SMOOTH CAMERA FLY

[John Spencer]

this might be of some help to you.

https://forums.creativecow.net/articles/rabinowitz_aharon/roving_keyframes/CC_Roving_Keyframes.mov

[Dan O’brien]

Here’s a couple tips…

1) make sure your camera’s keyframes are ‘easy eased’. This smooths out the speed/time between keyframes.

2) select your camera’s position/point of interest keyframes and right click… go to “keyframe interpolation” and make sure the spatial interpolation is set to “bezier”. This will give you handles to your camera’s path in the viewers. Sometime’s they’re hard to see, so take a close look if you can’t see them. With these handles, you can smooth out the path that the camera travels between keyframes. This mixed with the “easy ease” on your keyframes should give you smoother movements between keyframes.

3) If you don’t need to change the point of interest of you camera, turn it off by right-clicking on the camera layer and going to “transform > auto orient” and select “off”. This get’s rid of the camera’s point of interest property, which is one less thing you have to worry about.

[Rafa Calleja]

Cheers for the answer Dan, unfornately this is almost what i do, but imagine u have a big scene such as 9000×4000 inside a pal composition…and u have characters spread all over in diferent positions of z over the scene…and u want to pan and zoom to one off them, easing the entry and u want to stay a little bit of time focusing this character without stopping the cam (which moves a little bit but keeping the focus on this image) and afterwards move easy as well to another and another image inside the scene in what we could call “travelling”(“this moves and easy arravings and stayings” are the ones that i can

[Mike]

I find that for compositions like you’re describing it is very difficult to create the type of speed ramps that you’re talking about by simply keyframing AE’s camera on it’s own. What I’d recommend doing is creating a smooth camera move that covers all of the action that you need and then pre-comp your entire composition and use time remapping to take care of all the speed-ups and slow-downs. Treat it as if you were editing a real world shoot with an overcranked camera instead of trying to manually keyframe every change in velocity for the 3D camera because it will likely never give you perfectly smooth results. I find for large 3D scenes, time remapping creates very smooth ramps and gives me a much better feel overall. Good luck!