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3) Inserting the TV image in the After Effects Composition: Whether I do it as a 2D or 3D image, any still or clip that I want to "play" on the television is always in front of the 3D living room model - though I can move a camera inside the room, I can't move any objects it seems.
You are misunderstanding Photoshop Live 3D and overestimating its potential, that's why. Just like any other 3D-ish effect (Shatter, Particular, Form, Card Dance etc.) it is a peek through a window in a 3D world, but not AE's own 3D world. There is no interaction beyond the plug-ins and effects responding to the AE camera. That's all it is. The rest must come from within the effect/ plug-in itself, but in this case it doesn't, because PS 3D by itself is lamer than lame. Anyway, long-standing and well known limitations in AE's "3D". Not all is lost, though. If you can work your way around building a UV pass as explained here, you might be able to stick your content into the scene rather seamlessly, after all. And lucky for you, you can try this for free these days using a PixelBender filter. I'd still recommend the commercial Re:Map because of the quality, though...
I'll try to investigate further but so far using the pixelbender plug-in within AE suggests a couple of things.
1) I'd only be able to apply a single layer to the entire room model, not just the tv screen
2) There is some serious fine tuning to be learned to avoid results like this (where, just to see, I tried to apply a still of some bars to the model).
Shoot, maybe I'll have to try something a lot simpler....
By the by, I don't mean to sound ungrateful! It's just frustrating as I've put off updating for some time while trying to figure this out and I really shouldn't put it off much longer. Nonetheless, it's interesting to learn the limitations of the software and a possible way to get around them - thank you!
You need to combine techniques to get what you want. Similar to this sample project from my website you will not only need the actual UV pass and RGB pass, but also a matte pass that limits and masks the UV pass. It's possible to synchronize multiple 3D comps by linking expressions across comps on the one condition that their alignment in Photoshop is retained when constructing the separate passes, so the camera is always imported in the same place in AE to begin with... The rest is just a bit of work and keeping it all sorted.