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Jim Krause | Classes | P354/J560 Program Graphics & Animation

Lab 10


  • Review Projects
  • Play with 3D
  • AE Open-Book Quiz

Notes - All of the homework projects require ORIGINAL work. Your design should be the most noticeable element.

For future work: Please pursue new themes and create new original designs. (In other words don't keep making projects centered around the same idea.)

Please check your work (movie files and critiques) before uploading. Some have turned in movies with issues.

AE and 3D Space

(Meyer chapters 13 & 14)

After Effects can extrude text, vector artwork, and shape layers in true 3D space. In order to use this feature you must turn on Ray-tracing from the advanced 3D composition settings. You can access this feature in Cinema 4D mode or in Ray-traced 3D mode.

But let's start with a standard (non-ray-traced) comp for now.

Think of three-dimensional space in terms of X, Y, & Z:

X= left to right
Y= up and down
Z= towards the camera

In the AE timeline, you can give almost any layer 3D characteristics by turning on the 3D switch. (It’s the little box icon)

Remember that layers are really still flat- we’re just looking at them and can manipulate them in 3D space.


Active camera is the perspective view from the primary camera

Orthographic views don’t show perspective. They are as seen from the 6 sides of a box. These include:

  • front
  • left
  • right
  • top
  • back
  • bottom

Use the camera view to move these views around. This doesn’t create keyframes or disturb your composition in any way.

The "Orbit Camera" (keyboard shortcut = C) is useful for moving your view around so you can see various parts of your 3D space. It does not affect your comp- just what you see,

This is a useful tool for moving the image around, just so you can see it.

Custom views show perspective

Demonstrate moving a 3D layer in space


Cameras in AE only interact with 3D layers. They see regular layers- but they simply don’t have any 3D characteristics.

The Meyer book makes a good point: It’s fine to have cameras, which are stationary along with moving layers. It’s also fine to have stationary 3D layers and move the camera between them. But if you move both camera and layer, you are asking for trouble. This is best left up to the very experienced motion graphic artist who is looking for a specific “look.”

One note about Precomps: You need to have the “Collapse Transformations” box checked on pre-comps in order for cameras to see them.

AE has a default camera, which uses what might be considered a 50mm lens

You can add any number of cameras above this one. The camera highest in the layer stack will be active. And you can cut from camera to camera.

Let’s add a camera and explore the settings

Before getting into 3D layers, it's good to understand a few layer tricks you can do to simulate depth and perspective.

Perspective can be simulated by creating multiple layers, which move similarly to each other but at different speeds. Varying sizes can also get across the feeling of depth.

Krista Detor CD Chocolate Paper Suites open

2-part in-class exercise (Simulated and real 3D):

Part 1 - Simulated 3D space

Build a 1920x1080 comp that has at least three layers that simulates depth using a tracking or dolly shot. For example you could have:

Play with simply animating each layers left-right position values. Over a 10-second  period, move the rear layer a very small amount. Move the middle layer a bit more. Move the top (closest) layer an even greater amount. Make sure your keyframes and movement all align, and apply an "easy ease" to them to give the movement a natural feel.

Make a square pixel (E.g. Apple ProRes422) movie called 2D and turn it into the appropriate Canvas assignment.

Part 2 - Real 3D space

Now take all three layers and turn them into 3D layers.

Reposition the layers in 3D space (depth)

Instead of animating their position, make a camera and animate a move to get a similar effect.

Make a square pixel (E.g. Apple ProRes422) movie called 3D and turn it into the appropriate Canvas assignment.

Intro to 3D Modes - Cameras, Lights, Raytracing and Extruded Layers

After Effects can work in several 3D modes:

  • Classic (the default setting)
  • Cinema 4D
  • Ray Traced (depracted)

To access these modes go to Composition Settings (Command-K) and click the 3D Renderer tab.

Classic 3D provides the quickest 3D effects. Cinema 4D and Ray Traced allow for extuded text and shape layers but tasks the CPU and slows down responsveness. You also lose acess to blending modes. Toggling betwen the modes also changes how cameras and shadows operate.

Cameras and lights in AE only interact with 3D layers. They see regular layers- but they simply don’t have any 3D characteristics.

It’s fine to have stationary cameras and move 3D layers. It’s also fine to have stationary 3D layers and to move the camera. But if you move both camera and layers, things can get really complicated. This is best left up to those with practice working in 3D space.

An introduction to 3D Ray Tracing in After Effects

3D Lights

It’s possible to add 4 different types of lights in AE:

  • Parallel
  • Spot
  • Point
  • Ambient

With each of these 4 types of lights you can change and keyframe the color and intensity. It’s not possible to change from one type of light to another- though you can fade one up and one down instead.

And just like in most film and video, most scenes call for more than one light. (Key plus fill for example.)

  • Spotlight – This is the most dramatic light in AE. You can modify the cone angle (think spot or flood) and the cone feather (the falloff near the edges).
  • Point light – This is like a bare bulb in space. While you can’t adjust the cone angle, you can adjust the feather. SInce the rays are parallel to each other, this type of light only casts sharp shadows.
  • Parallel light – This is like a point light, but all of the rays point the same direction.
  • Ambient light is the only type of light that doesn’t cast shadows. It works well as a fill light.

Take AE Quiz

Homework (due Tuesday June 8):

  • Read Meyer, chapter 15 (lights). If you don't have the Meyer book, check out a few video tutorials, like these:
  • After reading chapters 13 & 14 of the Meyer book. (3D layers and Cameras):

    Create an entirely new 15 second (minimum) abstract graphic. (It doesn't have to serve any clear purpose, but should show depth and have some aspects of good design.) Create some of the major visual elements from within AE. It must have or contain:

    • A sense of depth
    • Good design
    • An animated 3D layer
    • A visual element whose appearance coincides with an audio element
    • A Ramp effect applied somewhere to make a gradient.
    • Turn in a square-pixel ProRes422, MP4, or H.264 version
    • Be sure to turn in a critique form that indicates where and how you used the effects.



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