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Camera / Null Object - Workflow for Multiple Movements

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Sam Miles
Camera / Null Object - Workflow for Multiple Movements
on Jan 9, 2018 at 11:33:13 am

Hey guys,

I am making a 2 minute long explainer video in after effects with the odd camera zoom or movement here and there.

The main thing I cant seem to figure out is should i just use one camera over the whole composition or should I use multiple cameras at different sections where I require a little bit of movement.

for example I want a zoom at 0:15 secs and then I want another zoom/ postion change at 1:30
should I just have one camera layer or two for this example?


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Stephen Smith
Re: Camera / Null Object - Workflow for Multiple Movements
on Jan 9, 2018 at 3:25:17 pm

I like to do a camera with multiple Null Objects as you mentioned. That being said, for me projects get too big at 2 minutes and I like to break sections into pre-comps. So each pre-comp has its own camera move and then all the pre-comps are lined up in the final comp. The final comp doesn't have anything in it except all of the pre-comps. I hope that made some senses.

For example, this is about 5 pre-comps glued together. The whole thing could have been 1 comp but it had a LOT of layers and that helped simplify things. Plus, once the camera gets really far away from where it started that confuses things as well: Environment Explainer Video

Hope this helps and best of luck.

Stephen Smith

Utah Video Productions

Check out my Vimeo page


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Sam Miles
Re: Camera / Null Object - Workflow for Multiple Movements
on Jan 9, 2018 at 3:46:29 pm

Hey!

Thanks for the reply, yeah I agree if the camera is far from its original starting point it can get very confusing.

I like the idea of precomps but I cant seem to see where you stitched them together? Did you copy and paste some of the files from the end of one comp and put them at the start of the next precomp?

sorry man this would probably be easier in person ha.


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Stephen Smith
Re: Camera / Null Object - Workflow for Multiple Movements
on Jan 10, 2018 at 3:23:48 pm

Thanks for the compliment on the transitions being seamless. The obvious one is when the camera goes into the train windshield. When we go from 300 miles to the car driving that is another one. I overlapped the pre-comps in the main comp so the bottom pre-comp does a camera move to the right and rotates. It ends up on nothing except the background blue. While the pre-comp on top of that one does a camera move and rotation as well. It starts on nothing and then lands on its final resting place. Once the camera stops moving the blue background appears and the overlap of the pre-comps ends. Typically I can always find breaks like the windshield that are much easier to do. Hope this helps.

Stephen Smith

Utah Video Productions

Check out my Vimeo page


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