Report model of column named with 2 lines/registration poster null in the top row

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  Second Point:
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  Third Point:

  The average human eye and brain have a property called retinal retention. These effects how we perceive motion. No matter what you do, most people perceive incorrectly flexible movement across their field of vision. Most of the time the brain tries to iron out things and your eyes automatically try and follow this movement. This effect is well understood by the great directors when they block shots and the great directors of photography when they put cameras if your eye is directed to the part of the frame where they want that to get you to understand the history.

  Fourth Point:
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  Fifth Point:
  Work around the fine lines, turning it into a thicker lines is to disable interpolation. You can do in After Effects by selecting quality draft. With quality lit project, you will always have a thick black line of single pixel. This solves a problem, but worse the other. The problem of the stroboscopic effect. To make your single pixel with black line SOUPLESE you must match the query of the line to the frame rate. You move 1 pixel by image or 2 pixels per image or 3 pixels per image or 4. You cannot move to 1.4 or 2.8 pixels per image. It won't wok, it would never work.

  Sixth Point:
  Even if you perfectly fit the pixel grid movement, you can still run on the retinal retention problem and frame rates. Every Director of professional photography with a value of his day rate knows that there are critical speeds of Pan - speeds during which you can not move the camera in a scene and offer a scene that doesn't pan and look terrible. Jerking can be so bad that it gives people headaches and worse. The frequency of images the more cautious, be with the camera. When the video cameras of 24 frames per second were introduced a whole bunch of people came back with horrible images. Shots that run at 29.97 work at 24. Cadence, retention of the retina, strobe effect and your brain combined with no fixed focal point for your eyes to focus on and track combine to fault up to the shooting and of the query.

  The solution:
  When you want to animate a thin line, you're better off at 29.97 frames per second that anything slower. 30 is OK if you go never broadcast or DVD to watch on a TV. You can use an expression to control the movement, so that your line moves exactly an even number of pixels per image. If your design requires that go you faster you must hide the problem with motion blur. If you want to lighten in and clear it of movement then you must hide the problem of aliasing with motion blur. Smooth long moves must be exactly to an even number of pixels per image. You have more options of speed at a higher speed. Even at a higher speed, you will encounter the problem of the sixth Point.

  The evidence:
  Any problem of smoothing by giving you the discount gray lines load the rendering of your lines animated in AE and step as part of an animation at the same time. Baring any cache image and to make the issues I bet that your animation will run without difficulty from one image to the other. It is only when the video plays back at speed that your eyes and your brain will tell you that the movement is uneven.

  Certain standards:
  Go to a cinema and watch the end titles. It takes about 7 or 8 seconds (depending on the height of the frame) for securities to roll from the bottom of the screen upwards. The second seven rule is pretty standard. With 29.97 FPS 1 video per image pixel, 2 pixels per image and 4 pixels per image work well enough for most applications. When you find a speed frame rate works for your video, it's the frame size and it is write it down. Use it again and again.

  This is an expression that works at the speed of the animation and allows blur to apply to your image. You can do the movement meet the markers if you want to start and stop. I have a bunch of preset animations that I use all the time for that style of animation.

  Bottom-up:

  t = time;

  en = t/thisComp.frameDuration;

  x = value [0];

  s = 4; Speed in pixels per image must be an integer

  y = value [1] - (fr * s);

  [x, y]

  Left to right:

  t = time;

  en = t/thisComp.frameDuration;

  y = value [1];

  s = 4; Speed in pixels per image must be an integer

  x = value [1] - (fr * s);

  [x, y]

  If you wish to reverse the direction, you can add a sign less in the final table or apply the term of anchor instead of position. These expressions take the initial starting position of the layer as a starting point. Both are moving to 4 pixels per image. To start and stop the movement, the simplest method is to split the layer, add the expression, let the layer move, then divide the layer again and delete the expression. If you are handy with expressions, you can bind the movement to layer markers, and then just move the markers for start and stop, or even reverse the direction of a single layer.

  If you don't want to mess with all those unbreakable rules then jack up motion blur and uses a higher cadence with thicker lines and hidden defects. There are no other solutions.