The active camera is the topmost camera in the Timeline panel at the current time for which the Video switch is selected.
The active camera view is the point of view used for creating final output and nesting compositions. If you have not created a custom camera, then the active camera is the same as the default composition view. All cameras are listed in the 3D View menu at the bottom of the Composition panel, where you can access them at any time. By default, new layers begin at the beginning of the composition duration.
By default, the Preview option in the Camera Settings dialog box is selected. This option shows the changes in the composition as you make them in the Camera Settings dialog box.
Select Preview in the 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, aperture, and focus distance.
Shallow small depth of field is a result of long focal length, short focus distance, and a larger aperture smaller F-stop. 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. A one-node camera orients around itself, whereas a two-node camera has a point of interest and orients around that point. See Auto-Orientation options.
The name of the camera. By default, Camera 1 is the name of first camera that you create in a composition, and all subsequent cameras are numbered in ascending order. Choose distinctive names for multiple cameras to make it easier to distinguish them. The type of camera settings you 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. The default preset is 50mm. You can also create a custom camera by specifying new values for any of the settings. 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, and so on. Angle Of View. The width of the scene captured in the image. A wider angle of view creates the same result as a wide-angle lens. Depth Of Field. Using these variables, you can manipulate the depth of field to create more realistic camera-focusing effects. The depth of field is the distance range within which the image is in focus.
Images outside the distance range are blurred. Focus Distance. To lock the focal plane to the camera's point of interest so that the point of interest is in focus, add this expression to the Focus Distance property: length position, pointOfInterest.
Lock To Zoom. If you 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 need to change the values and want the values to remain locked, then use the Camera Settings dialog box instead of the Timeline panel.
See Expression basics. The size of the lens opening. The Aperture setting also affects the depth of field—increasing the aperture increases the depth of field blur. When you modify Aperture, the values for F-Stop change to match it. In a real camera, increasing the aperture also allows in more light, which affects exposure. Like most 3D compositing and animation applications, After Effects ignores this result of the change in aperture values.
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-stop units. When you modify F-Stop, Aperture changes to match it.
The amount of depth-of-field blur in an image. Lower values reduce the blur. The size of the exposed area of film, which is directly related to the composition size. When you modify Film Size, the Zoom value changes to match the perspective of a real camera. Focal Length. The distance from the film plane to the camera lens. In After Effects, the position of the camera represents the center of the lens.
When you modify Focal Length, the Zoom value changes to match the perspective of a real camera. Measure Film Size. After Effects has camera commands that can be used separately or with the Create Stereo 3D Rig function. Link Focus Distance to Point of Interest. Link Focus Distance to Layer. This method allows the focus to follow the other layer automatically. Set Focus Distance to Layer. Sets the value of the Focus Distance property at the current time to the distance at the current time between the camera and the selected layer.
For a video tutorial that shows how to create and modify a camera and use the Camera tools, see the Adobe website. Dale Bradshaw provides a script and sample project for automating the rigging of a camera on the Creative Workflow Hacks 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.
Andrew Kramer provides a two-part 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 light transmission properties.
Each light, by default, points to its point of interest. Lights can be used to illuminate 3D layers and to cast shadows. You can use lights to match lighting conditions of the scene into which you are compositing or to create more interesting visual results. For example, you can use light layers to create the appearance of light streaming through a video layer as if it were made of stained glass. You can animate all the settings for a light, except for the light type and the Casts Shadows property.
You can specify which 3D layers a light affects by designating the light as an adjustment layer: place the light in the Timeline panel above the layers on which you want it to shine.
Layers that are above a light adjustment layer in the layer stacking order in the Timeline panel do not receive the light, regardless of the positions of the layers in the Composition panel.
The light you create includes name of the type of light. For example, if you add a spot light, it is named 'Spot Light 1. If you change the light type, the name of the light type automatically changes. The light name changes if if the name is not modified and only when the light type is not changed in the Timeline panel. For example, if you change 'Spot Light 1" to a point light, After Effects automatically renames the light to 'Point Light 1.
