Nesting COMPS in Motion?

I've used After Effects previously and am trying to find a comparable method of nesting comps in Motion. I have two lines on test shifting their positions in a layer - and then I want to zoom them forward as one. So I see that I can keyframe the scale of the entire layer - if I set Blending Mode to "Combine" the text maintains its clear edge when scaled over 100%, but once I add Basic 3D distortion, the edge becomes pixeled. I know in AE there is a button to remedy this - is there a similar function in Motion - or am I going about this process all wrong?

What you're doing may be causing that layer to be rasterized, thus the sizing issue when you blow it up. Any chance of you posting the project for inspection?

Similar Messages

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    I've imported the PSD file as a comp, and made changes to the text animation, but this is now a nested comp, and the music is in the main comp. How do I change the timing of the nested comp while still having visibility of the music track?

    You can dock Timeline panels separately from one another and lock viewers to get whatever arrangement you want:

  • Nested comp help

    Hi -
    I'm working on a timeline with a small nested comp, a color layer beneath it and a text layer as well. They all worked together nicely when I first laid them down but after exporting the sequence the whole little section has gone invisible. And now that I'm back editing it, it isn't visible at all in my monitor. The track items are there, but they don't do anything. And yes, I have my track visibility button turned on.
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    Yes, it's all good there. I was able to make the sequence work again by deleting the component clips and replacing them with their sources from my bins, but it's very odd that they just wouldn't work at all. Hoping that when I export this one out the same thing doesn't happen again, as it had looked fine in preview before.

  • Help! - How to create nested comps with AEGP suites

    I want to be able to create a nested composition....I know that when you create, let's say, comp 1 and then a separate comp 2 and then drag comp2 into comp1, comp2 becomes one layer in comp1. Comp2 would be called a "precomposition"
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    Hi Sara,
    I responded to your email, but just to follow up on the forum:
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  • Use camera zooms only in nested comps, not parent comp?

    I recently received some advice on a project where I was having some vector art pixelization problems during camera zooms--I was told that camera zooms should not be made in the main comp, but that instead, they should be made in the precomps (or nested comps) to avoid this pixelization problem. It seems to me that AE should be able to propogate clean, illustrator vector graphics during camera zooms, all the way up to a main comp, through the use of the "continuously rasterize" and "collapse transformation" options.. but perhaps this is not so?
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    If vector images are set to continuously rasterize you can scale them or push the camera into them as far as you like with no problems. If certain effects have been applied to your eps or ai files they will be rasterized when imported into AE so they will behave exactly like a raster image. There's nothing you can do about that. Turning CR on or off will have no effect. If CR isn't fixing the pixelization issues then you've applied a layer effect somewhere in the chain that's causing the image to rasterize. Sometimes these problems can be fixed by pre-composing and doing the scaling in the pre-comp (layer effects). Sometimes they can't. Most of the time, if the problem is in the Illustrator file you can fix it by editing the original and removing the layer effects applied in Illustrator.
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  • Transfer modes in nested comps not preserved in master comp

    Hi all,
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    I've tried creating a new nested comp and the problem is still there.
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    Hi Mylenium,
    thanks for reply very helpful.
    you're right I did change something, I applied the glow effect to 1 of the nested comps and that's when the transfer mode stopped working (or maybe that's just when i noticed it had stopped working). not just for that nested comp but for all of them
    turning the glow effect on and off again or deleting it made no difference. i tried turning openGL on and off, no difference.
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  • After Effects nested comps, Motion equivalent?

    I'm trying to get an overview of how Motion works.
    By way of example, in After Effects, nesting of compositions is the primary way of building up a project.
    Each comp is sized (in AE) to suit its intended purpose and content, and then placed (nested) into an ever higher hierarchy of compositions until one represents the final display of the project.
    What's the equivalent terminology and approach to working like this in Motion?
    Or is it done completely differently?

