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Advice on scene panning workflow
I’m in the process of designing concert visuals, trying to do something similar to the video below.
I’m having some trouble wrapping my head around this workflow and could use some advice on how to approach it. As you can see, this panoramic scene is scrolling right to left. The way I figured to go about it is by stitching a lot of pre-rendered comps together horizontally, into one very long comp, and then layering more stuff to obscure the seams. I thought I could pan the giant comp sideways with position keyframes. But then I notice in the video, it looks like some elements scroll at different paces and gives a parallax feel. I wonder if it was actually a camera panning across the scene rather than position keyframes. Do you think that would that make more sense to do? I want to go for the same type of effect, but the camera thing hadn’t really occurred to me.
Either way, I’m running into trouble with timing because each of my comps is not really a loop, it’s a linear animation that should play when the scene scrolls on screen. So I figured I should stagger the comps on the timeline so they only appear when they’re about to come onscreen, but it makes cohesive scrolling very difficult to make sure there are no black gaps right before each comp appears. I don’t know if that’s making any sense. My main question is, how might you approach this workflow in broad steps, and do you think a camera panning across a giant comp is better than position keyframes to get the sideways movement?
On a side note, do you think they designed it as one giant scene rather than working on individual ones so there’s no stitching, so to speak? I find that incredibly difficult to keep track of with all the precomps and layers. I’m not even sure it’s possible.
Thanks!!
https://www.youtube.com/watch?v=siEKvYLK964
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2 Replies
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Anything is possible and your thoughts (IMHO) are pretty dead on.
It’s one big scene with a lot of pre-planning.
Can it be broken down per section, sure!
Most likely what they did if done in a larger work environment.
In the past, for me, it would have been the widest composition setting possible.
But now with the camera, you can set it up like a carousel or similar to the large pan but using the camera to get that parallax look.
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Thank you Eric! I decided to use the largest comp possible, as you said, and panned the camera across my layers. It’s going well so far, but it took a lot of tweaking to get the timing right. I also found that if I had a 30k wide comp that protruded outside the frame, it wouldn’t render–but as soon as I realized, I adjusted it and it rendered just fine. It’s been an interesting workflow to say the least!
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