Create a simple rectangle that could be a TV screen. Fly the camera in from an angle and land straight on the rec.
(Not using aim)
Place a null in the center of the screen and bake the simulation for the camera and null/locator.
I want to open this in AE and plae a movie on the front of the screen. It all works, I get the null in my comp in
AE and drop replace, but there is always a shift during the movement, where the AE null moves
away SLIGHTLY from the render in angle and position.
1) play the image in the TV-like plane from inside Maya with a texture. More control and you will be using the same 3D world for everything. I really don't see why even bring any compositing app into the dance, particularly those with weaker math.
2) If you must use a comping app., all you may need is to use your corner positioner on an image masked to the proper shape and proportions. If there is object occlussion, a floater matte on the occluding object might be all that is needed as well. The key factor in compositing is to learn to see the result in your mind and then push the elements, so color and reaction to the light is more important to "sell" a comp than position alone.
3) See if the error is consistently of the same value, and then move your locator to accommodate it. Maya has excellent core math and will let you achieve higher precision than AE.
[Joaquin (Kino) Gil]"I really don't see why even bring any compositing app into the dance, particularly those with weaker math. "
I know what you mean but I have a reason - I work in an office full of other artists unfamiliar with Maya. For them to work on one of my projects means I have to bring it into AE. Kind of lame but that's the way it is here, unfortunately. :-(
Grok. Simply pointing out the convenience of referencing the more powerful conceptual tools at one's command in the world of CGI, as opposed to a 2D-compositing-only view.
But the strategy can be carried out to ANY environment, that is why learning the basic principles pays off. I am sure that in AE you can ALSO create an animation of a layer object and then COPY it 1200 times with frame offsets, using similar "lists" on disk to direct certain shadings of the process.