How To Move The Camera In After Effects

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Create a camera layer and change photographic camera settings

You lot can view 3D layers from any angle and distance using camera layers. Only every bit it'due south easier in the real world to motility cameras through and around a scene than it is to move and rotate the scene itself, information technology's frequently easiest to get different views of a composition by setting upwardly a camera layer and moving it around in a composition.

You can modify and animate camera settings to configure the photographic camera to friction match the existent camera and settings that were used to tape footage with which y'all're compositing. Y'all can besides utilize camera settings to add camera-like behaviors—from depth-of-field blur to pans and dolly shots—to synthetic furnishings and animations.

Cameras impact only 3D layers and 2d layers with an upshot with a Comp Camera attribute. With effects that accept a Comp Camera aspect, you lot tin utilise the active composition camera or lights to view or lite an effect from various angles to simulate more sophisticated 3D effects.

You tin can cull to view a limerick through the active camera or through a named custom camera. The active camera is the topmost photographic camera in the Timeline panel at the current time for which the Video switch is selected. The active photographic camera view is the betoken of view used for creating last output and nesting compositions. If you have non created a custom camera, then the active camera is the aforementioned every bit the default limerick view.

All cameras are listed in the 3D View carte at the lesser of the Composition panel, where y'all tin can admission them at any fourth dimension.

Information technology's often easiest to adjust a photographic camera when using i of the custom 3D views. You lot can't—of course—see the camera to manipulate it when you're looking through the camera itself.

Example of a camera

A. Point of interestB. FrameC. Camera

Create a camera layer

Choose Layer > New > Camera, or press Ctrl+Alt+Shift+C (Windows) or Command+Option+Shift+C (Mac OS).

By default, new layers begin at the beginning of the composition duration. You can instead choose to have new layers begin at the current time past deselecting the Create Layers At Limerick Start Time preference (Edit > Preferences > General (Windows) or After Furnishings > Preferences > General (Mac OS)).

Change camera settings

You can change photographic camera settings at any time.

Double-click the camera layer in the Timeline panel, or select the layer and then choose Layer > Camera Settings.

Past default, the Preview option in the Camera Settings dialog box is selected. This option shows the changes in the limerick as yous make them in the Camera Settings dialog box.

Camera settings

You can change camera settings at any fourth dimension by double-clicking the layer in the Timeline panel or selecting the layer and choosing Layer > Camera Settings.

Select Preview in the Photographic camera Settings dialog box to show results in the Composition panel as you modify settings in the dialog box.

The three things that affect depth of field are focal length, discontinuity, and focus distance. Shallow (small-scale) depth of field is a event of long focal length, short focus distance, and a larger aperture (smaller F-end). A shallower depth of field means a larger depth of field blur result. The opposite of a shallow depth of field is deep focus—meaning a smaller depth of field blur because more is in focus.

Camera properties relating to camera lens blur and shape include Iris Shape, Iris Rotation, Iris Roundness, Iris Aspect Ratio, Iris Diffraction Fringe, Highlight Proceeds, Highlight Threshold, and Highlight Saturation.

Type

One-Node Photographic camera or Ii-Node Camera. A one-node camera orients around itself, whereas a 2-node camera has a point of interest and orients effectually that bespeak. Making a camera a two-node camera is the same as setting a camera'due south auto-orientation choice (Layer > Transform > Motorcar-Orient) to Orient Towards Point Of Interest. (Meet Motorcar-Orientation options.)

Name

The name of the camera. By default, Camera ane is the proper noun of first camera that y'all create in a composition, and all subsequent cameras are numbered in ascending lodge. Cull distinctive names for multiple cameras to make information technology easier to distinguish them.

Preset

The type of camera settings you lot want to use. The presets are named according to focal lengths. Each preset is meant to represent the behavior of a 35mm camera with a lens of a certain focal length. Therefore, the preset also sets the Angle Of View, Zoom, Focus Altitude, Focal Length, and Aperture values. The default preset is 50mm. You can also create a custom camera by specifying new values for any of the settings.

