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Based on your team needs, you may want to consider some of the following Sequencer workflows.

Linear Workflow

In this workflow, a single Level Sequence is used and all content for the cinematic is authored inside it. This type of workflow might best be suited for an individual who is working on their own project and does not need to collaborate with others on the cinematic.

• A Level Sequence is created that contains all characters, animations, lights and other objects that will be in your cinematic.

• Each scene in the cinematic is set up with its content. Animations, movement, lighting, etc. are all defined.

• With the content for the cinematic set up, cameras are moved into position to shoot each scene.

• Camera cuts are provided with a Camera Cuts Track to mold the sequence into the final cinematic.

• Audio is added to the Level Sequence and finishing touches are applied.

Non-Linear Workflow

In a non-linear workflow, content is split up into multiple Level Sequences which are then added to another "master" Level Sequence. Since each scene is split up into its own Level Sequence, you can work on any sequence you want and then "arrange" the order of shots in the master Level Sequence.

• A Level Sequence is created for each "scene" of your cinematic and a Master Level Sequence is created to tie all scenes together.

• Each scene is set up with its content (not worrying about Cameras, just content). Characters, animation, and movement are all added.

• Each Level Sequence is added to the Master Level Sequence where a Lead can author and set up the camera work for each scene.

• The Lead can also add any other effects, audio or other finishing touches from the Master level without having to add all the content.

Other considerations:

• Each scene that is its own Level Sequence can have cameras assigned and camera work set up in it instead.

  • When that scene is added to the Master Level sequence, there would be no need to do any camera work.

  • When that scene is played during the Master Level sequence, the camera work in the scene is used.

  • This allows each scene to be set up as its own mini sequence and tied together with the Master Level Sequence.

  • A Lead could then arrange each scene to form the final cinematic and jump into each scene to make changes if need be.

• With a Shots track, Takes can be used to provide variations of each scene within the Master Level Sequence.

  • This will create a duplicate of the Level Sequence and allow you to modify the "take" instead of the original.

Collaborative Workflow

In a collaborative workflow, you would take the concepts of the non-linear worfklow but also add the ability for people to work concurrently on the same scenes without affecting each other�s work. With a Subscenes Track, you could create Level Sequences for each aspect of each scene and overlap them so multiple people can work on a shot at once which is the traditional method applied to film.

Something to the effect of:

• Master Sequence

  • Shot 1 (Level Sequence)

    • Shot 1 Lighting (Level Sequence on Subscene Track)

    • Shot 1 Camera (Level Sequence on Subscene Track)

    • Shot 1 Skeletal Animation (Level Sequence on Subscene Track)

    • Shot 1 FX (Level Sequence on Subscene Track)

Each aspect of the shot would be its own Level Sequence that when composited with each other produces the final shot.

Master Sequence Workflow

This workflow is similar to the Non-Linear Workflow mentioned above in that you will have a "master" Level Sequence containing "shots" that comprise your cinematic. Where it differs is that most of the processes used to set up your cinematic in the Non-Linear Workflow can be automated based on settings you define when creating a new Master Sequence asset.

When creating a Master Sequence you are presented with a Settings window which defines how the Master Sequence is created.

In the Settings window you can define the naming convention for your sequences, the duration of each sequence created, and the number of shots in your sequence. This is helpful if you have storyboarded out your cinematic and know how many shots you will need and the duration you are shooting for.

Another helpful option is the Sequence to Duplicate option which allows you to base each of the shots created off an existing Level Sequence. For example, you could create all the animation, effects, etc. in one Level Sequence then use that as the sequence to duplicate. From there each shot created will contain that information that you can then dissect to create each shot as needed.

The other useful aspect of the Master Sequence is that each shot created is created with a Camera Cuts track and a Cine Camera Actor assigned as the camera to use for the shot. This allows you to quickly get in and start creating your content as you do not need to go through the process of adding either of those to Sequencer as they will be created for you.