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AdamT
01-31-2008, 04:26 PM
You can now get around the age-old stage object workaround (must be below cameras in OM to disable) with a better workaround. Create a layer just for the stage object and turn off the layer's Render icon. Now you can control your cameras without having to move the stage object around.

govinda
02-01-2008, 09:10 AM
Nice. No matter how much I try to avoid them by means of SteadyCam, I often end up needing a Stage at some point.

JoelOtron
02-01-2008, 05:31 PM
Dare I ask for a little more info in terms of how this technique works?
I never use the stage object. I kno you can keyframe cameras/light links, etc, but I was under the impression that you couldnt tween camera positions with it or anything like that.

govinda
02-01-2008, 07:11 PM
This is how I used to use one: Back in the early days (you know, 2003) when I was starting out animating cameras, I'd end up with Camera1 animated to reach the end of a spline. Then I'd need a new camera to start from that point, but adding more length to the spline means messing up all my timing and eases. So instead I'd add a new cam, transfer its position/rotation from Camera1, and I'd use the stage object to do the cut between them. Keyframe the cam slot with Camera1 at frame 1500, keyframe with Camera2 at frame 1501, and if you matched it right you'd never see the cut. Now I'd use SteadyCam for that.

That's just one use, many others. Also useful for running a lot of animations out of a scene overnight using a bunch of different cameras that you set up quick and dirty, like if you were doing a bit like Renascent's 'ArcheType (http://renascent.nl/m19b.htm),' with a lot of cam fly-bys that you'd later want to edit together.

JoelOtron
02-02-2008, 02:07 AM
This is how I used to use one: Back in the early days (you know, 2003) when I was starting out animating cameras, I'd end up with Camera1 animated to reach the end of a spline. Then I'd need a new camera to start from that point, but adding more length to the spline means messing up all my timing and eases. So instead I'd add a new cam, transfer its position/rotation from Camera1, and I'd use the stage object to do the cut between them. Keyframe the cam slot with Camera1 at frame 1500, keyframe with Camera2 at frame 1501, and if you matched it right you'd never see the cut. Now I'd use SteadyCam for that.

That's just one use, many others. Also useful for running a lot of animations out of a scene overnight using a bunch of different cameras that you set up quick and dirty, like if you were doing a bit like Renascent's 'ArcheType (http://renascent.nl/m19b.htm),' with a lot of cam fly-bys that you'd later want to edit together.

THANKS Richard

Back in '03 :) I would use the plugin "transfer anime" which allowed animating transfer of position and rotation between several cameras. Was a pain to use--but worked. You didnt have the usual control over camera easing--there were radio buttons you pushed if you wanted ease. I try to use SC also--if Im not using my own simple quick rigs. I never quite got the point of the stage object--unless you were Ok doing hard cuts between cameras--or rendering out a bunch of stills from different cameras. Would like to learn more about how others use it.

BTW--I think it was you who originally posted that clip several years ago (?)--its lived on my HD ever since.

govinda
02-02-2008, 02:22 AM
SteadyGlide in the SteadyCam suite is really the bomb for this. It's like a Stage Object with tanuki balls (http://eegah.coffeehaus.com/archives/003674.html).

JoelOtron
02-02-2008, 03:47 AM
So thats where that thing came from!
(thirdeye will be aiming his eye beams at these posts very soon---sorry adam for going all OT)

tcastudios
02-02-2008, 07:06 PM
Yea, that's good tip. Should anyone be in SteadyGLIDE mode, using step interpolation
would be similar, or even simply rightclick the MOVE parameter and set "Steps" to "1".

Cheers
Lennart

AdamT
02-02-2008, 08:06 PM
I use the Stage Object if I'm rendering multiple sequences from the same scene with the intention of setting up transitions in AE. That's about it.

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