Moving Entire Scene (XYZ Tran)



  • Hello there, Poser devils!

    I'm sure this has been a 'thing' for years, so forgive me for being a little bit extremely thick, but has anyone made a script or the like which will allow me to select an entire scene full of props and figures and move it, rotate it etc?

    Failing that, how would one go about moving a figure to an appropriate location within a scene after a store-bought animation has been loaded onto that figure?

    Ideally, I would choose the former, so long as literally everything but the animated figure could be moved, including lights, but I suppose we'll have to see. I'd much rather do this as most animations seem to keep figures in the centre of the scene, which is understandable.

    Cheers!



  • I don't know about a script but what I do is create a grouping and parent everything to that and move just that. If you don't know, you can use the hierarchy editor to select all of the items using shift or ctrl while selecting and then drag all of it to the grouping. If you don't have a version which includes grouping (I think it started with 10) use a primitive and then hide it for the render. The only advantage for using the group rather than the prop is if you want to hide everything in the group, you can do it in one click.



  • @redphantom Yeah, I would do what redphantom suggests as well - group the things I need to move. In the hierarchy editor it's fast and easy.



  • Thanks for that! Well, I've just had a go at doing that with a scene full of random primitives, but when I try to select multiple items in the editor, using any combination of ctrl and shift, it doesn't seem to work, it just keeps selecting single items. Am I missing something? :)

    The concern is that a few of my scenes contain a horrendous amount of individual items and selecting each one individually will make my brain melt out of my nose, and that's not a good look!



  • @Glen85 said in Moving Entire Scene (XYZ Tran):

    Failing that, how would one go about moving a figure to an appropriate location within a scene after a store-bought animation has been loaded onto that figure?

    My first thought would be to leave the scene alone and move the figure's body. Apologies if I've misunderstood your problem...



  • No good for animations.


  • Poser Ambassadors

    @Glen85
    I found the solution for you.
    Create a grouping object, then parent the figure to the grouping object.
    Now move the grouping object and by translating and rotating (or scaling, does not matter) to the new location in your scene.
    All keyframes are relative to the figure and keep working as they should.



  • That would work, thank you. It'd take hours to parent everything (Annie has a fully-populated flat, from the structure itself to the veggies in her veggie rack), but it would work. :)



  • Use the Hierarchy menu to parent a bit more quickly. Just drag items onto what you want to be the parent.



  • Actually redphantom gave you the grouping and parenting solution at the beginning - guess we all failed Reading Comprehension 101 :)


  • Poser Ambassadors

    @kalypso
    Actually - I proposed to parent the figure (animation figure) to the grouping object, not the scene.
    The keyframes in the animation work relative to the figure. The grouping object encapsulates it all.
    For the animation, the "universe" is centered around the grouping object, and not Posers "default" center.

    Apart from parenting only a single figure, it also makes it possible to change the rotation/direction of the animated figure



  • Something that I've observed is that you can't parent infinite lights so if you are trying to parent a whole scene using the hierarchy menu and have included an infinite light, nothing will parent. If you exclude those lights, then it should work.



  • You can change the light to a spot light, parent it and then make it infinite again and it will stay parented. I don't know if this works in the hierarchy menu but you can parent it to a prop or a figure.



  • Its always good practice to parent everything under groupings because that way you can keep your scenes ordered, and groupings allow parts of your scenes to be hidden if you're working on just a small part. I have separate groupings for furniture, buildings, actors, men and women. Sometimes even clothes get a different grouping.

    Yes and parenting lighting is doable just like how Kalypso said.



  • btw, when making groupings and parenting stuff to them, make sure the grouping is in the zero'ed position and lock everything before you parent them to the grouping. Poser has a tendency to arbitrary shift stuff around, especially if there's scaling involved, even if the grouping is at zero. By locking items you stop Poser from reinterpreting things.



  • Thanks to everyone. I think I'll leave groupings for Annie's Attic, as there are just way too many items, most of which are painstakingly placed and many of which are scaled in some way. I'll remember this for future scenes though, especially my animation (if I use Poser for that, which is highly doubtful), as having an entire motorsport venue at close to ta thousand acres, lined with forest, with everything from a huge body of water to a single blade of grass being included in the scene. Yeah, I'm going to need to keep organised, lol! XD



  • @Glen85 If you are going to do animation please learn what Hollywood does and only place into the scene what is going to be visible and filmed. If you keep every object in the scene the whole time it uses resources and does not add to the final outcome. Storyboarding ahead of time will speed your whole project and you will not waste time filming unneeded scenes.



  • Thank you. :)



  • @richard60 said in Moving Entire Scene (XYZ Tran):

    @Glen85 If you are going to do animation please learn what Hollywood does and only place into the scene what is going to be visible and filmed. If you keep every object in the scene the whole time it uses resources and does not add to the final outcome. Storyboarding ahead of time will speed your whole project and you will not waste time filming unneeded scenes.

    Be careful of reflections though! If you hide stuff behind the camera but there's a big fat mirror in the shot, you might end up in trouble.

    @Glen85 But on that same note, try divide your scenes up in acts too. Its much like in theater when they draw the curtains and while there's some conversation happening in front of the curtains they're busy swapping around props in the back "setting the stage" for the next scene. So if you have a scene with people having a chat walking down a hallway, and then going into one of the rooms attached to the hallway, its best to separate the hallway and that room into two separate scenes.

    However, like with the disco dragon (free at Renderotica btw) I had to have all the girls' rooms loaded in the scene to have that continuous shot going. So until Lali and Eveline ended up in the living room, I had to have five full rooms loaded, not including the toilet block. That sequence was rendered with image stills using movie renderer. Once they were in the living room, I could delete the contents of the bedrooms in a new scene.

    The humongous Disco scenes were also divided up into separate scene files, with the outside being one, the foyer being another, and the main disco, the basement and VIP room all separate scenes. I do have once scene file with all the rooms loaded, but that acts more like a base from which to extract individual scenes from. So I'd delete all the rooms I don't need and save that scene separately.

    So yeah, like Richard said, plan ahead as much as possible!!!

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  • Absolutely, Ero, thank you!

    Yeah, I'm looking to put as much detail as can be seen into my ciruit scene to begin with, then I know it's all there and can just separate it all up as I need to. So things like fire bottles at marshals posts will be turned off for in-car scenes, as will most of the grass and most interiors, like the race control room etc. Other interiors, such as garages, will be replaced with much simpler versions, unless the in-car shot leads into the pits, where the fully detailed interiors will be used.

    I've also thought about making use of 'billboard' crowds for scenes which won't have them very close, but I wouldn't want a still camera to see rigid folks in the background, so I'd have to plan that carefully. Just someone's arm moving in the background and then someone else turning would be enough, I think.

    Most of the vehicles I have are ready for this kind of thing too, with high and low poly interiors, so for external shots, I could use low-poly versions as cars would mostly be going past at speed. Again, this is something I would need to plan carefully, as I wouldn't want to clearly see a boxy interior and wouldn't want there to be a noticeable switch between the high and low versions.


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