Stills based AE project

[Jack Hilkewich]

I know that you can import camera data from Maya into After Effects, I am not sure about 3DS. If you can, I would try and set it up in Max and use locators(nulls) whatever max uses as place markers for the pictures and then bring the camera data into AE and replace the layers with the photos you need.

[Jeff Dobrow]

Unofrtunately it is not that simple with MAX,…the whole coordinate system is different, from the simple fact that the MAX universe is at 0,0,0 and the AE universe centers at 360,243,0 (technically at compX/2,compY/2,0) to the more complex issue that Y and Z are flipped……. So null locators do not work,…and cam data is off automatically by the above mentioned universal offset……makes for no fun.
MAX2AE (www.boomerlabs.com) is a product that does seemless MAX object/camera/light translation into AE……

[Queenkellee]

1. FYI if your using ae 6.5, the cubic distributor lite plugin (3d party, included on the install disk to install seperately) helps you to quickly place your image layers in 3D space.

2. you can draw a mask path for your camera and copy the mask points as keyframes for the camera path.

make a solid the size of the your complete 3D area, make it a 3D layer and rotate x -90 deg. move the layer up and down to get the general Y axis placement you want of your camera. go to top view and zoom close enough to see just the immediate area, close enough to see what you are doing. draw a mask path on your solid layer. hold down the space bar to get the “hand” to move around while still closely zoomed in. after you draw your path on teh solid, go to the beginning of the comp and select Mask Shape and then control/command C to copy. go to your camera and set a keyframe for position. select the keyframe and hit control/command V to paste and you’ll see a bunch of keyframes. the middle ones are roving (which gives you the smoothest animation) so just drag the last keyframe out to get your timing right. then you can edit any Y axis values individually to give you different angles.

I found two handy tutorials here in the AE tutorials section (they are video tutorials with handy “recipe cards”) by Rick Gerard:
“Animating the Camera: Mastering After Effects 5 Minute Tips and Tricks” and
“Expressing the Camera: Mastering After Effects 5 Minute Tips and Tricks”

3. also: another handy tip is to use the view view all layers or view view selected layers. you can also create your own custom views to replace the custom views 1-3. do this also under the view menu.

[Syed Iqbal]

Thanks to both of you my friends. Just forget about the camera import into AE and let me know if you could advise me how still images can be used to create a good motion graphic. What I need are some very rough ideas to work on and this help will be much appreciated.

Kind regards
TweenGuy

[Thomas Leong]

Here’s my two cents –

It is basically a slide show, but think audio AND visual, not just visual. With the visuals, being stills, you can only do so much. Some examples:

– a sequence of stills can be broken up into 4 – 6 non-equal portions with 10-20 pixels of overlap in Photoshop, then manouever the pieces to form the whole in AE using 3D moves, substituting/dissolving the original whole into place at the last moment.
– pan and scan and rotate others
– variations of Card Wipe and other transitions, soft-edged or hard-edged.
– etc., etc., etc.

If the script/storyline can be segmented into groups, then you would use one type of effect/transition per segmented group to give it an organised look. The amateur would use all effects one after another without regard. The pro would organise and plan use of effects/transitions where necessary.

Remember a cut is also an effect. So is a dissolve. I know in film noir, a cut is to signify the same instance in time, and a dissolve a displacement/transition in time. But with stills, almost all stills are generally non-related in time (unless it is a sequence of animated stills), so dissolves and cuts are generally used almost exclusively to vary the pace of the show by reflecting the pace of the music and stir the emotions of the audience.

Long slow dissolves of 4 – 8 seconds duration are not uncommon. The outgoing still pix lingers and its luminance mixes with the incoming still, sometimes creating a beautiful holding transition that stirs the emotions. A bit tough with digital dissolves, but with voltage variations of slide projector lamps, this was something we lost going digital. I think some software use what is called an “additive dissolve” to simulate the same reaction of the two lamps. You could try the same playing with the Opacity ramp in AE…if you have the time and patience!

In some cases, don’t be afraid to hold the still for more than a second or two so that the audience can appreciate the beauty of that “captured moment in time”. When you view the sequence, you will instinctively know whether it is time to change picture or hold for a fraction longer. In this respect, the pace and beat of the music is important. So think AUDIO as well. It is half of the word “audiovisual”.

Generally, with audio, you are basically saying to the audience: “There is no voiceover here to tell the story, so the music is part of the story. Sit back and pay attention to this visualisation of the music.”

As for motion graphics, I’d advise that you put the storyboard/storyline sequences together first with all the stills, and sync that with the pacing of the music. Then as you review the sequences, you would be able to ‘see’ where sequences/introduction to sequences/end of sequences/transition between sequences can be improved with a motion graphic or two – lines, grids, starglows, text titles. etc.

Thomas Leong

[Syed Iqbal]

Thank you very much all of you. You guys are great.

[Syed Iqbal]

Thank you very much all of you. You guys are great.