![]() At the bottom of the Composition viewer is a View Layout pull-down menu allowing you to select multiple views in a single viewer. Version 7.0 makes working in 3D easier than in previous versions. If you understand it, the diagram and its settings tell you virtually everything you need to know about how the After Effects camera views the 3D world. You can begin using 3D in After Effects without setting a camera-just toggle a layer to 3D, and voilà, its properties contain three axes instead of two-but it's a little bit like driving a racetrack using a car with an automatic transmission: You can't maneuver properly, and before long you'll probably run into something hard.įurthermore, when you set a camera, you encounter an area of the After Effects user interface that includes a physical diagram: the Camera Settings dialog box ( see Figure 1). Therefore it's worth taking a closer look at how 3D works in After Effects, and how its various features-the camera, lights, and shading options-correspond to their real-world counterparts. There are a lot of fun, stylized ways to play around with 3D in After Effects, but there are also ways in which you can get the After Effects 3D camera to match the behavior of a real camera, if you understand how they're similar and how they differ. You might call it a "2.5D" world, composed of objects that can exist anywhere but have no depth of their own. What if you could pick up a camera and move it around a world of objects that were flat and two-dimensional, yet were related to one another and to a virtual camera in 3D space? That's pretty much the dimensional model that After Effects offers. All of them transcend mere aesthetics, influencing how the viewer perceives the story itself. These seemingly disparate points all involve understanding how the camera sees the world and how film and video record what the camera sees.
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