Working with 3D Footage

 

Adobe® After Effects® Creative Cloud® Starter Kit

 

Lesson Info

Working with 3D Footage

We're going to break away from our traditional animation stuff that we've been working on today. I think people's heads air, probably ready to explode, so we're going to get into a few specialty things, and the first of three is three d and I know that it's kind of gimmicky it's kind of fun, especially on the consumer level here. Gopro has a new mount for two gopro hero three plus cameras that you can use, and I'm just going to show this to you here real quick. How this works is it's a special mount special housing and a backpack for zoom in on those so it's basically it's two hero threes that air inverted ones inverted over the other and it's got this special connection here that just links them together plugs right hands really easy to use links them together, and so what it does is it knows then this is the master and this is the slave, so it knows that when you turn this one on me, turn it on that it's going to see that they're connected and has this little tiny three d thin here. ...

I don't know if you zoom in that much, but it's got a little three d indicator here so that it knows that if I pushed the trigger on one, then it's going to trigger both of them together and of course hand hold them like this is going to be horrible, horrible footage to get back in fact actually, I'm recording right now that'll be really wow well, mickey, so you don't want to do that, but what I did do is I foam taped these together and stuck them on a phantom and I'll show you the results here it was pretty pretty crazy uh, so I'm turning them off right now put them back in the case and this is what holds them together is putting them in the case like this in that aligns them I'm perfectly and all of your buttons are accessible through here. Another thing too, is this is a waterproof case so you can go underwater with this. I've just got it on a on a base plate here so it stands up nice, but it goes on any of the gopro mounts and he I've shot going down the street with it in my truck. I've got a lot of different footage here. I may have some examples here if we get to it tio look at that, but it does stereoscopic three d so does stereo pairs and typically you're going to go through either their app or something to try to get him tio align and connect um I'm not a real big fan of the gopro app myself, but some people are and they're really proficient at it and it's great because I'm so comfortable with the adobe tools it's just so easy to just drag in both files and throw him in a cop and then and then click one button and you've got three d so I'm going to show you that process and it's both was still images and with video I went out tio over over by the science center there were the space needle is last night I just walked around over there I took some photos with the twelve megapixel photos with this set up took a little bit of video I also took some video with my iphone, which is there it's actually in a heavy duty bounce proof case I'm always I always have this thing with me this is my portable camera my you know, video camera might still camera is always with me and that's a case with a lot of people they shoot with what they've got and same thing with the with the ipad, this is a little more you know you've got a plan ahead to have this I don't keep this in the pocket, but I could probably, but having the ipad as as a video camera is great because you've got, you know, a couple handles and a big viewer on it that works out good to so anyway, let me show you uh just a few clips here that I started to assemble we get that warning justcause I'm running the latest build of uh after effects on here so I get that in here so what I've got is I brought these in and let me, um let me just make a new cop here as we've been doing I'll just start with the new cop just so I don't get a mixed up with some of the old cops newcombe and I'm going to bring in a couple of images here let's see which one I've got that I can utilize pretty well here let's use this one this one's kind of meat so I'm going this is my left camera I already organized he's already imported him and organize them so we don't have to sit through that left and then write the matching segment and there it doesn't matter which ones on top or which ones on bottom so there's left and right and obviously the camera wasn't held straight up and down. I'm actually pointing up in this guy a little bit with it so first I'm going to do is select both of these because there they're larger than my window here um I could actually make a cop that size two that's probably what I would do in most cases but right now I just got a video rest so going to go to scale and then bring him down a little bit so I can see the whole whole frame. Um, get if you want all of the resolution, you make a calm from the source file itself, so you maintain all of that resolution? Um, instead of doing what I just did here, so ah, but I did to this is really, really easy. Let me go over here to my effects and presets actually move this up so I can see and I'm going to go in here and just type in three d glasses. There we go. And there it is, here's this cool, cool little plug in, I just drag it over or double click it and added to whichever layer I've got open and you'll see why it doesn't matter where these layers are or which one I apply it to, because it's just asking for which one is going to be designated right view, and which one's going to be left of you in the plug in itself. So my left view, I'm going to pick the one that has an l in it for left, and I'm going to pick the one that has an r in the name for right that's, the way they get spit out of the camera, um, and then by default it does this side by side view here now in some cases you may want that side by side view if you have if it's going to go out and be output in a fashion that has to be put out that way if you need if you've got parallel view or cross view you can swap him so it's really easy to swap I mean and I'm done I could just you know, render that out and I'm done that's it um from one believing as they are, but I want to use thes red and blue glasses then I just click on this here and ago balance color red and blue and there I'm done so I could make some adjustments to this if you have these home put him on you can see what we're seeing there quite fashionable these the ones that gopro gives you with it with the the thing jim's got my cool nineteen fifties retro style which kind of looks good on you, man yeah that's great yeah, you're welcome operas but effect works and I'm sorry I didn't have enough to bring to the studio audience. Andi, I apologize for that, but you need these even if you're going to send out cross view or whatever it's good to have these you can see an instant reference is to your line mint thiss particular camera I'm going to experiment with stopping the cameras because it might be the way the lenses adjusted or the sensor inside however seems like it's just off just a little bit um that may have been I may have been off a little bit the way he's holding it or whatever but you can change some of this the convergence is the is the amount that is between the two eyes you can adjust that you can bring that convergence around why want to focus on the space needle there so I'm going to pull that out lips I went way the wrong direction could go back to zero