Arrival spring

When to use

Use when a film has many arrivals and every one lands on the same soft stop. The reference films overshoot 21 to 41 percent of their arrivals; a film where none do reads stiff. EASE.nudge passes its mark by about 6 per cent and settles back: enough to read as alive, small enough for type. EASE.pop passes by 15 per cent and is for the one arrival that is the point (a CTA, a check, the hero word).

The code

import { enter, stagger, EASE } from '../../core/motion/presets.js';
// every 3rd word of the line lands on EASE.nudge, the rest on EASE.land
stagger(document.querySelectorAll('.line .w'), { at: 0.2, band: 'professional', from: '0 0.5em', nudgeEvery: 3 });
// the one arrival that matters: a deeper spring
enter(document.querySelector('.hero'), { at: 1.2, duration: 0.7, scale: 0.7, ease: 'pop' });

Easing and timing

The look is vawe.

The clip uses 2 named eases from core/motion/presets.js. Each is a pair of After Effects handles: influence is how far along the segment the handle reaches, and speed is how fast the value moves at the key, as a multiple of the segment's average speed. Motion in the docs explains both.

Notes

Pick the springs, do not spread them: one arrival in three (21 to 41 percent of the film) on nudge, at most one or two on pop, the rest on land. Put the spring on the arrival the eye is on, not on the ground. A scene may use two eases (land and nudge); a third (pop) counts as one more, so use pop on the spectacle beat only. The dev check overshoot-share counts an arrival as overshooting when its easing peaks above 1.01, so nudge (peak 1.06) and pop (1.15) are both counted. A move under 20 px has no room to overshoot by a pixel: give the spring to the larger moves.

Sound

Sound: a soft tick on each overshooting arrival is enough; none on the rest.