Zoom

The distance from the lens to the image plane. In other words, a layer that is the Zoom distance away appears at its full size, a layer that is twice the Zoom distance away appears half as tall and wide, then on.

Angle Of View

The width of the scene captured in the image. The Focal Length, Picture show Size, and Zoom values decide the bending of view. A wider bending of view creates the aforementioned consequence equally a wide-bending lens.

Depth Of Field

Applies custom variables to the Focus Distance, Aperture, F-Stop, and Mistiness Level settings. Using these variables, y'all can manipulate the depth of field to create more realistic photographic camera-focusing furnishings. (The depth of field is the distance range within which the image is in focus. Images outside the distance range are blurred.)

Focus Altitude

The distance from the camera to the plane that is in perfect focus.

To lock the focal plane to the camera's point of involvement so that the point of interest is in focus, add this expression to the Focus Distance holding: length(position, pointOfInterest)

Lock To Zoom

Makes the Focus Altitude value match the Zoom value.

If yous change the settings of the Zoom or Focus Distance options in the Timeline panel, the Focus Distance value becomes unlocked from the Zoom value. If you demand to modify the values and want the values to remain locked, then utilise the Camera Settings dialog box instead of the Timeline console. Alternatively, you tin add an expression to the Focus Distance property in the Timeline console: Select the Focus Distance property, and choose Animation > Add Expression; then elevate the expression selection whip to the Zoom property. (Meet Expression nuts.)

Discontinuity

The size of the lens opening. The Aperture setting as well affects the depth of field—increasing the aperture increases the depth of field blur. When you modify Discontinuity, the values for F-Cease change to friction match it.

In a existent photographic camera, increasing the aperture likewise allows in more light, which affects exposure. Like well-nigh 3D compositing and animation applications, Afterward Effects ignores this outcome of the change in aperture values

F-Terminate

Represents the ratio of the focal length to aperture. Most cameras specify aperture size using the f-stop measurement; thus, many photographers prefer to set the aperture size in f-finish units. When y'all change F-Terminate, Aperture changes to match it.

Blur Level

The amount of depth-of-field blur in an epitome. A setting of 100% creates a natural mistiness as dictated past the photographic camera settings. Lower values reduce the mistiness.

Moving-picture show Size

The size of the exposed expanse of film, which is directly related to the composition size. When you change Flick Size, the Zoom value changes to match the perspective of a real camera.

Focal Length

The distance from the film plane to the photographic camera lens. In Later on Effects, the position of the camera represents the center of the lens. When you modify Focal Length, the Zoom value changes to friction match the perspective of a real photographic camera. In addition, the Preset, Bending Of View, and Discontinuity values modify appropriately.

Units

The units of measurement in which the camera setting values are expressed.

Measure Film Size

The dimensions used to describe the film size.

For best results, work in 32-bpc with Linearize Working Space selected in the project settings.

Camera Commands

After Furnishings has camera commands that can be used separately or with the Create Stereo 3D Rig function. To use the photographic camera commands, select a camera layer, and then choose Layer > Camera.

Link Focus Distance to Point of Interest

Creates an expression on the selected camera layer'south Focus Distance property, setting the belongings's value to the distance between the camera and its point of involvement.

Link Focus Distance to Layer

Creates an expression on the selected camera layer'southward Focus Distance property to be the altitude between the camera's position and some other layer. This method allows the focus to follow the other layer automatically.

Fix Focus Distance to Layer

Sets the value of the Focus Distance holding at the current time to the distance at the current fourth dimension betwixt the camera and the selected layer.

Online resources near cameras

For a video tutorial that shows how to create and alter a camera and utilise the Camera tools, encounter the Adobe website.

Dale Bradshaw provides a script and sample project for automating the rigging of a photographic camera on the Creative Workflow Hacks website.

Mark Christiansen provides tips and detailed techniques for working with cameras in the "Virtual Cinematography in Afterwards Effects" chapter of Afterward Effects Studio Techniques on the Peachpit Printing website. This chapter includes information about matching lens distortion, performing camera moves, performing camera projection (camera mapping), using rack focus, creating boke blur, using grain, and choosing a frame rate to match your story-telling.

Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF excerpt from their volume Afterward Effects Apprentice on the Focal Press website.

Andrew Kramer provides a two-role video tutorial on his Video Copilot website that demonstrates basic camera mapping and camera projection. The tutorial shows how to project an image onto 3D layers using lights and calorie-free manual properties.

Create a light and alter calorie-free settings

A light layer tin can affect the colors of the 3D layers that it shines on, depending on the light's settings and the Material Options backdrop of the 3D layers. Each light, past default, points to its bespeak of interest.

Lights can be used to illuminate 3D layers and to bandage shadows. Yous can employ lights to match lighting conditions of the scene into which you are compositing or to create more interesting visual results. For example, yous can employ calorie-free layers to create the appearance of calorie-free streaming through a video layer equally if information technology were fabricated of stained glass.

Y'all can animate all the settings for a light, except for the light type and the Casts Shadows property.

Lite types: Spot (upper-left); Point (upper-right); Parallel (lower-left); Ambient (lower-right)

A. Indicate of interestB. Light icon

You lot tin specify which 3D layers a lite affects by designating the low-cal as an adjustment layer: identify the low-cal in the Timeline panel to a higher place the layers on which yous want it to polish. Layers that are above a light adjustment layer in the layer stacking lodge in the Timeline console do non receive the calorie-free, regardless of the positions of the layers in the Composition panel.

Create a light

Cull Layer > New > Light, or press Ctrl+Alt+Shift+L (Windows) or Command+Pick+Shift+Fifty (Mac Os).

The light y'all create includes proper noun of the type of light. For example, if you add a spot light, information technology is named 'Spot Calorie-free 1.'

If y'all change the light type, the proper noun of the light blazon automatically changes. The light proper noun changes if if the proper noun is not modified and just when the light blazon is non changed in the Timeline panel. For example, if y'all change 'Spot Calorie-free 1" to a point light, After Effects automatically renames the lite to 'Point Light one.'

Past default, new layers begin at the showtime of the composition duration. Yous can instead choose to accept new layers begin at the current time by deselecting the Create Layers At Limerick Start Fourth dimension preference (Edit > Preferences > Full general (Windows) or Afterwards Effects > Preferences > Full general (Mac Bone)).

Modify light settings

Double-click a light layer in the Timeline panel or select the layer and choose Layer > Light Settings.

Select Preview in the Light Settings dialog box to show results in the Limerick console as you modify settings in the dialog box.

Low-cal settings

Calorie-free Type

Parallel emits directional, unconstrained calorie-free from an infinitely distant source, approximating the light from a source similar the Sunday. Spot emits light from a source constrained by a cone, like a flashlight or a spotlight used in stage productions. Signal emits unconstrained omnidirectional light, like the rays from a bare light bulb. Ambient creates light that has no source only rather contributes to the overall brightness of a scene and casts no shadows.

Considering the position in space of an Ambient lite does non affect its influence on other layers, an Ambient light does non have an icon in the Limerick panel.

Intensity

The brightness of the calorie-free. Negative values create nonlight. Nonlight subtracts colour from a layer. For example, if a layer is already lit, creating a directional light with negative values also pointing at that layer darkens an area on the layer.

Color

The color of the light.

Cone Bending

The angle of the cone surrounding the source of a light, which determines the width of the beam at a distance. This control is active but if Spot is selected for Light Blazon. The cone angle of a Spot light is indicated by the shape of the light icon in the Limerick console.

In Later Effects CS6 or later, a selected spot calorie-free's cone can be extended to the point of involvement.

Cone Feather

The border softness of a spotlight. This control is agile only if Spot is selected for Calorie-free Type.

Falloff

The type of falloff for a parallel, spot, or point light. Falloff describes how a light'south intensity is lessened over altitude.

For details, tutorials, and resources about light falloff, encounter this article on the Adobe website.

Falloff types include the following:

None

Illumination does not subtract as the distance between the layer and the light increases.

Smooth

Indicates a smooth linear falloff starting at the Falloff Outset radius and extending the length specified by Falloff Distance.

