[Sorklin]

Not hard: use expressions.

After you’ve tracked the point, you’ll need to add a Expression, Point Control effect to the layer. Then you do your distortion mesh the way you like and link the mesh offset to the tracker attach point using the pick whip. This is okay, but the mesh won’t stay on the point, because the coordinates are slightly offset. To fix you rewrite the expression to something like this:

temp = motionTracker(“Tracker 1”)(“Track Point 1”).attachPoint[0]+effect(“Point Control”)(“Point”)[0];
temp1 = motionTracker(“Tracker 1”)(“Track Point 1”).attachPoint[1]+effect(“Point Control”)(“Point”)[1];
[temp, temp1]

Then use the Point Control expression controls to slide the mesh to where you want it to be. After that, it should stay stuck to that point.

[Sorklin]

Not hard: use expressions.

After you’ve tracked the point, you’ll need to add a Expression, Point Control effect to the layer. Then you do your distortion mesh the way you like and link the mesh offset to the tracker attach point using the pick whip. This is okay, but the mesh won’t stay on the point, because the coordinates are slightly offset. To fix you rewrite the expression to something like this:

temp = motionTracker(“Tracker 1”)(“Track Point 1”).attachPoint[0]+effect(“Point Control”)(“Point”)[0];
temp1 = motionTracker(“Tracker 1”)(“Track Point 1”).attachPoint[1]+effect(“Point Control”)(“Point”)[1];
[temp, temp1]

Then use the Point Control expression controls to slide the mesh to where you want it to be. After that, it should stay stuck to that point.

[Sorklin]

Precompose the 2nd shatter layer, and time remap it backwards.

I just tested this and it does work. 1st shatter layer with the camera move up until you want the shatter to reverse, then duplicate the layer (so the physics is the same). re key the starting camera move to be where you want the animation to end up and leave the second keys alone (so the camera is in the same position when the shatter reverses).

Change the PSD, match the backs of the textures if you need to and precompose this. Make sure the length of the precomp is the same as the animation. Then time remap the precomp to run backward and start it after the first one ends. The camera should be smooth through the overlap (you might need to trim a frame) and the physics should be the same (was for mine) — so the pieces are in the same spot.