From: "Phil Spitler" Received: from mail-pl1-f180.google.com ([209.85.214.180] verified) by media-motion.tv (CommuniGate Pro SMTP 6.1.0) with ESMTPS id 7154823 for AE-List@media-motion.tv; Mon, 24 Sep 2018 05:23:40 +0200 Received: by mail-pl1-f180.google.com with SMTP id s17-v6so8476431plp.7 for ; Sun, 23 Sep 2018 20:34:41 -0700 (PDT) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=bonfirelabs-com.20150623.gappssmtp.com; s=20150623; h=from:mime-version:subject:date:references:to:in-reply-to:message-id; bh=xQHwVrOEqa8FE0j4mhRMv+/kd1c7dNPQE+Dr/BpieH8=; b=KvoanAJj48sfOEu5kE4tzQwXAhA+mA3mUhnE4PXv/JaJVGd3e28scqs+Ew+XWJX7X0 DZa3a/oNuXMm19w3DWUDsDFr/kvSQZbvKvLMDMeBOY5PbfRVHTOLMcG5ZulmFg/VcgML XQ7c7ALpaPdVAwSLp6O7B7BnA/AGWEbIoordejqMtp3sQUVDmU2Z0Jt17j9SK+ir7bAD Lt0+PGCDRq3Ilf+z1mVX29H+kRjxtXLaG/6SUIDxDN3xnNgs746lFHC7Khwl/EJV26UF F0aZUk07jYcc1sGvTXJm89hwSO+1q1BEnrSaTJ8NySiauu8pyM7bncB8nHzGJoBXQW7X axiA== X-Google-DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=1e100.net; s=20161025; h=x-gm-message-state:from:mime-version:subject:date:references:to :in-reply-to:message-id; bh=xQHwVrOEqa8FE0j4mhRMv+/kd1c7dNPQE+Dr/BpieH8=; b=qoVia/FfGq0WFMCUorD6kj7kkn6lly7yGRahW+2TdTZKUtP78EOur28R48sB/mdlrM XPVY4FGRecXnM7938vLcr2cl1O1JD31t1ZKMlA8zCl6yABFtmHeJSRiFxp5XqMKMQRIp mLKjLkd1SI1Ra5PdAbipgZqdZLI+VA3Vcm/M6Ia8KtPnACES3UF0+wtpSc+BB58MxfIA 64xb6H4a26W6O+IfgP8T6bGzs8xG8xGerzRfknt/bIP+QSZYoXHp8pUwbRB2tBRj9oRo dNpIF49jldtnVBBQTEPmNBvouj3z2L3skirkB97k24fyFv+K+QxagxPSv2rrEYATFNhC 4bdA== X-Gm-Message-State: ABuFfoii6MsB8yXMK8RAGYTM3L/ZSHwD2DHDv5Ki5T7pP7PWBxUJVNmD uGZXkG3r/Ss0blG1KXuB5J5ZYJ56FNGhmQ== X-Google-Smtp-Source: ACcGV62NkkYuIUGTOdO6TFz8UkwlZlKIVNFKl/kkEHDn4Xn/nbP1H15TM7wAnziN1WLSFjE/rt0KfQ== X-Received: by 2002:a17:902:6b83:: with SMTP id p3-v6mr8772616plk.133.1537760078281; Sun, 23 Sep 2018 20:34:38 -0700 (PDT) Return-Path: Received: from phils-imac.lan (157-131-196-125.fiber.dynamic.sonic.net. [157.131.196.125]) by smtp.gmail.com with ESMTPSA id z6-v6sm43575252pgr.41.2018.09.23.20.34.37 for (version=TLS1_2 cipher=ECDHE-RSA-AES128-GCM-SHA256 bits=128/128); Sun, 23 Sep 2018 20:34:37 -0700 (PDT) Content-Type: multipart/alternative; boundary="Apple-Mail=_CDF29C75-F72B-4339-8B85-5D4554D59787" Mime-Version: 1.0 (Mac OS X Mail 11.5 \(3445.9.1\)) Subject: Re: [AE] Organising cameras Date: Sun, 23 Sep 2018 20:34:34 -0700 References: To: After Effects Mail List In-Reply-To: Message-Id: X-Mailer: Apple Mail (2.3445.9.1) --Apple-Mail=_CDF29C75-F72B-4339-8B85-5D4554D59787 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 Seems like the you could just copy the camera with linked properties = into each comp. Seems really clean and efficient workflow to me. Phil Phil Spitler Creative Technologist t 415.394.8200 c 415.571.3139 = = = = > On Sep 23, 2018, at 6:38 PM, Chris Zwar = wrote: >=20 > Hi all, >=20 > Just wanting to pick the collective brains on how everyone is keeping = track of multiple cameras in large projects. I like to think my = projects are well organised but this is one thing that I haven=E2=80=99t = cracked yet. >=20 > Currently I=E2=80=99m working on a sequence that has over 20 shots in = it, compositing multipass-renders from 3D. I get a camera for each = shot, which I=E2=80=99m then using to roll out multiple FX that are = being generated in After Effects for the composites. I would guess that = each camera is used in 10 - 15 additional precomps for each shot. >=20 > The problem is that as the animation progresses, the cameras are often = changed and updated. Swapping out 3D renders is simple, but so far = I=E2=80=99m importing each new camera and manually pasting it into each = composition. This means I can miss comps because the process is manual. = And as the new cameras have new names, this can also break expressions = and parenting. >=20 > In previous projects I=E2=80=99ve had a =E2=80=9Cmaster=E2=80=9D = camera that I=E2=80=99ve then linked to with expressions to create a = version that I can roll out in precomps, and always use that one = instead. If I planned ahead a bit better I would have done that here, = but it=E2=80=99s not something I=E2=80=99ve done with 20+ shots, each = with individual cameras. >=20 > Does anyone have a better & cleaner method than making a master camera = comp that is always linked to via expressions? >=20 >=20 > -Chris > +---End of message---+ > To unsubscribe send any message to --Apple-Mail=_CDF29C75-F72B-4339-8B85-5D4554D59787 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8 Seems= like the you could just copy the camera with linked properties into = each comp.

