Motion Control 3D: Creating Movement within Photos with After Effects CS3

Transcription

1 Motion Control 3D: Creating Movement within Photos with After Effects CS3 Richard Harrington - RHED Pixel

2 Purpose

3 Purpose Learn how to layer mask and organize a Photoshop file to prepare it for animation

4 Purpose Learn how to layer mask and organize a Photoshop file to prepare it for animation Understand how 3D cameras work

5 Purpose Learn how to layer mask and organize a Photoshop file to prepare it for animation Understand how 3D cameras work Animate cameras to create motion within a photo using parallax

6 Purpose Learn how to layer mask and organize a Photoshop file to prepare it for animation Understand how 3D cameras work Animate cameras to create motion within a photo using parallax Harness the power of Vanishing Point Exchange feature

7 About Rich

8 About Rich Richard Harrington, PMP - RHED Pixel ( - Adobe Certified Expert & Trainer - Apple Certified Trainer - Avid Certified Instructor & Master Editor - Project Management Professional - Teach courses on digital media production and web content creation

9 Available from Focal Press

10 Available from Peachpit Press

11 Available from VASST

12

13 About You

14 About You Worked with After Effects

15 About You Worked with After Effects 1 year or less?

16 About You Worked with After Effects 1 year or less? 2-3 years?

17 About You Worked with After Effects 1 year or less? 2-3 years? 3-5 years?

18 About You Worked with After Effects 1 year or less? 2-3 years? 3-5 years? 5 or more years?

19 Agenda

20 Agenda

21 Agenda Resolution and Image Selection

22 Agenda Resolution and Image Selection Layer Masking

23 Agenda Resolution and Image Selection Layer Masking Design Approach

24 Agenda Resolution and Image Selection Layer Masking Design Approach Organizing the Comp

25 Agenda Resolution and Image Selection Layer Masking Design Approach Organizing the Comp Adding Cameras

26 Agenda Resolution and Image Selection Layer Masking Design Approach Organizing the Comp Adding Cameras Vanishing Point

27 Agenda Resolution and Image Selection Layer Masking Design Approach Organizing the Comp Adding Cameras Vanishing Point Advanced Techniques

28 Agenda Resolution and Image Selection Layer Masking Design Approach Organizing the Comp Adding Cameras Vanishing Point Advanced Techniques Q & A

29 Essential Skills

30 Essential Skills

31 Essential Skills 1. Photo Restoration

32 Essential Skills 1. Photo Restoration 2. Color Correction

33 Essential Skills 1. Photo Restoration 2. Color Correction 3. Advanced Selections

34 Essential Skills 1. Photo Restoration 2. Color Correction 3. Advanced Selections 4. Layer Masking

35 Essential Skills 1. Photo Restoration 2. Color Correction 3. Advanced Selections 4. Layer Masking 5. Cloning and Healing

36 Essential Skills

37 Essential Skills 6. Pattern Making

38 Essential Skills 6. Pattern Making 7. Organizing & Importing Layered Comps

39 Essential Skills 6. Pattern Making 7. Organizing & Importing Layered Comps 8. Using 3D Cameras

40 Essential Skills 6. Pattern Making 7. Organizing & Importing Layered Comps 8. Using 3D Cameras 9. Understanding 3D Space

41 Essential Skills 6. Pattern Making 7. Organizing & Importing Layered Comps 8. Using 3D Cameras 9. Understanding 3D Space 10.Cinematography

42 Resolution and Image Selection

43 Selecting Images

44 Selecting Images Not every photo is ready for movement or the television screen.

45 Selecting Images Not every photo is ready for movement or the television screen. In some cases, you won t have a choice as to whether an image should be used.

46 Selecting Images Not every photo is ready for movement or the television screen. In some cases, you won t have a choice as to whether an image should be used. You ll need to prep whatever photos they want to use.

47 Selecting Images Not every photo is ready for movement or the television screen. In some cases, you won t have a choice as to whether an image should be used. You ll need to prep whatever photos they want to use. You were hired you because of your good judgment, sophisticated taste, and artistic abilities, you should have some input.

48 Selecting Images

49 Selecting Images Out-of-focus pictures lower the quality of the production.

50 Selecting Images Out-of-focus pictures lower the quality of the production. If the photos are cropped too tightly or lack headroom, you ll need to add some back in.

