How do you handle nested precomps + Continuously Rasterize + effect compatibility in After Effects?

I'm running into what feels like a workflow dead end in After Effects, and I'm wondering how experienced users deal with this.

Here's my setup:

• I have multiple levels of nested precomps.

• Deep inside those precomps are vector shape layers with effects applied (for example CC Bend It, used to animate things like plants or grass bending in the wind).

• My top-level precomp is placed inside the main composition and treated as a 3D layer.

The issue appears when I animate a 3D camera.

Without Continuously Rasterize, everything works correctly, but as soon as the camera gets closer, the entire precomp becomes soft/blurry (Depth of Field is disabled). I understand that's expected because AE is treating the precomp like a rasterized image.

If I enable Continuously Rasterize on the precomp, the image stays perfectly sharp, which is exactly what I want. However, this creates two new problems:

1. The internal transforms of the nested layers can change, although enabling 3D on the appropriate precomps usually fixes that.

2. More importantly, some effects stop behaving correctly or break entirely (for example CC Bend It, which I use to animate plants bending in the wind, along with other effects that aren't compatible with collapsed transformations).

So I seem to be stuck between two compromises:

• Disable Continuously Rasterize: effects work, but the precomp loses sharpness when viewed with a 3D camera.

• Enable Continuously Rasterize: vectors stay perfectly sharp, but some effects no longer work correctly.

The only workaround I've found so far is rendering the affected precomps at a much higher resolution and using those renders instead. It works, but it's slow, increases storage usage, and completely removes the flexibility of an editable workflow.

What surprises me is that this feels like a fairly common use case in motion design: combining nested 2D precomps with vector artwork, effects, and a moving 3D camera. It seems odd that there isn't an obvious workflow that preserves both vector sharpness and effect compatibility.

Is this simply a limitation of After Effects, or is there an established workflow that professionals use for this situation?

I'd love to know if I'm missing a better workflow or if this is just one of After Effects' technical limitations.