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After Effects Apprentice 11: 3D Space
Illustration by John Hersey

Comparing camera presets


From:

After Effects Apprentice 11: 3D Space

with Chris Meyer and Trish Meyer

Video: Comparing camera presets

In this movie, I will create additional cameras so you can see how the different Presets compare. To create a new camera, I will right- click on the comp, select New>Camera, and change the Preset maybe to one of the wide angle lenses, like 24 millimeter. When I click OK, you can see that this camera is much closer to the layer. And if I press P for Position, I can get a sense of the differences between the two cameras. And you can have as many cameras as you like; the one on top is the one that renders.
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  1. 4m 47s
    1. Welcome
      2m 47s
    2. Using the exercise files
      2m 0s
  2. 15m 12s
    1. Comparing 2D and 3D
      5m 30s
    2. Rotation in 3D
      4m 47s
    3. Keyframing in 3D
      4m 55s
  3. 15m 9s
    1. Multi-planing workaround in 2D
      3m 21s
    2. Using 3D views
      6m 45s
    3. Natural multi-planing in 3D
      5m 3s
  4. 13m 9s
    1. Keyframing a fly-in
      5m 24s
    2. Editing 3D motion paths
      5m 43s
    3. Auto-orienting a layer along its path
      2m 2s
  5. 1h 4m
    1. Adding a camera to a composition
      9m 0s
    2. Comparing camera presets
      2m 48s
    3. Using the camera tools with the active camera
      4m 48s
    4. Using the camera tools in the alternate views
      4m 50s
    5. 3D view options
      1m 58s
    6. Animating a 3D camera
      6m 20s
    7. Creating an orbit camera rig
      5m 42s
    8. Extending your camera rig
      4m 31s
    9. Auto-orientation with 3D cameras
      7m 33s
    10. Depth of field blur in CS5.5 and later
      5m 47s
    11. Controlling the focal plane in CS5.5 and later
      5m 12s
    12. Iris properties in CS5.5 and later
      6m 16s
  6. 29m 15s
    1. Creating a 3D light
      6m 35s
    2. Working with Point lights
      3m 20s
    3. Working with Spot lights
      3m 48s
    4. Creating shadows
      10m 13s
    5. The Light Falloff feature in After Effects CS5.5 and later
      5m 19s
  7. 48m 6s
    1. Enabling ray-traced 3D in CS6
      3m 26s
    2. Extrusions in CS6
      3m 39s
    3. Bevels in CS6
      5m 39s
    4. Bending layers in CS6
      5m 35s
    5. Transparency in CS6
      4m 20s
    6. Refraction in CS6
      4m 6s
    7. Targeting Surfaces in CS6
      3m 23s
    8. Reflections in CS6
      7m 35s
    9. Environment layers in CS6
      5m 40s
    10. Quality vs. speed in CS6
      4m 43s
  8. 11m 33s
    1. Quizzler challenge for CS6
      1m 42s
    2. Quizzler solution for CS6
      9m 51s
  9. 41m 6s
    1. Vanishing Point Exchange in Photoshop Extended
      9m 18s
    2. Vanishing Point Exchange in After Effects
      4m 38s
    3. Importing a 3D model into Photoshop Extended in CS5.5 and earlier
      9m 7s
    4. Creating 3D objects using Repoussé in CS5.5 and earlier
      9m 46s
    5. Live Photoshop 3D inside After Effects in CS5.5 and earlier
      8m 17s
  10. 20m 58s
    1. Introduction to dimensional stills
      3m 41s
    2. Cutting up the source image
      2m 25s
    3. Repairing the layers in Photoshop
      8m 26s
    4. Animating the resulting layers in After Effects
      6m 26s
  11. 25m 27s
    1. Rotation vs. orientation
      3m 15s
    2. Understanding the axis modes
      4m 4s
    3. Scaling issues in 3D
      4m 57s
    4. OpenGL acceleration in CS5 and earlier
      6m 23s
    5. Fast previews in CS6 and later
      6m 48s

