OK, so we got the feet.
Let's go in here.
We got the feet kind of pretty
solid as it walks through.
And again, that's
why we say we've
got to make sure the feet move
in even increments as they
slide backwards.
I'm going to page down and that
heel kind of locks down there.
The front toe stays
pretty locked.
There might be a
little slippage,
but the heel is going.
So there's some
variables involved,
how big you drew the feet,
how even they move back,
but you want to get it
as close as possible.
So once you get it there I'm
going to zoom out and just see
how it looks walking through.
And the feet aren't
sliding there.
OK, so once we have
that working well,
then we can set up
the next composition,
our final composition, and
bring these elements into it
and make them 3D.
And this is something new
that we haven't done yet
in After Effects, those
that have taken the class,
and build that
multi-plane effect.
So I'll turn my trees back on.
I don't need the wolf.
I don't need that part.
So what I'm going to do
is make a new composition
that's going to be the final
size of my exported movie,
my final movie.
So I'm going to go to
Composition, New Composition.
I'm going to call it-- this is
going to be my LP4, my name,
and it's going to
be a walk cycle.
And we do have to do this
three different ways.
We're going to have it walk
right through the scene,
we're going to have
the camera follow it,
and then we're going
to have it, one time,
walking without any
background so we just
can pay attention to the walk.
So about three different
ways of seeing this.
So this one I'm going
to call walk cycle pan.
So we're going to pan the
background along this first one
that I'm going to do.
So I have that.
I want to change
the width to 720,
and I'll make my height at 540.
And my frame rate
still going to be 12.
It's still going to
be 5 seconds long.
So those elements won't
change, just the end result,
my end movie size, is
going to be 720 by 540.
So I hit OK.
I've created this
new composition here.
And what I want to do is
copy and paste these elements
into this composition.
So I'm going to come
back to the background,
pan that we were
just working in.
Let's open this up a little
bit and see what we have here.
So what I want to bring in--
I don't need to bring
in the 720, 540.
I have that.
I do want to bring my trees.
I don't need to bring
this wolf sample.
I have the characters
scaled, and he's
walking across the screen,
my mid-ground, my mountains,
and my sky.
So I will select all these.
I'll hold the Shift
key, select them
all, then I hold my Control key
and I can deselect the wolf.
So I have the elements I need.
And when they're
selected, I'm going
to just do a Control-C or
Command-C to copy them.
And I could do Edit,
Copy up here also.
And you see it's, on the
Mac it's Command-C. On a PC
it's Control-C, a
Windows-based computer.
Come back over to
this new composition
I just made, select in
the layers area here.
Just click there once
and do a Command-V,
Control-V to paste them.
So we pasted all these elements
in here and our character
walks out of screen.
And this is where it gets fun.
We get to make these
elements 3D elements,
and we are going to have to
scale some things and move
things up, but what I'm doing
is opening up this window
here so I can see.
What I want to do is
make these elements 3D.
So I am going to click
on the 3D icon, which
is this little cube here.
And the [INAUDIBLE] 3D
layer allows this layer
to be manipulated
in three dimensions.
So underneath that cube that's
on the main heading here,
for each layer I'm going
to turn on that cube.
And the background layer, I
could or couldn't turn it on.
We'll leave it on and show
you what we do depending
on what you have there.
So we'll leave it on.
So they're all 3D,
and now what we
need to do is to set
them up in space.
And I'm going to look at this.
So I have this--
I'm in one view.
I'm going to zoom up
on this a little bit.
Maybe about there.
Move it over here for right now.
And I want to see another view.
So you guys are--
how many of you guys, a show of
hands, are working in the Intro
to 3D class?
So, right, it is it
that way with Joe?
You guys doing the
3D stuff there?
So you know you look
at multiple views,
right, so you can see your
objects in multiple angles?
Because now you're dealing
with not just a flat, 2D space.
You've got the 3D space
you have to deal with.
So with After Effects you can
look at some different views.
Real-estate wise, this is
about as much screen space,
I like just using two views.
So right now, by default,
we're in this one view.
So from the drop down
menu where it says 1 View,
I'm going to choose
2 Views Horizontal.
And I'm going to
bring this one over.
And whatever view
that I'm working in,
that is being
highlighted, it has
these little orange
triangles in the corners.
And that's telling me I'm
in the active camera view.
So this is what my camera
will see in the active camera.
If I come over to this view,
I have the little triangles
in the corner, it's telling
me it's the top view.
So now I'm looking
at this from above.
And what I want to
do is space out.
I want to push my
mountains way back in space
to give them distance and I'm
going to bring my trees forward
to give them a distance.
And I'll leave my
mid-ground and my character
right there in the center, but
by spreading these things apart
it's going to create that
illusion of depth in space.
So I'll start with the sky.
