘outside’.

now duplicate the text layer and place it bellow the photos layer in the timeline.

go back to the ‘render’ setting and set it to ‘inside’.

you should have text that goes around the photos cylinder.

you may want to set up the rotation animation prior to duplicating the text layer, or you could link the rotations of the text layers with an expression, or just copy/paste keyfra,es.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

try cc bend it.

you’ll need to place the start point at the center of the toothbrush and the end point at the top, then drag the bend property to see if that will work for you.

if your toothbrush layer is not comp sized, or you are seeing it get cropped to the layer bounds, add grow bounds before cc bend it and increase the grow pixels value.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

since your expression is based off the velocity coming into the last keyframe, you’ll need to do a little math to manually keyframe this.

for starters the frequency (or cycle) is 4, so the complete movement from low keyframe to high keyframe back to the next low keyframe is 1/4 of a second. if you are working at 30 fps, that’s a messy 3.25 frames between keys, i’d go with 4 frames between keys.

let’s call the value of the end keyframe the base value. to estimate the overshoot amount go back 2 keyframes and subtract that value from the base value, move 2 keyframes past the base value keyframe and add that value to the base value.

you’ll need to factor in decay as you go further…. your decay rate of 2 would be about a 60% every cycle, so about 80% every keyframe, so to set the first up swing, move down the timeline 4 more keyframes and subtract 80% of the overshoot amount from the base value.

then move 4 keyframes down the timeline and add 80% of that value you just calculated for the upswing to the base value.

and keep doing that until your overshoot value gets close to 0.

and you’ll want to make all the ‘bounce’ keyframes easy-ease keyframes.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

in a comp, make sure no layers are selected, then click the rectangle tool (if it’s a different shape tool, click and hold the tool and select the rectangle).

then draw a rectangle in the comp viewer about the size that you need it (you can refine it later if needed).

then to make sure the anchor point is in the center, right-click the rectangle you’ve drawn and choose transform>center anchor point.

twirl down the shape layer properties to contents> rectangle 1>rectangle path 1 and offset the x or y position property so the anchor point is outside the rectangle (i would only change the x or y, not both). you could also refine the size property if needed. if you wanted to key frame the size and position, as in the example, you’d do that here too, but i’d do that after you repeat it.

to repeat that shape, click the ‘add’ menu arrow that’s to the right of the ‘contents’ property group of the shape layer and choose repeater.

in the repeater property group that shows up, set copies to whatever value is needed (6, for example) and then set the transform: repeater1>position to 0,0 (the default is 100,0) and set the rotation to 360/number-or-copies (360/60, for example).

once you’ve done that you should have a circular array of rectangles. you can animate the position and size properties described above to make them radiate outwards if you were trying to copy your example. you would also animate the opacity of either the layer or the fill/stroke opacity properties of rectangle 1 property group.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

if you were doing this in after effects, i’d select the final comps (the comps that i would want to render) in the project window, then choose file>dependencies>reduce project to remove all unnecessary pre-comp, footage (including images and audio) and solids.

then i’d choose file>dependencies>collect to move copies of all the required elements into a new folder, with a copy of the project.

not sure with premiere though

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

it would be difficult to reproduce something precise manually…

also, there are many different inertial bounce expressions and within each there are settings for frequency and spring constant/decay, etc, so you would need to provide the expression.

one tip though, since most bounce expressions don’t change the frequency of the bounce, i’d start by making all the keyframes the same number of frames from each other. the only exception i’m aware of that changes the frequency is dan ebberts’ realistic-bounce-and-overshoot expression

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

if you do use the ‘draft’ setting method in for those layers, when you render, click the render settings and set the quality from the default ‘best’ to ‘current settings’, otherwise ae will assume that you want to render all layers at ‘best’ quality.

and simple choke is just an effect, simply start typing ‘choke’ in the effects palette and drag simple choker onto you layer, or select your layer and choose effects>matte>simple choker to apply it to the layer.

it has one control, choke amount. just scrub that value to see how it effects the layer, but it simply grows or shrinks the alpha transparency of a layer.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

it’s do to anti-aliasing of sub-pixel positioning.

you could modify the masks to fall exactly on the edge of a row or column of pixels.

you could add simple choker to the white solid and increase the choke slightly to ‘shrink’ in the edges so they are hidden behind the other layers.

you could pre-comp all the layers that make the rectangle, and then in the pre-comp turn on preserve transparency (layer>preserve transparency) for all layers above the white solid. this will clip those layers’ transparency to the any layers bellow that do not have that option enabled. you may need to enlarge to layers above the white solid to make sure they expand beyond the aliasing edges of the white solid.

you might be able to construct these rectangles in a way that uses a single layer and avoids the issue of stacking layers.

Kevin Camp
Art Director
KCPQ, KZJO & KRCW

[Kevin Camp]

assuming you want everything the same as in the squares layer, try this:

• duplicate your square layer, rename it rectangle
• twirl down the rectangle layer’s properties to get to contents>rectangle path 1>size and unlink the x/y scale properties by clicking the chainlink icon next to them.
• since the size value is keyframes, move the last keyframe and enter the value for the rectangle — ex: 100,200.

you should now have a circular array of rectangles

Kevin Camp
Art Director
KCPQ, KZJO & KRCW