Select Preview in the Light Settings dialog box to show results in the Composition panel as you modify settings in the dialog box. Parallel emits directional, unconstrained light from an infinitely distant source, approximating the light from a source like the Sun. Spot emits light from a source constrained by a cone, like a flashlight or a spotlight used in stage productions. Point emits unconstrained omnidirectional light, like the rays from a bare light bulb. Ambient creates light that has no source but rather contributes to the overall brightness of a scene and casts no shadows.
Because the position in space of an Ambient light does not affect its influence on other layers, an Ambient light does not have an icon in the Composition panel. The brightness of the light. Negative values create nonlight. Nonlight subtracts color 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. 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 only if Spot is selected for Light Type. The cone angle of a Spot light is indicated by the shape of the light icon in the Composition panel. In After Effects CS6 or later, a selected spot light's cone can be extended to the point of interest.
Cone Feather. The edge softness of a spotlight. The type of falloff for a parallel, spot, or point light. For details, tutorials, and resources about light falloff, see this article on the Adobe website.
Indicates a smooth linear falloff starting at the Falloff Start radius and extending the length specified by Falloff Distance. Inverse Square Clamped. What I am trying to do is, to move the camera.
For a better workflow I want to parent the camera's position to the position of a Null-Object, also at [0,0,0]. The thing is the camera has to keep its offset from [0,0,0] and just move parallel with the null at [0,0,0]. To drive an animation by another layer use the pick whip or the selection list to parent it. In the following example the Camera layer adopts all animation properties of the Null.
Note: Camera is a 3d layer in your case, make sure 3d layer toggle is enabled for the Null too. Sign up to join this community. The best answers are voted up and rise to the top. Stack Overflow for Teams — Collaborate and share knowledge with a private group. Create a free Team What is Teams? Learn more. Asked 6 years, 9 months ago. Active 6 years, 9 months ago.
Viewed 7k times. I am just struggling with a simple expression thing I guess. These are the buttons next to the Analyze Forward and Backward buttons. This will be a tedious process but will result in a perfect tracked object. If you realize you need to adjust your tracking later on in your editing process, simply go back to your footage layer, select which track point you need to adjust, either in the Layers tab or Tracker tab, and make any adjustments needed.
Once you hit apply in the Tracker tab, it will update your project. The last step is to attach this Null Object layer to the Name layer to which you want to apply the tracked motion. Here are a few definitions that will be helpful in explaining how this works. Repeat all these steps for the various layers in the example project to achieve the look we did in the tutorial video. Depending on the points you choose, you may need to do a combination of auto-tracking, manual tracking, and various adjustments to get it to look just right.
Another amazing way to use the tracking functionality in After Effects is to stabilize shaky footage. This comes in handy whenever you need your shot to look super smooth as opposed to shaky or handheld. This will provide better tracking data. One point represents the position, and the other the rotation.
Once in place, click Analyze Track Forward and hit apply. At this point, when you play your clip back, your scene will be stationary, and the edges of the frame will be moving to compensate for stabilized motion. This will reveal black edges around your footage. To fix this, adjust the position and scale of that layer until those edges no longer appear in the frame. When you play it now, the footage will appear completely stable.
Our last example comes in handy whenever you need to replace the contents of a screen on a mobile device, computer, TV, or a similar application. After Effects can compensate for any shakes, rotation, or changes in the footage, so this technique will work for just about any clips where you need to replace a screen. Learning to harness the power of motion tracking is an amazing tool to add to your video editing arsenal. Be sure to subscribe to the SproutVideo Newsletter to get the next episode of our After Effects tutorial series in your inbox.
And, let us know what questions you have about video editing in the comments below. What is a Null Object A null object is an invisible layer that can hold any information you want. From here, follow the steps below to track a specific point. Click the Track Motion button in the Tracker tab. For this example make sure only the Position checkbox is selected, not rotation or scale. Click Edit Target, and select the Null Object we created in the earlier steps. This tells After Effects we want the motion were tracking applied to the null object.
Adjust your play head to where you want the tracking to begin. Zoom in if needed and move Tracking Point 1 to a desirable tracking location.
0コメント