Inverse Square Clamped

Indicates a physically accurate falloff starting at the Falloff Get-go radius and decreasing proportionally to the changed foursquare of the distance abroad.

Radius

Specifies the radius of falloff from a light. Inside this distance, the light is a constant low-cal. Outside this distance, the calorie-free falls off.

Falloff Distance

Specifies the distance a light falls off from a lite.

Casts Shadows

Specifies whether the light source causes a layer to cast a shadow. The Accepts Shadows textile option must be On for a layer to receive a shadow; this setting is the default. The Casts Shadows textile option must be On for a layer to bandage shadows; this setting is not the default.

Press Alt+Shift+C (Windows) or Option+Shift+C (Mac OS) to toggle Casts Shadows for selected layers. To see Material Options properties in the Timeline panel, printing AA

Shadow Darkness

Sets the darkness of the shadow. This command is active only if Cast Shadows is selected.

Shadow Improvidence

Sets the softness of a shadow based on its apparent distance from the shadowing layer. Larger values create softer shadows. This control is active only if Casts Shadows is selected.

Online resource about lights

Eran Stern provides a video tutorial on the Creative COW website that demonstrates the use of lights as aligning layers, to precisely command which layers are afflicted by which lights.

Chris and Trish Meyer provide tips nigh shadows and lights in 3D in an article on the ProVideo Coalition website.

Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF excerpt from their volume After Furnishings Amateur on the Focal Press website.

Chris and Trish Meyer provide a tutorial on the Artbeats website that demonstrates how to apply lights and 3D layers to project a video onto other layers, such as onto a wall.

Arrange a 3D view or move a photographic camera, light, or signal of interest

Photographic camera layers and calorie-free layers each include a Bespeak Of Involvement belongings, which specifies the point in the composition at which the camera or calorie-free points. By default, the point of interest is at the center of the limerick. You can motility the point of involvement at whatsoever fourth dimension.

A ane-node camera ignores the point of interest. (See Camera settings.)

To make a calorie-free ignore its point of involvement, select an option other than Orient Towards Point Of Involvement in the light's Auto-Orientation options. (Come across Auto-Orientation options.)

As with all properties, you can also modify a camera or light's properties direct in the Timeline panel.

Select a camera or low-cal layer.

Using the Selection or Rotation tool, do ane of the following:

• To move the camera or lite and its point of interest, position the pointer over the axis you want to suit, and elevate.

• To move the camera or low-cal along a unmarried axis without moving the signal of interest, Ctrl-drag (Windows), or Command-drag (Mac OS) the centrality.

• To move the camera or light freely without moving the point of involvement, drag the camera icon or light icon.

• To movement the point of involvement, elevate the point of interest icon .

You can adjust the Position and Point Of Interest properties of a camera layer by using the Photographic camera tools in the Limerick panel.

You can also utilize the Camera tools to adjust a working 3D view, a 3D view that is not associated with a camera layer. You can recall of 3D views every bit being virtual cameras through which you can view and preview a composition. The working 3D views include the custom views and the fixed orthographic views (Front, Left, Pinnacle, Back, Right, or Lesser). The working 3D views are useful for placing and previewing elements in a 3D scene. If you apply a Camera tool to arrange a working 3D view, no layer property values are affected.

Afterwards you've modified a 3D view, you can reset it by choosing View > Reset 3D View.

You tin can't employ the Orbit Camera tool on the fixed orthographic views.

For information on choosing and using 3D views, see Choose a 3D view.

In the 3D View menu at the bottom of the Limerick console, choose the camera or 3D view to arrange.

You can actuate a Camera tool by selecting it in the Tools panel or pressing C to cycle through the Camera tools. The easiest mode to switch between the various Camera tools is to select the Unified Photographic camera tool and employ the buttons on a three-push mouse.

Orbit Camera

Rotates the 3D view or camera by moving around the indicate of involvement. (To temporarily activate the Orbit Camera tool when the Unified Photographic camera Tool is selected, agree the left mouse button.)

Shift-dragging with the Unified Photographic camera tool selected temporarily activates the Orbit Photographic camera tool and constrains rotation to ane centrality.

