After Effects Cs6 The Missing Manual
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You can view 3D layers from any angle and distance using camera layers. Just as it’s easier in the real world to move cameras through and around a scene than it is to move and rotate the scene itself, it’s often easiest to get different views of a composition by setting up a camera layer and moving it around in a composition. You can modify and animate camera settings to configure the camera to match the real camera and settings that were used to record footage with which you’re compositing.
You can also use camera settings to add camera-like behaviors—from depth-of-field blur to pans and dolly shots—to synthetic effects and animations. Cameras affect only 3D layers and 2D layers with an effect with a Comp Camera attribute.
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With effects that have a Comp Camera attribute, you can use the active composition camera or lights to view or light an effect from various angles to simulate more sophisticated 3D effects. You can choose to view a composition through the active camera or through a named custom camera. The active camera is the topmost camera in the Timeline panel at the current time for which the Video switch is selected. The active camera view is the point of view used for creating final output and nesting compositions. If you have not created a custom camera, then the active camera is the same as the default composition view. All cameras are listed in the 3D View menu at the bottom of the Composition panel, where you can access them at any time. It’s often easiest to adjust a camera when using one of the custom 3D views.
You can’t—of course—see the camera to manipulate it when you’re looking through the camera itself. Note: If you change the settings of the Zoom or Focus Distance options in the Timeline panel, the Focus Distance value becomes unlocked from the Zoom value.
If you need to change the values and want the values to remain locked, then use the Camera Settings dialog box instead of the Timeline panel. Alternatively, you can add an expression to the Focus Distance property in the Timeline panel: Select the Focus Distance property, and choose Animation >Add Expression; then drag the expression pick whip to the Zoom property. For a video tutorial that shows how to create and modify a camera and use the Camera tools, see the. Dale Bradshaw provides a script and sample project for automating the rigging of a camera on the. Mark Christiansen provides tips and detailed techniques for working with cameras in the “Virtual Cinematography in After Effects” chapter of on the Peachpit Press website.
This chapter includes information about matching lens distortion, performing camera moves, performing camera projection (camera mapping), using rack focus, creating boke blur, using grain, and choosing a frame rate to match your story-telling. Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF excerpt from their book After Effects Apprentice on the. Andrew Kramer provides a two-part video tutorial on his Video Copilot website that demonstrates basic camera mapping and camera projection. The tutorial shows how to project an image onto 3D layers using lights and light transmission properties.
A light layer can affect the colors of the 3D layers that it shines on, depending on the light’s settings and the Material Options properties of the 3D layers. Each light, by default, points to its point of interest.
Lights can be used to illuminate 3D layers and to cast shadows. You can use lights to match lighting conditions of the scene into which you are compositing or to create more interesting visual results. For example, you can use light layers to create the appearance of light streaming through a video layer as if it were made of stained glass. You can animate all the settings for a light, except for the light type and the Casts Shadows property. Choose Layer >New >Light, or press Ctrl+Alt+Shift+L (Windows) or Command+Option+Shift+L (Mac OS). The light you create includes name of the type of light.
For example, if you add a spot light, it is named 'Spot Light 1.' If you change the light type, the name of the light type automatically changes. The light name changes if if the name is not modified and only when the light type is not changed in the Timeline panel. For example, if you change 'Spot Light 1' to a point light, After Effects automatically renames the light to 'Point Light 1.' Eran Stern provides a video tutorial on the that demonstrates the use of lights as adjustment layers, to precisely control which layers are affected by which lights. Chris and Trish Meyer provide tips about shadows and lights in 3D in an article on the.
Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF excerpt from their book After Effects Apprentice on the. Amitrano And Tortola Lab Manual. Chris and Trish Meyer provide a tutorial on the that demonstrates how to use lights and 3D layers to project a video onto other layers, such as onto a wall. You can adjust the Position and Point Of Interest properties of a camera layer by using the Camera tools in the Composition panel. You can also use the Camera tools to adjust a working 3D view, a 3D view that is not associated with a camera layer. You can think of 3D views as being virtual cameras through which you can view and preview a composition. The working 3D views include the custom views and the fixed orthographic views (Front, Left, Top, Back, Right, or Bottom).
The working 3D views are useful for placing and previewing elements in a 3D scene. If you use a Camera tool to adjust a working 3D view, no layer property values are affected. 2002 Dodge Dakota Users Manual. After you’ve modified a 3D view, you can reset it by choosing View >Reset 3D View.
You can’t use the Orbit Camera tool on the fixed orthographic views. For information on choosing and using 3D views, see. Before moving a camera, choose a view other than Active Camera. If you use Active Camera view, you are looking through the camera, which makes it harder to manage. By default, a camera's wireframe is only visible when the camera is selected.
To always show the camera wireframe, set the view options for the Composition panel (View >View Options). (See.) When working with a camera or light layer, create a null object layer and use an expression to link the Point Of Interest property of the camera or light to the Position property of the null layer.
Then, you can animate the Point Of Interest property by moving the null object. It is often easier to select and see a null object than it is to select and see the point of interest. In After Effects, there is a camera command, “Create Orbit Null.” This parents the selected camera layer to a new null layer. The new null layer is renamed, based on the camera’s name appended with Orbit Null Trish and Chris Meyer show you how to use the Create Orbit Null camera command on Adobe TV.
For a video tutorial that shows how to create and modify a camera and use the Camera tools, see the. Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF excerpt from their book After Effects Apprentice on the. Mark Christiansen provides tips and detailed techniques for working with cameras in the “Virtual Cinematography in After Effects” chapter of on the Peachpit Press website. The chapter includes information about matching lens distortion, performing camera moves, performing camera projection (camera mapping), using rack focus, creating boke blur, using grain, and choosing a frame rate to match your story-telling. Rich Young provides a set of expressions on his that use the toWorld method link a camera and light to a layer with the CC Sphere effect. Andrew Devis of Creative COW has created a 3 tutorial series on Animating a Camera. The Advanced 3D rendering plug-in is used to render compositions containing intersecting 3D layers.
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