51 Selecting Images Out-of-focus pictures lower the quality of the production. If the photos are cropped too tightly or lack headroom, you ll need to add some back in. Look for photos that have a sense of action. Is there captured movement within the shot? If so go with it.

52 Selecting Images

53 Selecting Images Be sure to identify a minimum of two planes. The best Motion Control however will use three planes: foreground, subject, and background.

54 Selecting Images Be sure to identify a minimum of two planes. The best Motion Control however will use three planes: foreground, subject, and background. When prepping digital files, ensure that they are high resolution.

55 Selecting Images Be sure to identify a minimum of two planes. The best Motion Control however will use three planes: foreground, subject, and background. When prepping digital files, ensure that they are high resolution. Screen width and multiply it by your zoom ratio. This will give you a total pixel width minimum.

56 Planning the Move

57 Planning the Move

58 Planning the Move Block out your moves before After Effects.

59 Planning the Move Block out your moves before After Effects. Create a staging diagram.

60 Planning the Move Block out your moves before After Effects. Create a staging diagram. Determine how much separation between your foreground, subject, and background.

61 Planning the Move Block out your moves before After Effects. Create a staging diagram. Determine how much separation between your foreground, subject, and background. The more distance the better depth of field and ability to harness parallax to create a sense of movement.

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63

64 Planning the Move

65 Planning the Move Parallax is the concept of apparent motion of a nearby object against a distant background.

66 Planning the Move Parallax is the concept of apparent motion of a nearby object against a distant background. By increasing the distance between subject and background, then moving the 3D camera, you get a greater sense of photorealistic motion.

67 Layer Masking

68 Filling in Holes

69 Filling in Holes Clone Stamp Healing Brush Vanishing Point Pattern Maker

70 Organizing the Comp

71 Organizing the Comp 1. Properly organize your layers in Photoshop. Every layer needs a unique and descriptive name that clearly identifies the layer. 2. Check that the width or height of the image does not exceed 4000 pixels. Unless you really need that much of a zoom, going bigger can really bog things down when RAM previewing camera moves.

72 Organizing the Comp 3. Reduce the number of layers to only the essentials. 4. Leave a copy of the background layer on top of your layer stack. This should contain no masks and it will be used to check composition later.

73 Build the Comp

74 Build the Comp When you import your layered file, be sure the layers stack up like this: Full Composite Image Foreground (with imported layer mask applied) Subject (with imported layer mask applied) Background

75 Adding Cameras

76 Vanishing Point Exchange

77 Vanishing Point Exchange

78 Vanishing Point Exchange Requires Photoshop CS3 Extended

79 Vanishing Point Exchange Requires Photoshop CS3 Extended Requires After Effects CS3

80 Vanishing Point Exchange Requires Photoshop CS3 Extended Requires After Effects CS3 Does not work for all photos

81 Advancing the Technique

82 Advancing the Technique

83 Advancing the Technique Mixing in Video

84 Advancing the Technique Mixing in Video Using Lights

85 Advancing the Technique Mixing in Video Using Lights Using Particles

86 Questions & Answers

87 Resources

88 Resources

89 Available from Focal Press

90 Available from Peachpit Press

91 Available from VASST

92 Available from Kelby Training

93 Podcasts itunes & AMP Understanding Adobe Photoshop Digital Imaging Essentials Photoshop for Video Essentials for Digital Video Final Cut Help Training for Apple s Final Cut Studio Producing Video Podcasts The Podcast for Video Podcasters

94 Podcasts itunes & AMP Understanding Adobe Photoshop Digital Imaging Essentials Photoshop for Video Essentials for Digital Video Final Cut Help Training for Apple s Final Cut Studio Producing Video Podcasts The Podcast for Video Podcasters

95 Podcasts itunes & AMP Understanding Adobe Photoshop Digital Imaging Essentials Photoshop for Video Essentials for Digital Video Final Cut Help Training for Apple s Final Cut Studio Producing Video Podcasts The Podcast for Video Podcasters

96 Podcasts itunes & AMP Understanding Adobe Photoshop Digital Imaging Essentials Photoshop for Video Essentials for Digital Video Final Cut Help Training for Apple s Final Cut Studio Producing Video Podcasts The Podcast for Video Podcasters

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98 Motion Control 3D: Creating Movement within Photos with After Effects CS3 Richard Harrington - RHED Pixel