Rails XY Camera

Adjusts the 3D view or camera horizontally or vertically. (To temporarily activate the Track XY Camera tool when the Unified Photographic camera Tool is selected, hold the middle mouse button.)

Rail Z Camera

Adjusts the 3D view or photographic camera along the line to the betoken of interest. If you are using an orthographic view, this tool adjusts the scale of the view. (To temporarily activate the Track Z Camera tool when the Unified Camera Tool is selected, hold the right mouse button.)

Drag in the Composition console. You tin go along a drag functioning outside the console after y'all've begun dragging within the panel.

After you've modified a 3D view, you can reset it by choosing View > Reset 3D View.

Move or adjust a photographic camera or working 3D view to look at layers

You can also move a camera or suit a 3D view to await at selected layers or all layers. After Furnishings changes the point of view and direction of view to include the layers that you have selected.

• To adjust a 3D view or movement a camera to await at selected layers, choose View > Wait At Selected Layers.
• To adjust a 3D view or movement a camera to await at all layers, cull View > Look At All Layers.

For keyboard shortcuts for these commands, see 3D layers (keyboard shortcuts).

Tips and online resources for moving and animating cameras and lights

Earlier moving a camera, choose a view other than Active Camera. If you use Active Camera view, you are looking through the camera, which makes it harder to manage.

By default, a photographic camera's wireframe is just visible when the camera is selected. To always show the camera wireframe, prepare the view options for the Composition panel (View > View Options). (See Show or hibernate layer controls in the Composition panel.)

When working with a photographic camera or lite layer, create a cipher object layer and use an expression to link the Point Of Involvement belongings of the photographic camera or light to the Position belongings of the null layer. Then, you can animate the Indicate Of Interest property by moving the null object. Information technology is often easier to select and see a naught object than it is to select and see the point of interest.

In Afterward Furnishings, at that place is a photographic camera control, "Create Orbit Null." This parents the selected camera layer to a new nix layer. The new null layer is renamed, based on the camera'south proper noun appended with Orbit Zippo

Trish and Chris Meyer show you how to use the Create Orbit Nada camera control in this video tutorial on Adobe TV.

For a video tutorial that shows how to create and change a camera and use the Camera tools, see the Adobe website.

Trish and Chris Meyer provide a tutorial for using 3D layers, lights, and cameras in a PDF extract from their volume Later Effects Apprentice on the Focal Press website.

Mark Christiansen provides tips and detailed techniques for working with cameras in the "Virtual Cinematography in Afterwards Effects" chapter of After Furnishings Studio Techniques on the Peachpit Press website. The affiliate includes information virtually matching lens distortion, performing photographic camera moves, performing camera projection (camera mapping), using rack focus, creating boke blur, using grain, and choosing a frame charge per unit to match your story-telling.

Rich Young provides a set of expressions on his AE Portal website that utilise the toWorld method link a camera and light to a layer with the CC Sphere effect.

Andrew Devis of Artistic COW has created a three tutorial series on Animating a Photographic camera:

Fabric Options backdrop

3D layers have Material Options backdrop, which determine how a 3D layer interacts with light and shadow.

Casts Shadows

Specifies whether a layer casts shadows on other layers. The direction and angle of the shadows are adamant by the direction and angle of the light sources. Gear up Casts Shadows to Only if you want the layer to exist invisible but yet cast a shadow.

Use the Only setting and a nonzero Light Transmission setting to project the colors of an invisible layer onto another layer. Steve Holmes provides a video tutorial on the Artbeats website in which he demonstrates how to use layers with Cast Shadows set to Only to cast shadows of specific shapes within a 3D scene.

Low-cal Manual

The per centum of calorie-free that shines through the layer, casting the colors of the layer on other layers as a shadow. 0% specifies that no calorie-free passes through the layer, casting a blackness shadow. 100% specifies that the full values of the colors of the shadow-casting layer are projected onto the layer accepting the shadow.

Utilise fractional lite transmission to create the appearance of light passing through a stained glass window.

Accepts Shadows

Specifies whether the layer shows shadows cast on information technology by other layers. There is an "Merely" option in the Accepts Shadows for when you want to render only a shadow on a layer.

