Keyframing the camera
Video: Keyframing the cameraSo here is my final pose. I then want to use variation in this to create something a bit more jaunty. Now the middle and right mouse buttons the track X, Y and track Z tools work just as expected. However, if I use the left mouse button to get the orbit camera tool, I notice that the Skater kind of spins off the screen way too fast. The reason that's happening is a point of interest is set pretty close to the camera. That's what giving me this exaggerated movement. So in this case, we're going to undo. Press V to return to the Selection tool. Move the point of interest to be more in line with video screen. I will press the Shift key to keep on even keel here.
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This course pulls together the skills you've been learning in the previous After Effects Apprentice installments to create a real-world video promo. Trish leads you through building the artwork and components used in the final piece, and then Chris shows how to assemble these precompositions into a 3D world, timed to music. Along the way, Trish and Chris also share their thoughts as they design a video project, including unifying the overall look and handling change requests from clients.
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.
- Building a 3D world
- Working with layered Illustrator files
- Synchronizing to music
- Using text animation presets
- Rendering strategies
- Working with widescreen video, including 4:3 center cut and safe area considerations
Keyframing the camera
So here is my final pose. I then want to use variation in this to create something a bit more jaunty. Now the middle and right mouse buttons the track X, Y and track Z tools work just as expected. However, if I use the left mouse button to get the orbit camera tool, I notice that the Skater kind of spins off the screen way too fast. The reason that's happening is a point of interest is set pretty close to the camera. That's what giving me this exaggerated movement. So in this case, we're going to undo. Press V to return to the Selection tool. Move the point of interest to be more in line with video screen. I will press the Shift key to keep on even keel here.
Put it right around my video wall. Proceed to go back to Unified Camera tool. And now when I use the Orbit tool, I am getting a much more predictable, controllable pane of my scene. Now undo. Okay, this is my end pose. I am happy with it. Let's pick a good time in the music to end up on this pose. I'll scroll down in the timeline to my music. I see that I have already marked lots of beats, including this major beat here, which is where I might cut to my next video. (music playing) I like where there's a strong beat but also way the sound decays, so that might be nice to use this to ease into a final position.
I will go to my next beat later in time and set keyframes for point of interest and position. Later on I'll ease into those keyframes so the beat seems to trigger a deceleration in the camera move. Okay, let's set the initial pose. Now if I went to home again--because I have the Block Dissolve transition and I am really get to see a lot of the video that makes it harder to frame. I am going to temporarily move a little bit later in time like somewhere around here where I see more of the video wall, set up my pose, then move those keyframes back earlier in time.
You can go ahead work in the After Camera View with your three button mouse, and say, maybe I will left click to orbit a little bit something little jaunty there. Right-click and zoom back a little bit, to get a little bit more of pose like that, middle-click maybe to pull up little bit on the scene, and adjust that way, or you can press V to go to your Selection tool and pull the camera directly in these individual views. And again, if you are having trouble seeing all layers, select one of the views and say, "Look at all layers." Now it's much easier to grab the camera and reposition it the way that you like.
Select this one, look at all layers, the side of camera more face on, more pulled off a little bit more of an angle like that. Or again I can press C to return back to the Camera tools and use those to adjust my view. For example, I will use the right mouse button to zoom further back. The middle-mouse button to pull down a little bit so I have more head room for the camera back to the Selection tool I think I like a view somewhere around there for my beginning pose.
I will select those keyframes, move them back to the very start of comp. Put my ending keyframes. Right-click, Animation Assistant > Easy Ease In. So I will start with a dynamic move and then ease into my final pose. Make sure my Active Camera is selected-- later versions of After Effects tend to always preview your active camera. Makes a life little bit easier. And press zero to cue up a RAM preview. You will take a view seconds to go ahead and calculate this, but I will use this to be able to study my scene in slow motion and see if I am getting the effect I like.
(music playing) That's pretty cool. Let's go back to 1 View so I can see it even bigger, preview that, just having to repreview it. So this is now at full resolution. If you find previews are taking too long, you can hold the shift key then press 0 on the numeric keypad to skip every other frame during a RAM preview. But I will just cut ahead in time to where the preview is done. (music playing) Pretty cool. I am pretty happy with that.
I will press apostrophe to get rid of my Action Title Safe. See that my wall is not quite on a grid line. You can optionally move it forward if you want to. I might pull it forward like that to where it looks a little bit cleaner and nudge it over against looks nice to the grid. Now that I have my frame arranged and a nice camera move in the next chapter, let's add some animated text to this composition.
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