First off, as I realize I may come off a little touchy about this, I want to say I really enjoy working with Blender, and really appreciate everyone trying to help. Thank you.
Correct, parenting and animating the parent does transform an object as expected. However, the offset values in the transform window make it difficult/impossible (without having to do math) to fully understand the relationship to a parent. Actually, they don’t represent the relationship to the parent at all (at least without having to backtrack through the heirarchy and offset all the values). Except in the constraint, which is totally bizarre, since they should represent where the object is, not where it is in relation to the parent, those are offset values to be adjusted in the constraint settings since the object’s position in space hasn’t changed.
I believe my problem is thinking that Blender shows us what the local space of an object is in relation to its own origin and center. Instead it is always thinking in terms of an object’s UNIVERSE. So when you parent an object to another, you have parented its entire universe. Again, it’d be like knowing where everyone was based on their placement in the universe (not just on Earth) at the time of their birth. These kinds of numbers are not useful to humans.
The problem is that the numbers are completely illogical. They don’t represent the offset from the parent in a parent/child relationship. And they don’t represent an object’s position in their specific local space. This in turn makes it difficult to operate and fully take advantage of what these tools are capable of doing.
For instance, a common technique I use for creating a variant on camera animation for a matchmoved shot is far more complex with this awkward way of working. This method is particularly handy when notes come back on where to adjust the camera:
- Parent a new camera to the original animated camera.
- Zero it out (not easily or accurately done) so that it is now functionally identical with the matchmoved/animated camera
- Now you are free to animate the camera (Pan and zoom) without breaking the matchmove to alter the shot based on notes, while retaining the original animation on another channel. You can also see EXACTLY what the difference from the original is, often important when telling others what you’ve done. Instead those numbers represent some offset snapshot of where the camera was when you first parented it.
Or, if I’m working in a particularly large scene and want to animated someone parented to a vehicle and parent them when the vehicle is a large distance from the origin of global space, those numbers then become increasingly abstract.
I’m sure there are a number of workarounds to this particular problem, I’ve even figured out one that involves parenting an object to an empty at the origin and then parenting the empty. However, this methodology works very well for many types of animation offsets, and only really works well if the numbers accurately represent and translate for a human what space an object is in. That is some of the most important information available for doing precise, technical animations.
As I’ve said, I have never seen a program use parent/childs like this. Does Max? That’s the only other major software I’m not familiar enough with to compare it to and perhaps what they based their work on when setting it up this way…
In my opinion it is this sort of thing that continues to make my professional colleagues roll their eyes and say “Blender is just a toy” when I tell them I’m really enjoying using Blender. I think it will likely be one of a thousand tiny cuts that continue to keep Blender from being picked up by any major VFX houses without them having to mod it out with their own R&D team. In other words, this ‘feature’ would prevent me from considering to use it professionally (though I will continue to use it as a hobby).
Don’t get me wrong. I’m loving using Blender, know and have seen first hand that you can do amazing things with it, and find that I myself using Maya as if it were Blender at times, but man do I wish this was different.