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Delve into the world of motion graphics, keying, and compositing in After Effects CC. In this course, Ian Robinson lays out six foundations for becoming proficient with After Effects, including concepts such as layers, keyframe animation, and working with 3D. To help you get up and running with the program, the course begins with a project-based chapter on creating an animated graphic bumper. Next, explore the role layers play in compositions and find out how to add style to your projects using effects and graphic elements. Last, see how to build 3D objects with CINEMA 4D Lite, as well as stabilize footage, solve for 3D cameras, and paint in graphics with the Reverse Stabilization feature.
Matching graphics into your 3D scene can be a lot of fun when you use the camera tracker. Now if we look at our scene, I can scrub through the timeline, and you'll notice we have our soccer kick happening. And I want to add a word right in front of the goal line. Usually with traditional camera tracking, this would be a little problematic because the graphic would start off screen and sometimes that causes issues. But like I said with the camera tracker, this is going to be a lot of fun.
So, let's make sure we have layer one selected, we'll go up under the Animation menu. And here, we'll choose Track Camera. Now, it's automatically going to analyze in the background. Let's just let it analyze based on the default settings and see what we get. So immediately, you can see these little x's appearing on the page. And when I rotate around the screen, you'll see this target. This target looks like this because the 3D camera tracker currently can't figure out the 3D data because the camera shot was created by a camera on a tripod.
Usually, when you click around in a 3D scene, the camera would rotate around on its perspective. But, we'll find a way to work with this here in just a quick second. The biggest thing I want to make sure is when we scrub through that our track points are all locked in place. Notice how some of the track points around the soccer ball disappear. Now when I scrub through the timeline, I want to go ahead and choose some points over in this general area. Just to make sure that my shot is locked off the way that I'd like, I want to actually create an origin for my track.
If I click and drag, I can draw a lasso around any of the points that I would like to select. Now with those points selected, notice it put the target right equal distance between all those points. I'm going to use this as the origin for my scene, that means the center of the x,y values. That'll mean placing this object easier, especially when you're trying to balance between After Effects and Cinema 4D. I'm going to go ahead and right-click, and we have a couple different options.
The first thing we should do is set a ground plane and an origin. When we do that, it'll appear as though nothing's happened. But that's okay, when we add an element into the scene everything is going to work exactly like we planned. Let's go ahead and right-click back up here again, and this time we're going to choose a solid and a camera. So, it's automatically going to make the solid the size of the target, which is perfect, because we're going to have to rotate this. If you select the camera in the timeline, you can press U on your keyboard, and you'll notice it has position data and orientation data.
Since the camera is already animated, we can go ahead and rotate our layer solid into perspective view. So, I'm going to press R to open up its rotation. Let's start by changing its x rotation from 270 to 0. That'll make it relatively flat in the scene, but we need to go ahead and just click and drag on its rotation and try and line it up on the plane. Now, just so I can see whether this fits on the scene more clearly, I'm also going to rotate on the x-axis. I want to try and make the right edge of the solid and the baseline of our end zone here perfectly parallel. Now, if we scrub through the scene, it looks as though our footage has tracked relatively well.
But what we should do is just adjust its Opacity down so we can scrub through and check to see if there's any drift. So, select Layer 1 and press T, and click and drag in the Opacity value to bring it down. Now, when I scrub through, it appears as though everything's locked okay. But there is a little bit of a shift in the solid. So, I'll go ahead and select the Camera and the Solid and Delete. Let's select the footage that we have analyzed, and notice when we click back on the camera tracker, that's when our points will reappear.
What we need to do this time is go to the Advanced section, and in here, we need to turn on the Detailed Analysis. Now if we have any other information that we know about the scene, we should go ahead and add that info. So, I'm going to go up to the first pull down underneath the Cancel button. This fixed angle of view, if you click on that you can actually specify the angle of view. So, I'll change that and the angle of view is a 24 millimeter lens. So I'll say 24, and then we can just wait a second as it analyzes. Once it finishes analyzing, we can then try and match our graphics back into the scene and see if there's any shift.
If we scrub through, we have a number of points here. There's one more setting we can turn off. This auto delete points across time. We turn that off, we'll actually be able to see any of the cross points in the scene that would have been deleted because there were errors. Sometimes even those extra points will allow you to help lock down a shot a little more clearly. Let's click and drag and draw a lasso around this cluster of points here. Now, we'll right-click again and choose Create Solid and Camera. Now with that set up, I'll click on my layer solid here and open its rotation settings and we can change its x orientation to zero and its y orientation to zero and zero orientation to zero.
Now, we just need to rotate on its axis. So when we scrub through now, it looks like a very successful track. Just to verify, let's press T and lower the Opacity. And then, when we scrub through, you can see it's completely stuck on that white hash mark, which is exactly what we want. So if we open up the camera options here, you can see we've got a camera created and it is a one node camera. And we can easily add graphics into our scene in 3D space now because of this camera.
So, I'm going to add a graphic that appears right over top of our layer solid. In order to do that, I'll just create some text. Let's click on the Text tool, and just click anywhere in the composition. Let's type the word Kick and make sure that 3D is enabled for that layer. Now, it'll disappear off the comp for a quick sense. But as long as you have the parenting column open, you can hold down Shift and click on the pick whip and point it right at our layer solid. Now the word kick has automatically positioned itself right over the anchor point of our layer solid. So, all we have to do is press R and click and drag on the x parameter to tilt this word up in the scene.
So, let's tilt it to a 90 degrees and I'll scale it down here just by adjusting the scale. And now, we can turn our Track Solid off. If we scrub through the scene, you can see we've easily created the word Kick, and it's tracked into the 3D environment. We could add a little more realism to this by enabling Motion Blur in our layer, and then enabling Motion Blur for the entire composition. Now, when we scrub through the word kick is matched into the scene, and the blur matches the blur from our camera.
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