Sequencer
Six track types under one Blendable submenu. Everything a section publishes expires by itself, so a cutscene cannot strand the player without input.
They all live under one Blendable submenu in the add-track list, rather than scattered through Sequencer's menus by category.
| Track | What it does |
|---|---|
| Transition | Hands the shot back to gameplay across the section, blending position, rotation, FOV and post process together |
| Shake | Plays a Blendable shake. Looping across the section, or one-shot on keys |
| Preset | Applies a preset for the section, or latches one permanently at a key |
| Look At | Aims the camera at a bound actor or a world point |
| Effects Scale | Scales shakes and handheld motion for the section, as an absolute override |
| Cinematic Mode | Opts into suspending player input for the section |
Everything expires by itself#
Sequencer stops evaluating a section the moment the playhead leaves it, and never tells you. There is no "section ended" callback to hang cleanup on.
So nothing here waits to be told to stop. Sections publish what they want every frame, and anything that stops being asked for stops applying. A section you scrubbed past, a sequence closed mid-shake, an editor scrub that skipped the whole thing at speed: they all clean up identically, because none of them are a special case.
That design exists for one failure in particular. A cutscene that never gives the player their input back is the one thing nobody forgives, and this makes the safe outcome the default rather than something that depends on a clean shutdown you can't guarantee.
The transition track isn't Camera Cut#
It looks like a reimplementation at first glance. It isn't, and the distinction matters for which one you should reach for.
Going into a sequence, the Camera Cut track's own Ease In already blends properly through the camera manager's view-target blend. Use that. Blendable has a direction for it, but it's deprecated and hidden, because two systems doing the same job fight each other.
Coming back out, the engine performs a straight unblended SetViewTarget. There is no built-in way to soften that hand-back. That's the gap the transition track fills, and it brings shakes and post process along with it rather than just position and rotation.
Shakes#
A shake track names one shake asset. How it plays depends on the asset's own mode:
- Looping shakes run across the whole section and fade out when you leave it.
- One-shot shakes fire on keys. Intensity comes from the key's value.
One-shots fire for keys inside the range the playhead covered this frame, not just the frame it landed on. At speed, or on a long frame, a key can otherwise be stepped straight over, and a gunshot that silently doesn't happen because the frame was slow is a horrible thing to debug.
Loop a sequence and the one-shots fire again on each pass, which needs saying because the naive implementation doesn't do that.
Look At#
Aim the camera at a bound actor or a world point. Bind two actors and it frames both, averaging their positions rather than picking whichever resolved first — which is what you want for a two-hander conversation.
The offset is applied per actor in that actor's own space, so a chest-height offset follows each of them properly.
Effects Scale#
Scales shakes and handheld motion for the section. It's an absolute override, not a multiplier: set it to 0.5 and the section's effects sit at 0.5 regardless of what gameplay was doing, fading from wherever they were. Release fades back out over the section's own ease, so the same handle does both ends.