okay, so I need to tweak that just a little bit actually going zoom in a little bit so I can see what I'm working on it now I also see that I'm off with my vertical adjustment so I'm going to try to line that just a little bit so what you want to do is your main focal point you want to get that kind of liken across here is you want to get them perfectly line both vertically and horizontally so that looks good there see if I need to tweak that looks pretty darn good that space needle there so now I've got a fairly balanced um screen so let's let's look at that just by itself and again if you're at home and you have the three d glasses you should be able to see that it looks pretty darn good so what I could do at this point is take off my glasses because wow, my eyes if you have to work on stuff like that for a long time and it gets to you but the only way to really to and those in so now if I wanted to go back to, uh a side by side pair all of my alignment and everything is perfected at this point so I was able to go to the red and blue and get that all lined up all my convergence and everything on now I could go back out on my stereo pair and I know that it's going to be really, really, really good. So that's that's just one quick way of doing this now I've got a couple that I've already done here with the video so let's see, do I have that one already affected? Yes I do so may turn that on we go the effects right there so there's one that I've already done it's another still image that I did and you can see on this one may come out here I wouldn't see the hole screen you can see that I've got some lens flares right here but since they were on the surface of the lands of the camera they were in the foreground there right up close to the the image plane so you're seeing this window here and the space needle sticking out away from the window but these lens flares are on there it's actually kind of a cool effect but we've also got some issues out here on the edge because I've moved one one side over to the other actually I probably need to move that back I got to move it mohr actually get there there we go there were now it's more centered so I had the center of the space needle off a little bit there so that's another example um this one was a little harder and again because we're dealing with the red and blue channel um let me go ahead and you want to grab these guys could see a couple of these because these I've already I've already said so this way a studio audience could see a little bit too since we're dealing with messing with red and blue it's going to change the color a bit and yeah go ahead and show that ceo so but it's yeah here let me turn on this one here look at that one that one's that was pretty cool so the problem with having the red and blue um what's wrong wrong button here we go come on there you go. Look at that guys uh if you have a lot of red and blue in your in your project in your image it's going to kind of squash that a bit so you may want to go to you know grayscale imogene or whatever and have black and white like the old fifties movies but this still does for just really simple process you saw I just applied one effect tweaked the convergence a little bit and I'm done and that works on both stills and video at the same time this one I haven't done yet let's go ahead and do it see what it looks like um and we'll go to this we'll go to see that's left and right there we go this one's a little wonky I think we go to here yeah I can see right here and sometimes you can just zoom in you can see how far you're off by looking here so I got a tweet that into position if I want the space needle to be correct and I just got to make that my convergence point and then my foreground is going to be you much more intense it's gonna be right out in front of me that way so it just depends if I want to focus more on this whale tail well then I'll change my convergence so that see if I can pull that in this guy go that way I think somewhere in there I don't have my glasses on but I can see kind of where the red and blue go um and again I tze the image this one I had video I did I already stabilized at what I had done um see if I've got them there no that's there so what I had done me hide after effects here a little bit if I've got shaky footage and then I want to stabilize it but I did it in three d I can't do each left and right together there and then bring them together have to do this first and then stabilizer we're going to get into stabilizing here in a few minutes so I had tio had to do that so what I did was I first rendered this ok guess can go ahead where the glasses so you can see this stuff I've seen it already. All right so here's unstable ized handheld footage with this camera is just holding this camera with my hands and panning up the space needle is right underneath it so yeah, the convergence was a little bit more set to the foreground you have got some edge issues here but I did that all it full resolution cause I knew I was going to crop it a little bit when I went to stabilize it later so that is um it's not slowed down I mean that's actual speed of the footage just panning up you see it's a little bit wonky because it looks like it's handheld okay so now I brought that back in and I stabilized it again in the work stabilizer in after facts and just show you here in a second and go full screen and this is it stabilized so it looks a little more like it was on a tripod and I'm just tilting the tripod up as a much smoother effect it really, really works getting is a little bit of distortion on the outside but it's ok because he's a really wide angle lenses and they're going to distort is you're moving them anyway um but that's how I stabilized three d footage is I convert him first they're usually really big so I shoot two point seven k thirty frames per second with the go pros and then I it gives me a chance to be able to crop and do things in ten adp that way it's really nice so whether doing stills or video with one of these things, this is great if you've got another camera that shoots three d video or three d stills, all you have to do is bring it into after effects and a couple clicks and you're done so that's a really fun thing to do so um this is a fun too and I'm not sure how much these go for but it does you do have to have to go pros any s o yeah you don't want to leave that on the bus

Class Description


Adobe® After Effects® is not only the broadcast industry’s motion graphics and animation standard, but it’s now more accessible than ever as part of your Creative Cloud® membership. In this intensive 6-hour course, renowned author, video producer, and Adobe Community Professional Jeff Foster will show you how to use the many functions of Adobe® After Effects®  to enhance your projects with animated titling and 3D motion graphics.

You’ll learn how simple it is to:

  • Create motion from your Adobe® Illustrator® and Adobe® Photoshop® files
  • Animate title text and designs in 3D space

While Adobe® After Effects® can be intimidating at first glance, Jeff will teach you just what you need to get started in this amazing program without overwhelming you.


Software Used: Adobe After Effects CC 2014

Reviews

Brandon D
 

Excellent class! Makes After Effects much less daunting to tackle and explains it in clear way. The bright purple background was distracting and annoying though.

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