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

Natural multi-planing in 3D


From:

After Effects Apprentice 11: 3D Space

with Chris Meyer and Trish Meyer

Video: Natural multi-planing in 3D

Now that I'm viewing my scene as two different views; I've set up one of the views to be Active Camera, what's going to render, and I've set up another view to show me a perspective on the scene, now I can start separating these buildings in Z space. To do that, it's just a matter of selecting a layer, either here in one of the Composition panels or down here in the Timeline panel, and either scrubbing its values, again, in the Timeline panel or interactively grabbing its axis arrow to constrain my movements and pulling these layers out.
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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

Natural multi-planing in 3D

Now that I'm viewing my scene as two different views; I've set up one of the views to be Active Camera, what's going to render, and I've set up another view to show me a perspective on the scene, now I can start separating these buildings in Z space. To do that, it's just a matter of selecting a layer, either here in one of the Composition panels or down here in the Timeline panel, and either scrubbing its values, again, in the Timeline panel or interactively grabbing its axis arrow to constrain my movements and pulling these layers out.

So I'm going to pull this shrub close to us, along with this building, not in front of the shrub, but a little bit behind, like about there, and in general start pushing these buildings forward and back to create an arrangement that I like. I'll bring this building up a little bit into the gap as well. Make sure you scrub your Current Time Indicator, so you see things at different points in time, to get a better idea of what's going on. Make sure that you see that axis arrow Z. If I didn't, I'll start moving the building freely and I'll disconnect from the ground and bad things will happen.

Let's go ahead and set that back a little bit in space and set these larger buildings even further away. I'll put my skyscraper further back. Let's do something with these clouds. Maybe I'll even put this cloud in between these two buildings, like around there. Now, you might notice that as I grab these layers and pull them towards you and away from you, even though my movement is supposedly constrained to the Z axis, over in the left Active Camera, they seem to go higher or lower in the frame.

It's not that I'm editing the Y Position of this layer. This is just another natural result of 3D perspective. As you know, when an object flies towards you, it will eventually go over your head. You also know as an object goes away from you, it will eventually disappear towards the horizon, which is lower. So you do have to think a little bit more and be a little bit more iterative when you place these layers, because you might find that you need to change the Y Position as well after you've changed the Z axis. I'll get a little bit more separation here just for fun, pull the house a little bit closer like that, and drag my Current Time Indicator and see how this is going.

And now I'm seeing a lot more Multiplaning action going on with my buildings. I'll press 0 on the numeric keypad to RAM Preview. Now we'll see the buildings closest to us are indeed moving faster than the buildings further away. And we are getting a little bit of movement between these clouds and these buildings. If you're not getting the desired amount of movement, the difference in speeds that the different layers are moving, you just need to spread things further apart in space. And I'll push this building further back. Oops, See, I didn't have my Z axis selected so I'm freely moving this layer.

I'll undo, make sure I'm moving just that dimension, and push things back. Same with the skyscraper, even further away. Put that cloud behind it, put this cloud in between. Again, I'm freely moving. Let's use that axis arrow. There we go. And if you find it a little to fiddly to grab these axis arrows, you know, frankly, quite often, I just go ahead and scrub values down here in the Timeline panel, that's what I'm used to.

Now, as I drag the Current Time Indicator, I can get even more variation and speed between the different layers of my composition. Note that I've not keyframed Position for any of these other layers. The Null Object that all these layers are connected to is still the only layer that is animating, and indeed I can go ahead and edit just that Null and have the whole scene move faster or slower. It's the natural spread between these layers in 3D space I've set up that's giving me this impression of Multiplaning, and that's one of the big advantages of 3D space.

You get much more natural looking animations, depending on how you arrange your scene in space. I'll RAM Preview again. Now, you can see where this would be much faster to set up and tweak than having to animate all of these layers individually in 2D space. You can even see the shrub moving a little bit in relation to this building. Now, if you got lost with what I was doing, you can go ahead and open up Comps_Finished and open up Multiplaning _final and you'll see a similar result with these buildings.

Now that you have a basic understanding of 3D, let's move onto something more advanced and actually animating our layers through 3D space.

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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