Hope of getting Continuously Rasterize and Collapse Transformations separated?

Forum|Forum|6 years ago
May 3, 2019
2 replies
1645 views

I've run across this several times in many years and just ran into it again today. Times when I'd like to continuously rasterize WITHOUT collapsing transformations. To get nice sharp vector shapes without altering how effects, anchor points, or movement works on the comp. (The movement is perfect...just make it sharp!)

Has anyone gotten an explanation from Adobe why these are tied together? Is there any hope of getting them two separate switches?

R

RyanScammell

Inspiring

As with Samm, it's a little hard to describe the instances where this becomes a real difficulty but I will say it comes up with some frequency for me too.

R

RyanScammell

Inspiring

Ok -- here's a good example. I'm recreating a vector icon that a client uses to represent storage so I can animate individual elements. It's a cylinder with their logo on the top. To do this, I create the cylinder with shape layers and for the logo I take their vector logo, make it 3d, and rotate it backwards so it appears to sit on top of the cylinder. I make this a precomp and place this in a parent comp. In the precomp the logo sits appropriately on top. If I bring it into the parent comp I can move the precomp around anywhere on screen and the logo stays placed on top of the cylinder and correctly angled. But if I turn on continously rasterize so I can get the benefit of scaling all my vector elements, the logo because it's rotated in 3D will skew based on the camera parallax as I move the precomp to the left or the right.

Yes, I can upres the precomp so I don't need continuously rasterize, or I can get the same effect of the logo on top of the cylinder by doing something like corner pinning instead of rotating it in 3D. But this is the kind of example where the two being separate functions would be really helpful.

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Rick Gerard

Community Expert

I'm not exactly sure what you are trying to do that can't be done. CR applies only to vector shapes. Collapse transformations cause rasterizing and transform data from a nested comp to be examined and used before the transformations in the main composition are applied. This means in the camera and lights in the main comp will treat 3D layers in the nested comp as if they were in the main comp and ignore the camera and lights in a nested comp.

I've never run into a situation where anchor points or movement was changed by collapsing transformations.

A screenshot and detailed explanation of exactly what you are trying to do would help. It's not that I think separating the switches is a bad idea, but applying transformations before a vector image is rasterized (CR) and reading the position, rotation, scale and opacity of layers in a nested comp (CT) before the transformations in the main comp (most obviously camera movement) is applied are really basically the same thing. The rendering or calculating order are just switched around so Transformations happen after all the other data has been considered. Unless you are applying effects, masks or track mattes in a comp using the Ray-traced or C4D rendering engine, there should be no change to anything except frame based, rather than layer based effects. Even those problems can be easily solved by properly arranging your project.

samm42286676Author

Participant

I wish I had a great example and screen shot handy but I don't. A lot of times it happens when you have something animated perfectly for one case, but then want to use it in another case, but scaled up, say 300%. First thought, is to just scale it 300% and then click the continuously rasterize effect to sharpen my vector object, which can sometimes mess up effects applied in subcomps below.

Maybe you're right and I'm just not thinking of the proper organization for these situations. This might be why you've never run into the issue, because you're organizing properly first.

Elle-0-Elle

Participating Frequently

I have this problem often when working with 2d precomps that I am using in a 3d scene. When I turn on the switch it messes with the positioning of the 3d Precomp and I have to reposition everything.

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