From: "David Torno" Received: from atl4mhob22.registeredsite.com ([209.17.115.116] verified) by media-motion.tv (CommuniGate Pro SMTP 6.1.0) with ESMTPS id 7154963 for AE-List@media-motion.tv; Mon, 24 Sep 2018 18:12:39 +0200 Received: from mailpod.hostingplatform.com (atl4qobmail03pod0.registeredsite.com [10.30.71.205]) by atl4mhob22.registeredsite.com (8.14.4/8.14.4) with ESMTP id w8OGNbvP166364 (version=TLSv1/SSLv3 cipher=DHE-RSA-AES256-GCM-SHA384 bits=256 verify=FAIL) for ; Mon, 24 Sep 2018 12:23:37 -0400 Received: (qmail 31454 invoked by uid 0); 24 Sep 2018 16:23:37 -0000 X-TCPREMOTEIP: 96.39.226.10 X-Authenticated-UID: torno@sydefxink.com Received: from unknown (HELO ?10.0.1.6?) (torno@sydefxink.com@96.39.226.10) by 0 with ESMTPA; 24 Sep 2018 16:23:37 -0000 Content-Type: multipart/alternative; boundary=Apple-Mail-C3EDDB05-0B55-4721-8B78-D232E6193365 Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (1.0) Date: Mon, 24 Sep 2018 09:23:35 -0700 Subject: Re: [AE] Organising cameras Message-Id: <027B7E88-96EE-4F53-BA11-32FEE8AF5D5A@sydefxink.com> References: In-Reply-To: To: After Effects Mail List X-Mailer: iPhone Mail (14A456) --Apple-Mail-C3EDDB05-0B55-4721-8B78-D232E6193365 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hi Chris, What exactly are you trying to accomplish? This sounds like a script automat= ion thing so far. You want to replicate a camera build in all comps? David Torno 818.391.6060 -------------------- www.sydefxink.com (work history) https://vimeo.com/davidtorno (work samples & breakdowns) https://gumroad.com/davidtorno http://provideocoalition.com/dtorno (tutorials) "The most useless day is that in which we do not laugh" -Charles Field > On Sep 23, 2018, at 10:42 PM, Chris Zwar wrote: >=20 > Yes, if I was starting fresh I=E2=80=99d do it that way, I might go throug= h the whole project and replace the cameras with ones that have linked prope= rties, just to tidy it up a bit. >=20 > I=E2=80=99m really just thinking out lout, but basically if I have 10 comp= s with the same camera in them, and I want to duplicate them all but then sw= ap the camera, then I=E2=80=99m still manually copying & pasting 10 times. I= keep wanting to do something like an alt-drag / replace footage but with a c= amera. I=E2=80=99m only thinking about it now because many of my comps have= nulls and location markers parented to the camera, so even pasting a new ca= mera into the composition means I=E2=80=99m having to manually re-parent. >=20 >> On 24 Sep 2018, at 1:34 pm, Phil Spitler wrote:= >>=20 >> Seems like the you could just copy the camera with linked properties into= each comp. >>=20 >> Seems really clean and efficient workflow to me. >>=20 >> Phil >>=20 >>=20 >>=20 >> Phil Spitler Creative Technologist >> t 415.394.8200 c 415.571.3139=09 >>=20 >>=20 >>=20 >>=20 >>=20 >>=20 >>=20 >>> 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 tr= ack of multiple cameras in large projects. I like to think my projects are w= ell 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, whic= h 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 i= n 10 - 15 additional precomps for each shot. >>>=20 >>> The problem is that as the animation progresses, the cameras are often c= hanged and updated. Swapping out 3D renders is simple, but so far I=E2=80=99= m importing each new camera and manually pasting it into each composition. T= his means I can miss comps because the process is manual. And as the new ca= meras 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 t= hat I=E2=80=99ve then linked to with expressions to create a version that I c= an roll out in precomps, and always use that one instead. If I planned ahea= d 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 c= omp that is always linked to via expressions? >>>=20 >>>=20 >>> -Chris >>> +---End of message---+ >>> To unsubscribe send any message to >>=20 >=20 --Apple-Mail-C3EDDB05-0B55-4721-8B78-D232E6193365 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable
Hi Chris,

What exactly are you trying= to accomplish? This sounds like a script automation thing so far. You want t= o replicate a camera build in all comps?



David Torno
818.391.60= 60
--------------------
www.sydefxink.com (work history)
h= ttps://vimeo.com/davidtorno (work samples & breakdowns)
=
https://gumroad.com/davidtorno

"The most useless day is that in which we do not laugh"
-Charles Field
<= div>
On Sep 23, 2018, at 10:42 PM, Chris Zwar <AE-List@media-motion.tv> wrote:

Yes, if I was starting fresh I=E2=80=99d do it that w= ay, I might go through the whole project and replace the cameras with ones t= hat have linked properties, just to tidy it up a bit.

I=E2=80=99m really just thinking out lout, but= basically if I have 10 comps with the same camera in them, and I want to du= plicate them all but then swap the camera, then I=E2=80=99m still manually c= opying & pasting 10 times.  I keep wanting to do something like an a= lt-drag / replace footage but with a camera.  I=E2=80=99m only thinking= about it now because many of my comps have nulls and location markers paren= ted to the camera, so even pasting a new camera into the composition means I= =E2=80=99m having to manually re-parent.

On 24 Sep 2018, a= t 1:34 pm, Phil Spitler <AE-List@media-motion.tv> wrote:

Seems li= ke the you could just copy the camera with linked properties into each comp.=

Seems really clean and e= fficient workflow to me.

Phil


3D"bonfire-logo"
<= td style=3D"font-size: 11px; line-height: 10px !important;" class=3D"">Phil Spitler  Crea= tive Technologist
<= table width=3D"260" border=3D"0" style=3D"orphans: 2; widows: 2; font-family= : arial, helvetica, sans-serif !important; line-height: 10px !important; col= or: rgb(107, 116, 125) !important;" class=3D"">t  4= 15.394.8200  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 h= aven=E2=80=99t cracked yet.

Currently I=E2=80=99= m 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 u= sing to roll out multiple FX that are being generated in After Effects for t= he composites.  I would guess that each camera is used in 10 - 15 addit= ional precomps for each shot.

The problem is th= at as the animation progresses, the cameras are often changed and updated. &= nbsp;Swapping out 3D renders is simple, but so far I=E2=80=99m importing eac= h new camera and manually pasting it into each composition.  This means= I can miss comps because the process is manual.  And as the new camera= s 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 v= ersion that I can roll out in precomps, and always use that one instead. &nb= sp;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 ca= meras.

Does anyone have a better & cleaner m= ethod than making a master camera comp that is always linked to via expressi= ons?


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


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