![]() As you saw in Step 5, looking at the ball from a different angle reveals a problem-the 3D layers are flat. Choose 35mm from the Preset menu, ensure the Enable Depth of Field checkbox is turned off, and click OK. Switch back to Active Camera view, then go to Layer>New>Camera. ![]() You can always switch Active Camera to Custom View 1 in the Comp window and then use the Orbit Camera tool (C) to view the scene from a different angle-showing the ball as a flat 2D object. Set the Blending Mode (in the Effect Controls panel) to Normal to see the original color of the solid, then change the grid settings to suit your needs. Finally, change the Scale to around 2,000%.Īnimating in 3D space is much easier when you have reference objects or lines to work with-but a ball and a flat color solid don’t look much different from any angle! So go to Effect>Generate>Grid, and a square grid appears on the solid. Change its X Rotation value to 90° and its Y Position value (the second field on the Position line) to 900 to place the solid below the ball, acting as a floor. Select the solid in the Timeline and press P, Shift-R, then Shift-S to reveal the Position, Scale, Orientation, and Rotation properties. In the Comp window, ensure that your 3D View Popup is set to Active Camera. In the Switches column, click the boxes below the 3D Layer icon next to both the ball and the solid-nothing will change, but now we can add perspective. Click OK again, and then click-and-drag the solid below the ball in the Timeline. Now, go to Layer>New>Solid, make the Width and Height 1500×1500 pixels, click the color swatch, choose a bright color for visibility, and click OK. With the ball still selected, press the S key to reveal its Scale property, and shrink it to the appropriate size (60% in this example). We want to make the ball spin faster, so click the icon again. If you click the Toggle Transparency Grid icon in the Comp window, you can see that the ball is now separated from the background. Double-click a point on the mask to position and scale it to fit the edge of the ball, then close the Layer window and select the main Selection tool (V). Position the cursor in the center of the ball, start dragging, and then hold down Shift and Command (PC: Ctrl) to proportionately constrain and center the circle. In the Timeline, double-click the ball clip to open it in a Layer window, then go to the Toolbar and choose the Ellipse tool (nested under the Rectangle tool ). When imported, drag the clip into the Timeline. (For this flyby title animation, I’m importing a clip named SBE173H from -an HD clip of a 3D-animated soccer ball.) A circular element like this will add even more 3D depth to the scene. ![]() ![]() Then create, or double-click in the Project panel to import, an item you wish to move the camera around in 3D space. In the Composition Settings dialog, choose HDV/HDTV 720 29.97 from the Preset menu, enter 6 seconds for Duration, and click OK. Start out in a blank After Effects CS3 project, and press Command-N (PC: Ctrl-N) to create a New Composition. However, the camera and objects can have their own agendas in some instances, but a few tricks can change a seemingly uncontrollable camera animation into pure, cool cinematography… Animating your After Effects design in 3D space is fun and, for the most part, easy to achieve.
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