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collapse trans./cont. rasterize – specific difficulty
I fully understand the concepts behind “collapse transformations” and “continuously rasterize.” However, my abstract understanding doesn’t completely eliminate occasional troubles related to how these functions play themselves out in my work.
I’m running into difficultly in a project where I am revealing some vector strokes using the “Write-On” effect. The vector layers with associated Write-On effects are in a large comp where I have “Continuously Rasterize” turned on for each vector layer, and then I’m bringing that comp into a DV-sized comp. Everything looks fine but jaggy when I don’t turn on “Continously Rasterize/Collapse Transformations” in the DV comp, but then I get goofy results when I turn this toggle on. I need for the vector art to remain sharp as I scale the nested comp within the DV-sized comp, so I need to be able to turn on “Cont. Rasterize/Collapse trans.”
Here is a link to download my project file in case you’re interested in seeing what’s going on:
https://webpages.charter.net/terrycoolidge/HOKBlueOceanLogoFolder.zip
It looks as though it may be that the Write-On effect doesn’t scale properly, or something like that. I flipped the paint style of one of the W-O effects to “On Original Image” to check even though I ultimately want to have the paint style set to “Reveal Original Image.” There is definitely a problem with the way the Write-On effect is not lining up with the underlying vector stroke when I go and look at it in the DV-sized comp with “Cont. Rast.” turned on. Any suggestions? Perhaps there is a better way to execute what I’m doing anyway. I’m all ears.
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1 Reply
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When you Collapse Transformations on a comp, the transformations for the nested composition are not performed until AFTER the effects for the composition are rendered. This is just how things are wired when you hit this switch. So, essentially your effects will render at the original size, then that will be composited on top of the comp after transformations, resulting in a mismatch of sizes in many cases.
The Meyers CMG book Vol 2 (I believe?) explains this in a lot of detail (with charts and arrows and circles..).
My solution is usually to work within the largest resolution needed in the precomp (sometimes as big as 5000×5000). It’s a slow process, but it works.
Harry J Frank
– Freelance Motion
Designer, Adobe ACE
graymachine.com
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