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After Effects Apprentice 11: 3D Space
4h 49m Intermediate Oct 19, 2011 Updated Dec 06, 2012

Viewers: in countries Watching now:

This installment of the After Effects Apprentice series introduces 3D space in Adobe After Effects. Authors Chris and Trish Meyer highlight key design considerations for working in 3D and provide step-by-step instructions for enhancing a scene with 3D lights and cameras. The course explores integration between Photoshop and After Effects, including modeling 3D objects with Repoussé extrusions and creating dimensional still images, and offers tips on using the different Axis Modes and maintaining maximum quality in 3D. There's also a chapter dedicated to the ray-traced 3D renderer, introduced in After Effects CS6, which allows you to build 3D layers into your composites, with realistic motion blur, depth of field, and reflections.

The After Effects Apprentice videos on lynda.com were created by Trish and Chris Meyer and are designed to be used on their own and as a companion to their book After Effects Apprentice. We are honored to host these tutorials in the lynda.com library.

Topics include:
  • Keyframing motion paths in 3D
  • Managing multiple 3D views
  • Auto-orienting cameras along a path
  • Creating shadows
  • Understanding Vanishing Point Exchange
  • Importing a 3D model into Photoshop Extended
  • Scaling in 3D
  • OpenGL acceleration
Subjects:
Video Motion Graphics Visual Effects
Software:
After Effects
Authors:
Chris Meyer Trish Meyer

Comparing camera presets

In this movie, I will create additional cameras so you can see how the different Presets compare. To create a new camera, I will right- click on the comp, select New>Camera, and change the Preset maybe to one of the wide angle lenses, like 24 millimeter. When I click OK, you can see that this camera is much closer to the layer. And if I press P for Position, I can get a sense of the differences between the two cameras. And you can have as many cameras as you like; the one on top is the one that renders.

So by just toggling over to the Top layer, you can compare the differences between the cameras in the Active Camera View. Notice with the wide angle lens, the foreground layers appear larger and the background layers appear smaller, compared to the 50 millimeter lens. On the other hand, if I make another New> Camera and use one of the telephoto lenses; let's just pick 80 millimeter, the camera will be much further back and the sense of perspective is even less. Again, you can turn on the layers and compare a telephoto lens to a wide angle lens.

While the differences appear quite subtle at this point, once you start animating a camera, I think you'll find for Motion Graphics having a camera that's closer to your layers will make it easier to have a nice sense of perspective, even when the layers are only a few pixels apart. So I'll delete the two cameras I just created, and I also just want to give you a heads-up on the little gotcha. If you want to play with these presets, make sure that you actually right-click and make a New>Camera or use the layer>New>Camera option.

Don't just double-click your existing camera and then change the preset. Because when you do that, you're only changing the Zoom value, you're not changing the Position value. And when the Zoom and Position values don't match, the layers will appear to jump in space. For instance, if I select a telephoto lens, the layers appear to come right towards me. So if layers that are at 0 (zero) Z are jumping in space, you're probably editing an existing camera. So either start with the New>Camera, or just go in manually and make sure the Zoom value and the Position value are matching, and you should be back to square one.

I'll click Cancel and I'm back to my 50 millimeter camera again. In the next movie, I'll show you how to use the Camera tools in the Active Camera View.

Find answers to the most frequently asked questions about After Effects Apprentice 11: 3D Space.


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Q: This course was updated on 12/06/2012. What changed?
A: This was a more extensive update than the other After Effects Apprentice courses. We added three new movies to Chapter 4 that cover 3D camera features in versions CS5.5 and later, such as depth of field blur. We added a new chapter on the 3D ray-traced renderer in CS6, and another chapter featuring a Quizzler challenge for CS6. Lastly, we added a movie that shows our premium subscribers how to use the exercise files, and added new sets of exercise files designed for After Effects CS5.5 and After Effects CS6.
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