Accepts Lights

Specifies whether the light reaching it affects the color of a layer. This setting does non bear upon shadows.

Ambience

Ambient (nondirectional) reflectivity of the layer. 100% specifies the most reflectivity; 0% specifies no ambient reflectivity.

Diffuse

Diffuse (omnidirectional) reflectivity of the layer. Applying diffuse reflectivity to a layer is similar draping a slow, plastic sheet over it. Light that falls on this layer reflects as in all directions. 100% specifies the well-nigh reflectivity; 0% specifies no diffuse reflectivity.

Specular

Specular (directional) reflectivity of the layer. Specular light reflects from the layer as if from a mirror. 100% specifies the almost reflectivity; 0% specifies no specular reflectivity.

Shininess

Determines the size of the specular highlight. This value is active merely if the Specular setting is greater than cypher. 100% specifies a reflection with a small specular highlight. 0% specifies a reflection with a large specular highlight.

Metal

The contribution of the layer color to the colour of the specular highlight. 100% specifies that the highlight color is the color of the layer. For example, with a Metallic value of 100%, an image of a gold ring reflects golden light. 0% specifies that the colour of the specular highlight is the color of the lite source. For instance, a layer with a Metallic value of 0% under a white light has a white highlight.

Specify resolution to use for rendering shadows

The Advanced 3D rendering plug-in is used to render compositions containing intersecting 3D layers. To render shadows, the plug-in uses shadow maps, which are images rendered from the signal of view of each light source. Normally, shadow resolution is computed automatically based on the composition resolution and the quality settings of the layers. If normal resolution doesn't create the quality you want, or renders too slowly, you lot tin adjust the shadow map resolution. For case, if shadows are blurry and the Shadow Improvidence material option is fix to 0, increase the shadow map resolution. Or, if shadows return besides slowly, decrease the shadow map resolution.

When a shadow-casting layer intersects some other layer, sometimes a pocket-size gap occurs behind the intersection that is supposed to be shadowed. To decrease the size of the gap, increase the shadow map resolution.

Stereoscopic 3D

You can create stereoscopic 3D videos with Adobe Later Furnishings.

For tutorials, details, and resource nigh stereoscopic 3D, see this commodity on the Adobe website.

For an overview of stereoscopic 3D workflow in Afterwards Furnishings, see Agreement Stereoscopic 3D in After Effects.

Mark Christiansen shows compositing stereoscopic 3D footage (using free clip from Art Beats).

Stereoscopic 3D camera rig

Afterwards Effects has a Create Stereo 3D Rig menu command, allowing you to plow a 3D composition into a stereoscopic 3D composition. The Stereo 3D Rig creates all the elements for you, including the 3D Spectacles effect.

Brand a stereoscopic 3D camera rig by first creating a limerick with 3D elements in it. A composition that contains items such as a 3D collapsed precomposition or 3D elements in the composition itself works well. If yous already have a camera in use, you tin can select it when creating the stereoscopic 3D photographic camera rig. If no camera is selected, then a new camera (named Master Cam) is created. Choose Layer > Camera > Create Stereo 3D Rig. The rig merely works with two-node cameras.

The rig is produced by creating a master camera or by using the existing selected photographic camera in the composition. There are left middle [compare Left Heart] and right eye [compare Right Center] compositions. Each composition has a camera linked to the primary camera, the original composition nested in them, and an output stereo 3D composition [compare Stereo 3D]. The output stereo 3D composition nests both centre compositions and contains a layer called Stereo 3D Controls. This layer contains a Stereo 3D Controls upshot for controlling the rig and a 3D Spectacles effect that combines the left and right centre compositions into a stereo image. (See 3D Glasses effect.)

The Stereo 3D Controls event is an issue congenital as part of the Stereo 3D Rig and does not reside in the Effects and Presets console.

The Stereo 3D Controls effect has the following settings for Camera Separation and Convergence:

Configuration

Center places the left and right camera on either side of the master photographic camera. Hero Left places the left camera in the same spot equally the master camera with the right camera to the correct. Conversely, Hero Correct places the correct camera at the master camera position with the left photographic camera to the left.