Seems = really clean and efficient workflow to me.

Phil


3D"bonfire-logo"
Phil = Spitler  Creative = Technologist
t  415.394.8200  c  415.571.31393D""3D""3D""3D""



On Sep 23, 2018, at 6:38 PM, Chris Zwar <AE-List@media-motion.tv> wrote:

Hi = all,

Just wanting to pick the collective = brains on how everyone is keeping track of multiple cameras in large = projects.  I like to think my projects are well organised but this = is one thing that I haven=E2=80=99t cracked yet.

Currently I=E2=80=99m working on a sequence that has over 20 = shots in it, compositing multipass-renders from 3D.  I get a camera = for each shot, which I=E2=80=99m then using to roll out multiple FX that = are being generated in After Effects for the composites.  I would = guess that each camera is used in 10 - 15 additional precomps for each = shot.

The problem is that as the animation = progresses, the cameras are often changed and updated.  Swapping = out 3D renders is simple, but so far I=E2=80=99m importing each new = camera and manually pasting it into each composition.  This means I = can miss comps because the process is manual.  And as the new = cameras have new names, this can also break expressions and = parenting.

In previous projects I=E2=80=99ve = had a =E2=80=9Cmaster=E2=80=9D camera that I=E2=80=99ve then linked to = with expressions to create a version that I can roll out in precomps, = and always use that one instead.  If I planned ahead a bit better I = would have done that here, but it=E2=80=99s not something I=E2=80=99ve = done with 20+ shots, each with individual cameras.

Does anyone have a better & cleaner method than making a = master camera comp that is always linked to via expressions?


-Chris
+---End of = message---+
To unsubscribe send any message to <ae-list-off@media-motion.tv>

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