    That's not quite right. Groups can be imported/exported between projects. Groups can have their timing in the timeline trimmed to start and end points. Groups can be sized (2D groups, set the dimensions manually to the size you require — unless you have a very specific need for this action, don't do it - 2D groups do not interact with 3D groups other than by "layering".)  [Default groups are as large as the content contained within them - they're "dynamically" sized. If you Flatten a 3D group, you will force it to the size of the project Canvas. ] Groups are "infinitely" nestable. Groups can be locked. Groups have their own coordinate system so that everything inside a group is maintained within that "universe".  Move that group and everything inside that group goes with it perfectly aligned with everything else within that same group.
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    Another slick trick is to put pieces of a project into a group and drag that group into Library > Favorites for use in other projects later on. Make sure you give the Group a name you will recognize later on!
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  • Accessing the variables of a nested comp

    I have a main comp and a shapes comp. The shapes comp is nested in the main comp. The shapes comp contains an inner rectangle and an outer rectangle and the outer rectangle is on layer 1.  In the main comp I need to change the opacity of the outer rectangle without effecting its inner rectangle. 
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    The answer is no.  A comp has no way of knowing what comp it is nested in.
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  • Drop frames on nested comps

    Whenever I have a sequence with nested compositions (NTSC DV), I consistently have a problem with dropped frames. It only happens when the playhead gets to the nested compositions. Even when I don't use print to video, to output to tape, it drops frames. This also happens with multiclips but not as often. Any clue as to what might be happening? Is there a setting I'm missing?
    Any insight is appreciated.

    The problem is most likely your hard drive. The "my book" is not designed for the rigors of video editing - it is really an inexpensive drive usable for backups. Once you get into multiple streams, it just can not handle it.
    Get something designed for editing: G-Tech, Granite Digital, and/or CalDigit, run it off of the FW800 bus (with nothing on the FW400 bus) and you will likely see significant real time play back improvement.
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  • CS4 Motion Blur---Something is wrong

    I tried to rerender a CS3 project today in CS4 and found that the sequence (mostly moving type) no longer rendered correctly---some of the type was strangely shaky and too blurry (even while not moving) and other layers had no blur.
    Opened the same project in CS3 and rendered the SAME sequence without these issues.
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    Lance Moody

    Hi again and thanks,
    The comp here does not contain nested comps--just text layers (which are what you see in the example). When you mention the resolution drop down, are you referring to the preview window resolution? This shouldn't affect renders.
    Some are 3D.
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    To be clear there are two problems I see after render:
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    2. The loss of motion blur on others (even though MB is checked on for layer and comp).
    Additionally after opening other comps, I notice that certain layers are no longer positioned correctly in 3D space.
    This is distressing because sure as hell in a year or two someone will want to revise these spots and there are so many things wrong with them that this would not be trivial. I suppose I can keep CS3 on my machine--god knows unpaid updates for CS products are hard to come by. This is FOR SURE a bug.

  • Help With Pre-comps

    Is there a way to maintain Scale, when Pre-composing?  I have 3 layers that need to be one so I can Motion Stabilize, (slight camera bobble) the footage before I add a tilt, (Position) and zoom (Scale).  The Scale is 34.2%, but when I pre-comp the layers it seems to automatically go to 100%.  Am I missing something?  Or is my workflow faulty...?
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    TR, I tried pre-composing and the Collapse Transformations switch was available to me afterwards, however the resulting pre-comp of my layers was still at 100%
    This is the expected behavior.
    when I tried to re-position/scale, it resulted in black around the footage
    This doesn't sound right. If collapse transformations is enabled, and you pan your footage around, you shouldn't be getting cropped results. Did you perhaps precompose twice and your nested comp doesn't have collapse transformations enabled?
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  • How to keep custom drawbot ui visible in comp window even if applied effect is not selected?