Stereo Scene Depth

Controls the interaxial separation between the cameras as a pct of the limerick's width. That way, if the limerick is resized, the separation amount is constant. This setting starts low at a value of 3% to keep the consequence subtle. Ideally, this value does not need to increase to more than 14%-30% for reasonable 3D footage. Even so, it can exist bigger depending on the scene content (objects are very close together) and the photographic camera field of view, for example.

Changing this value affects the depth to which the Stereo 3D goes in and out of the scene. Pushing the value likewise high tin can cause middle strain.

Converge Cameras

When off, the cameras remain parallel to the master camera but get-go to either side. When on, the position remains starting time. However, the Point of Interest of the left and right cameras are joined at the location based on the post-obit 2 properties.

Converge To and Convergence Z Commencement

Determines the Z distance away from the photographic camera that the screen appears to be when looking through 3D glasses. Everything further in Z space appears to exist pushed into the screen, and everything closer appears to pop out of the screen. When working without converge the cameras cheque box on, and cameras are parallel, changing the scene convergence has the same effect as changing the Z offset. Use difference mode to set different elements in the scene to screen space in that instance. (Encounter 3D Glasses result.)

Getting started with stereoscopic 3D

If you are working with stereoscopic 3D, you don't necessarily need a 3D goggle box. For example, you can use anaglyph (red-cyan) 3D glasses and view 3D stereoscopic footage right in the Composition panel. Nonetheless, you can use a 3D television for doing live editing with a 3D television set and active shutter glasses, equally well. For that workflow, you need a few things before getting started:

• A monitor or television that supports 3D stereoscopic viewing.
• Glasses for viewing stereoscopic 3D television.

For this workflow, use agile shutter glasses that require an emitter device. Make sure that y'all are using the glasses that the television manufacturer recommends.

• Stereoscopic footage or a 3D composition.

Once yous have gathered these items, do the following:

Connect the 3D TV to your calculator with an HDMI cable (DVI is acceptable if HDMI is not available).

Create a 3D limerick in Afterward Furnishings. Make certain that the limerick size matches the current resolution of your output monitor.

Make a new Composition panel for your Stereo 3D composition. Lock the composition, and and then elevate it to your 3D TV monitor.

Ensure that the Composition panel is set to 100%.

Type Control + \(backslash) twice to fix the composition to full screen for the 3D Television. Set the dimensions of the composition and the 3D Goggle box to be the same.

Switch the 3D view in the 3D Glasses effect to one of the following:

• Stereo Pair

• Over Under

• Interlaced

Turn on 3D mode for your 3D Goggle box and lucifer the format to what was gear up in 3D View for the 3D Glasses effect. (Stereo Pair, and Over Nether are supported on near 3D TVs.

Put on your 3D glasses, and edit your limerick in true stereoscopic 3D.

Stereoscopic 3D tips

• If y'all are working with3D stereoscopic footage in the Composition panel and you do non have a 3D television receiver, you can piece of work with the anaglyph format. Ordinary cherry and cyan anaglyph 3D glasses work best for this 3D stereoscopic workflow.

• Increase or subtract Stereo Scene Depth to change how deep the 3D environment appears.

• Turn on Converge Cameras and change the Convergence Z Offset to move unlike objects behind and in front of the screen. Objects closer to the camera than the Z kickoff appears in forepart of the screen, objects farther away appears behind it.

• Y'all can brand your composition's depth of field to match your stereoscopic camera's convergence by doing one of the following:

  • When using "Link Focus Distance to Point of Interest" on the main camera, and converge cameras for the rig, the depth of field and stereoscopic 3D convergence matches.

  • If you want the depth of field to change over time, you tin breathing the focus distance of the chief camera. And so, set the convergence betoken to converge from "Camera Position", and set an expression linking the convergence Z offset to the master photographic camera's Focus Distance

Source: https://helpx.adobe.com/after-effects/atv/cs5-cs55-tutorials/using-camera-tools-and-changing-camera-settings.html

Posted by: toppandever.blogspot.com

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