[Steve Roberts]

Change the tint/color when zoomed in,
Zoom in really fast, then drift,
Add a slight “Kid Stays in the Picture” effect as you drift, maybe orbit the camera slightly,
Add a couple of jump cuts once zoomed in …?

[Steve Roberts]

I would render to Animation from AE, then use QT to Export to iPad.

[Steve Roberts]

It sounds as if the layers are inside a comp. You should click the little sunburst button for the comp to collapse transformations and make the layers 3D again.

If that didn’t do it, get back to us.

[Steve Roberts]

I feel your pain. The vertices of a two-vertex straight path are in the same location of the corners of the bounding box, making two-vertex linear paths something of a special case, one whose solution cannot be immediately divined by reading the help.

With nothing selected (F2):

1. double-click on the specific path you want to edit. (boldness is not for you, it’s for my students, some of whom go clicking willy-nilly on anything) You should see a bounding box with dotted lines.

(If not, you clicked next to the path in a multiple-path shape layer, not on the path, and you should hit F2 to deselect everything and start again. )

2. double-click one of the corners of that box. The bounding box will change to a box with solid lines.
3. drag the corner of this bounding box at the desired vertex. Since your path has only two points, dragging a corner of this box is the same as dragging a vertex.
4. Hit Return.

(The dotted-line box was “group-selection” mode, and the solid-line box was “free-transform” mode.)

Now if you have a two-vertex bezier path:
1. double-click as above to get the dotted bounding box.
2. click once on the vertex you want to edit. Now you’re in path edit mode. That was easier.

You may have to zoom in to make all this happen.

[Steve Roberts]

Start with a Y-rotation of a very high number (1000x maybe) for the first key, then 0 for the second. Use easy-ease in on the second key.

[Steve Roberts]

You’ll need a window frame and something reflected in the glass. The light stripe is good, but it might have to move.

You might get into some discussions here with the client. Sometimes somebody gets a concept in his or her head (“through a window!”), but they need to be ready to make the sacrifices necessary for the effect: a frame and reflections, for example. Sometimes a moving camera with a reflection moving opposite to the outside scene helps sell the effect, but of course all of this competes with the scene outside. The client has to be willing to let the outside scene “share the stage” with the elements that suggest the window.

[Steve Roberts]

I don’t know if making an AEC is necessary. I’d just use the existing C4D project to render a TIFF sequence with alpha.

[Steve Roberts]

It’s probably not zooming per se. Look at the top view to see what the camera’s doing.

A better way would be to make a null at the center of the text, parent the camera to it, then rotate the null.

If that doesn’t help, send us a screengrab of the top view with camera path visible.

[Steve Roberts]

Faster processors, tons of RAM. That’s what you need. I’d go 8GB plus. I’m at 18GB and happy, with eight-core macs.

All blue-chip stuff, nothing fancy like graphics cards and so on.

[Steve Roberts]

[Todd Kopriva] “However, the truth is that an adjustment layer applies to one thing: the composite of the layers beneath it.”

Excellent distinction, sir.