    Hey guys!
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    I'm trying to keep my custom ui visible in the comp viewer window even if the user has deselected the effect with the ui overlay.
    My experimental effect plugin is based on the CCU example project.  I modified the DrawHandles function in CCU_UI.cpp to do my test drawing.
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    Perhaps I could do my ui drawing in the Render function and burn it into the render buffer, but I would need to check to make sure NOT to draw the UI if AE is actually rendering the comp (preview or output to disk).  I don't have any idea what object would tell me that. 
    thanks and happy friday!

    Thanks for your help Shachar.
    I've made some progress on this, but I've hit a wall. :\
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    This works interactively, ie: the ui burnins happen if the comp with the effect is active, and if the comp is not active, or a nested comp, the burnins do not occur.
    However, during ram preview & rendering, checking the active item's ID doesn't seem to return the proper ID, so the burnins still happen.  
    I wonder, during ram preview/render, is the comp no longer active?  (I'm guessing this is whats happening)
    If this is the case, is there some other object that I can look at to know specifically which comp is getting rendered/ram previewed, so I can use that information as a trigger instead of:
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  • 3D Motion Tracking Error/Crash in progress [Urgent Help Please!]

    Hey there!
    I'm an video editor and I use 3D Motion Tracking a lot but recently every time I use it, it comes up with an error and says crash in progress,
    It never used to do it and I can't seem to find any solutions to fix it.
    Computer Specs:
    Manufacturer: Toshiba
    Model: Notebook
    Processor: AMD E1-2100 APU with Radeon(TM) HD Graphics 1.00 GHz
    Installed Memory: 4.00 GB (3.45 GB Usable)
    System type: 64-bit Operating System, x64-based processor
    So here's how I get to the problem. (I'll try provide as much detail as possible)
    I import a mp4/avi file into After Effects,
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    Frame Rate = 30
    Duration = 30 seconds
    Resolution = Third
    Renderer = Classic 3D
    (Boxes Underneath all unchecked)
    Shadow Map Resolution = Comp Size
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    Adaptive Sample Limit = 128
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    Track Point Size = 100.0%
    Target Size = 100.0%
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       and then finally this,
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       Help would be appreciated !
       Thank you !

    Try rendering an image sequence from your original footage then load that into AE and Camera Track the image sequence. Use the AME to or AE to render a JPEG or PNG image sequence:
    It's important to know that some footage cannot be Camera Tracked. In order for camera tracking to work there must be a significant amount of fixed geometry in the scene. For example, if you have a shot of open water like this it cannot be Camera Tracked:
    This shot also cannot be camera tracked successfully because most of the frame is moving:
    If transcoding or converting the shot to an image sequence does not fix the problem and you don't get a frame rate mis match warning then you could have possibly not given enough memory to other applications in you memory and multi processor settings. Keep memory allocation for other apps in even numbers and make sure that you have not starved the dynamic link server that does camera tracking. If you have the memory 4GB to other apps is absolutely the minimum. If you only have 4GB then give 2 to AE and 2 to other apps.

  • AE CC2014 will not let me select individual/collective mask points, or boundaries on a pre comp and therefore moves the entire comp or scales (depending on where I've clicked obviously)

    I'm working on a project that requires a similar style to the 'Criminal Minds Suspect Behaviour' titles. I'm precomping photos so that I can do edits in a separate comp but then placing those pre comps into a master composition where I will use the camera and masks to reveal the images in the required sequence. I am having an issue selecting mask points. It was working fine with no issues earlier today, but now I cannot select single or collective points of a mask nor a boundary of one either. What happens when I do try is that it just moves or scales the comp entirely and ultimately the mask is useless as I cannot animate it at all. Hope someone can help! I've reported it as a bug to Adobe but because I'm unaware of the process that causes it I'm worried they won't get back to me. Any help or troubleshooting tips would be amazing! Thank you in advance!

    It sounds like you need to adjust the masks in the nested comps, but you're trying to do it in the main comp.  Not good.  Nothing happens.  Do it in the nested comps.
    And if you're doing that, it also sounds like spending some quality time here will be VERY helpful:
    Getting started with After Effects (CS4, CS5, CS5.5,  CS6, & CC)
    It's better to learn AE from the Pros instead of a high school kid with sketchy AE knowledge on YouTube, y'know?

