Looking for a smart way to build a nested composite.
I'm working on a commercial spot that involves comping a series of graphics onto a tablet computer. Obviously, in all things commercials, things get tweaked and updated and placed up until the very last second. I'm liking a lot about Smoke and Flame, and come from years of After Effects design and compositing, and am very familiar with how to build projects that are precomped and nested together so that any time something needs to change when it's a shared asset amongst shots, it will update automatically because I have it precomposed and sourced as such in the other shots.
In Smoke and Flame, because the clip segments are more discreet from eachother and don't share an instanced relationship, I'm trying to figure out a similar way to build a network for my shots and graphics so that everything will stay live and update properly, without having to jump into CFX or BFX for every single shot and replace a ton of stuff when really it should all be referencing the same "comp".
Also I must clarify that when I say COMP, what I mean is a live composite within Smoke/Flame, that has elements placed, matted, trimmed, color corrected, etc... I know that there are ways to replace footage items with new versions of files and have it update in various comps -- But what I'm looking to do is have a COMP that is live, within other comps, so that when I make a tiny little positioning tweak, or CC tweak, or whatever last minute stuff tends to happen, it will propagate out amongst the various shots that it exists in.
More specifically, here is my situation in this project currently -- perhaps someone has a clever idea of a smart way to set this all up.
I have a 30 second spot with several shots that contain a tablet computer that will have comped on graphics. The graphics that are being comped on are a combination of animations from After Effects, elements from Photoshop, Mattes and Color Corrections live in Flame, and some text and other photo elements that keep changing as we get notes. I would like to be able to build a composition for the graphics overlay that is timed relative to it's timing within the 30 second spot. Then, within the conform of the edit, the graphics overlay would laid on top of the edit, trimmed to exist on top of the shots that require the overlays and then they could be corner pinned and comped per shot. If anything needed to be changed within the graphics, they could be tweaked in the comp where the graphics overlays are built, and with any luck, the changes would ripple through to each of the shots in the time line without having to jump into each BFX or CFX clip and update a bunch of stuff or drag and drop and replace.
In After Effects it's very easy to set up something like this, but I'm finding it difficult to figure out a way to get my composites to talk to each other like this in Smoke/Flame.
Anyway have any clever ideas of how to work this way?
Thanks for any help!
i guess the closest you will get it by using the back clip node in cfx.
so creating your insert elements in a bottom layer inside of cfx on your timeline, then on the above layer adding an adjustment segment, and by always feeding the back clip node into your corner pin/main comp any updates you ever make to the gfx being inserted will always trickle into your main composite.
May be there is a better way and I have to seat in front of the machine to check it.... But what comes to my mind right now is, export your comp for the screen as an uncompressed QuickTime and import it back without caching the media, so it keeps it soft imported, and use it on your screens... If the content change, export the QT again and overwrite the previous one, that will ripple the changes on the other shots, you will have to force the renders though..
May be there is a better way now in version 2014 but I had no time to check it all yet... But I will and let you know if I find it..