I'll click on the sky layer.
And one thing that
we're not seeing,
let me zoom out here and see,
there is a little widget here.
Let me pan over and zoom up.
If it wasn't normal-sized
3D, this background
is so long this little widget's
in the center of the background
and it's off screen.
But I could manipulate
it by touching it here.
What I'm going to
do is manipulate it
by using the controls
that come with here.
There's one other thing
I want to do first,
but I'm just letting you know
they are these little widget.
You have the Z,
the Y, and the X.
So we have three dimensions
that we're working with.
In 2D, you have X and Y. X is
side to side, Y is up and down.
Now that we're in 3D we have the
Z plane which comes towards us
or goes away from us.
So let's come back over to
this, see what we have going on.
What I do want to do first
is bring my camera in.
So I have my camera
set, so as I'm doing
this I'm doing it to my camera.
So to bring a 3D camera
into After Effects,
we go to Layer, New, Camera.
So Layer, New, Camera, and
you get this dialog box.
We're going to make
this, for this project,
a one-node camera.
You have a choice
for one or two node.
I think, by default, it
may come as two node.
So just change it
to a one-node it's
a little easier to work
with the first time you're
working with 3D.
And the preset will
set to 35 millimeter.
It's a decent size,
and a lot of old films
shot at 35 millimeter,
so that's good.
[INAUDIBLE] 35 millimeter there.
So those are two key things
when we set up our new camera,
that it's a one-node camera
with a preset to 35 millimeter.
Enable depth of field?
We'll leave that off for
now, but come-- maybe
come back later and look at it.
The depth of field is like
certain things are in focus.
Just certain things
are out of focus.
For right now I'm going
to leave that off,
and I'm just going to click OK.
Lock to Zoom I'll leave clicked.
The rest is default we don't
need to worry about right, now
so I'll hit OK.
So I put our camera
in, and our camera
is focusing right
in the center here.
And where the-- let
me zoom out so we
can kind of see our camera.
Here's my camera and
what it's seeing.
It's seeing the whole
edge of this page,
so this is what my camera
is seeing over here.
My active camera is
seeing this frame.
Just to see something, I'll
just-- if I zoom this up
and we'll take the Z-axis
and push the camera in
to see what it's doing
over in the right frame.
I pull it back, you
see what it's doing?
I'm going to do Control-Z,
Command-Z, bring it
back to where it was.
For right now I'm going to
keep my camera still there
and I'm going to move
my background elements.
So I like that my camera--
because I have my sky
highlighted, I put
the camera in here.
I like the camera to be
at the top of my layers,
so I'm just going to take this
and drag this up to the top.
The camera is there, and now
I want to push my sky back
in 3D space.
So I'll select it.
It's hard to tell but
it is selected here.
And then I'm going hit
the letter P to bring up
my position properties.
And it says position here.
And then I have the
X, Y, and Z positions.
So if I--
I'm pretty sure if I
go to the right here
it's going to push
it back in space.
And I'm visually able
to see this here,
so I'll bring this down.
And I'm going to
scrub these by getting
that double arrow, that little
pointer finger, and I click
and drag to the right.
And I'm bringing that
sky back in space.
And it doesn't matter that I'm
going off to the black there,
I just want to bring it
pretty far back in space.
Now if you look over
to the right here,
it did shrink it down because
it's that much further away
from the camera.
It doesn't have a lot of detail
on it, so what I'm going to do
is use my scale and blow it
up so it covers the frame.
So with that sky selected,
I'm going to hit S for scale,
and I'm going to
scale this upward.
And then I'll go back
to P for position,
and I'll move it over
this way a little bit just
to make sure I have enough
on the right-hand side.
I know I don't need
any more on the left,
so I'm going to move as
far as-- to the left.
I could scale just
a little more,
just make sure it
doesn't cheat out on me.
So something like that.
Pretty good, head back
to P, move it over.
So this is my background.
My sky is there.
That's good.
I have a lock icon here.
I can lock that layer so
I don't move it again.
Just for the time being,
I'm going to lock it.
I'm going to come
to my mountain,
and I want to push my mountain.
My mid-ground is
going to stay here.
My sky is pushed back, so
I want to push my mountains
back somewhere in here.
Hit P.
[INAUDIBLE]
Push that back in space, now
my mountains are going back.
And I could push them back
even a little further there.
And they shrunk also, so I
am going to scale them up.
I could grab it
here, bring it over.
I think I am going
to scale it, though,
because I want to make sure I
have enough at the other end.
And I may end up having to
scale it again once I come down
to the other end.
We'll see, but I'm going to
scale that up, move it over.
I can move it all
the way over to here
because I'll never see here.
I only want to make sure I have
enough going this direction
where its positioned in
here next to my character.
I can even make it
a little higher up.