  • Continuous rasterization with contained comps, 3D layers and track mattes

    I have an project comprised only of AI objects contained in comps, used with 3D and I have a problem similar to many I have seen on this forum, though I have tried every solution supplied to no avail.
    At the lowest level comp are some AI layers that are animated in the comp. Call it comp A.
    Two copies of comp A are in comp B, each track matted by another AI layer.
    Five copies of comp B are in comp C.
    Comp C is placed several times into 3D space in the main comp where a camera moves past.
    All the vector layers are 3D and set to CR
    All the comp layers are 3D and NOT set to CT
    Without the proper settings for CR/CT, the track mattes slip all over the place (but things rasterize well).
    WITH the above settings, nothing rasterizes properly (but the mattes work). The comps appear rendered at the original size of comp A, which is heavily pixelated (or blurred with quality turned up) as the camera moves past.
    I have tried precomposing the track-mattes and their objects contained in comp B into their own comp (also following above settings) and got no change.
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    Thank you for this forum.

    Here's what you are probably missing. Let's set up something very simple. You have a Main Comp and a PreComp. The Main comp contains the PreComp and a Camera. The PreComp only contains single layer - TestShape that is a 20 X 20 pixel red solid and it has a circular mask applied so it looks like a dot. When you add a mask to a solid you have essentially turned that layer into a vector layer.
    Let's go through a couple of things in the PreComp. Fist, scale TestShape 600% and look at the edges. They are a mess. Turn on Continuously Rasterize and they are perfect.
    Look at the Main comp and scale up the PreComp layer 600% and the edges look terrible. Turn on Collapse Transformations and the edge is sharp.
    Notice that I used two different terms here for the same button. Collapse Transformations only applies to layers that are compositions. It means that the items inside that composition are treated as if they were in the main comp. In other words when Collapse Transformations is applied we are scaling the TestShape layer 600% and then scaling that again 600% effectively making the layer 3600% bigger. Did you follow that? It's important.
    Now let's go back to the PreComp and add a second 20 X 20 blue solid with a circular mask. Call the Blue Solid TestShape 2 and make it 3D and turn on CR. Add a camera to the comp. Now adjust the z value of the TestShape 2 layer so that the layer is about the same size as the 2D TestLayer. If the TestShape layer is scaled to 600% then the Z position of TestLayer 2 will be about 80% of the Zoom value of the camera. Now move the camera's X position just a little to the right so you have a Blue circle overlapping a Red circle in your comp. Turn CR on and off for the TestShape 2 layer to see how that works. Moving the TestShape 2 layer closer to the camera is exactly like scaling the layer.
    Now return to your Main Comp. With CT turned on you should see only the blue circle. This is because CT is ignoring the camera in the nested comp and using only the Active Camera in the MainComp. Turn off CT and you'll see what you see in the Pre-comp but the edges will be soft. The only way to get the same view in both comps is to copy the camera in the PreComp and paste it in the Nested Comp.
    Here's one more interesting thing that happens. If you make the PreComp a 3D layer it will multiply the position value of any 3D layers in the PreComp making camera moves an interesting but not impossible thing to deal with. In this example if you were to make the PreComp 3D it would look like the blue layer disappeared, but just move the camera back and it will show up again.
    Now let's add a track matte by creating a new rectangular solid that is 1000 pixels wide and 200 pixels tall and add an elliptical mask. Scale this up 600% use it as a track matte and turn on and off CR. The results should be predictable. If you make a track matte layer 3D moving the Z position around will not effect what is matted out in the nested comp. If you had 2 3D layers in the nested comp you could not move the track matte between the two 3D layers and only mask one of them.
    I hope this helps. It's a good exercise to help you understand how CT and CR work. Start throwing in effects and you'll learn more.

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