So I have that
with the mountains,
and then my character
and my mid-ground,
they're going to stay
right where they are.
Yep, save early, save often.
I'm going to take
my trees and I'm
going to bring them forward.
Now I'm only seeing
one of the trees,
so I could scale them up.
Again, we can fix
things as we go,
but I'm going to hit
the P for this one tree.
P for position, and instead of
scrubbing this to the right,
I'm going to scrub
this to the left.
And it's going to bring
that tree towards me.
I could move it over here
so it doesn't start right
on my character, kind of move
it over to the side, here.
So I moved that 319.
I like even numbers, so I'm
going to do a minus 300,
actually.
Slight difference there.
So if I did that one minus
300, if I want the other one
to even be closer--
or not, I'm going to
look at the other tree.
Hit P for that one, and
I'll do a minus 350,
just see what that does.
And I won't be able to really
see too much now until I
do my camera move,
and I might have
to come back and fine
tune some of these,
but it's a good starting point.
So right now, if I pan across,
the guy walks off screen.
So what I want to do is have
my camera follow the character
as it walks through this scene.
So I want to set key
frames on my camera.
I like where I'm starting.
My character's a little bit
off to the left, not really
center screen.
I could have maybe keyed it over
to the right a little bit more.
So let's take a
look at my camera.
I want to choose
position on that.
And if I take my exposition,
which is right here,
I could move it this
way just a little bit.
My character's kind of,
in that rule of thirds,
kind of over to
the right of the--
left of the frame, excuse me.
I like where I'm starting there.
So that start position, I'm
going to hit my stopwatch
to initiate my first key frame.
So I have that.
Now I'm going to go to
the end of my composition.
So I hit the End button, or I'll
drag this timeline indicator
all the way to the end.
And I'm at the end
of the composition.
I don't see my character,
but I'm on my camera level.
I had set my first
key frame here.
So now, as I move my--
the exposition of
the camera-- so I
want my camera to just
move along the X-axis.
It's going to move
along to the right
to find my character again.
I'm going to scrub it
along the X-axis here
holding the Shift key.
And I'm going to
take this and I'm
going to move it,
move it, move it.
Oh, yeah, there's a
song like that, right?
So I find my character again
and I line him up here.
So I have him right
there, kind of where
he was where I started, about
the same point in the frame.
And now I can do a little
test to see what I have.
So what I'm going to do is do a
RAM preview to see what I have.
It's building it up, and here's
my character walking through.
And there's some depth going on.
Now let's see if we can see
the subtleties in the depth.
So he starts off here
and the kind of things
we want to look at, remember
we talked about where
this peak of this mountain is?
And see that little
crease in this bush?
And now we have this
double hump on these bushes
here, and where our tree is?
As we move through
this scene, you'll
see that they do
change positions.
Let's find something else.
So I have the peak
of this mountain
and this one lump of that bush.
So I step through it, there,
and it's pretty subtle.
It's not moving
that much different.
The trees are-- it has
kind of moved a little bit.
So what that's
telling me, maybe I
could push my
mountains back further.
Let me see, but I-- did I lose
my mountains anywhere in here
at the end?
My mountain level is here.
And I still have more space
on the mountains over here,
so I could push
those back further.
I think I may want
to try that, so
just to get more
depth in my mountains,
to see if I get a little more of
that parallax panning on there.
So I'm going to--
I was at 307, here.
I'm going to push them back.
Oh, I went past.
What happened there,
I went past the sky.
So that's not good.
I'll go back as far as the
sky, and then I'll take my sky
and I'll push that
back a little bit also.
Because I don't-- I want to
make sure I don't lose the sky
there.
So I come back to
the start frame,
see where the mountains are.
I'm still seeing
mountains, I'm not
seeing the edge of the
mountain screen, I don't think.
It's close.
It's right there, but
I'm not seeing the edge,
come back to K. The
mountain's way over there,
so I could come back to J, and I
could move these mountains over
to the--
this way a little bit.
So now I'll come back to 1 view,
zoom up on my guy a little bit,
and let's see what we have here.
So now that parallax is
a little more emphasized,
so let's take a look at it.
I step through.
Let's find something, a marking.
Let's see, we get these
two humps on and over.
That's a good marking here.
They kind of go there.
OK, so now we have this little
hump here on the bushes,
and the peak of the mountain are
pretty lined up with each other
as I step through.
You see that this one is moving
faster in the foreground,
and the background
is moving slower
because it's further
away from us.
Again, it's subtle,
so that's kind
of where you want to
just work your distances
and pull-- you know, see
what you have to do there.
It takes a little
bit of working it,
but it is worth it at the end.
You get that feel, and the
tree moves a lot faster.
So the tree is there,
covers through it.
So things in the foreground
definitely move faster
than things in the background.
