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Guys.

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And welcome to come at us in the after effects city 2018.

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Cameras are very interesting and that will allow you to make some awesome animations but you have to

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be patient take it step by step.

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They're not very easy to animate so unique first to understand the whole system and then your animation

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will start taking shapes is not like position or rotation.

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You need to understand the 3-D and you need to understand how a camera moves in reality and in After

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Effects.

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If you want to follow along with me and I would appreciate that please open the file.

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3-D cameras dash start DOT EPA when you open this file you're supposed to be in the minimal workspace.

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If not come over and select your minimal workspace and then you can that in the minimal workspace.

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I would like you to put two views here.

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Two views horizontal and this view overheating.

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Click on it and you'll select custom view one we have seen all this in the previous section when you've

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been introduced to the 3D piece double click on intro to cameras positioned so we can see it in the

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active and because of you want let's start by creating a camera the color is it come out earlier.

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Of course you gets that I'm sure.

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To explain to you very clearly how to create a camera and all the presets and the parameters involved.

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First I would create a camera then edit this camera and show you how it works to create a new camera.

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You just right click in your timeline you go to new and you go to come out.

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Of course you can come to your layer can you and you have camera over here.

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I select this option.

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Now the camera settings has opened and I have the preset head of 50 millimeters.

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This is the default camera for after effects.

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I click OK to create this camera and then like you said I come back and edited to show you how the Palamedes

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will work.

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Now first of all it's not just what happened.

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There is a big gizmo here.

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This is your camera.

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It has what the camera is seeing for now.

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You notice this rectangle.

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It has it gone here.

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And the most simple about the cone is at the angle of view here just this angle and it has its axis

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and this molecule but it is the cummer.

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If you come to the cone you're not is a still active camera active coming ahead of you.

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Not just do you have coming I want since you have only one camera the Active Camera is coming on you

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can come in on is no difference.

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But if you have more than one camera you will need to set the right commander.

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Keep it to active committer for now to the camera settings you just double click on the camera at.

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Now there are two types of commands that do not come at camera.

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And the one not come into the camera has a point of interest.

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The one north camera does not have a point of interest.

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The one not coming out will prove to be very useful later on done or didn't exist says about it.

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Well you don't want to worry about the point of interest.

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So don't disregard one comment.

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I would go back to not come into you have here the pre-sets if you click you will have different default

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cameras here from 15 millimeters to 200 millimeters.

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I would stay on the 50 million into camera you have here the zoom that's the distance between the camera

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lens and all of your composition.

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If you are in units please go back to pixel just to see this figure you see is 12 18.

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So it's the distance between the camera lens and all of your composition.

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It is not the distance to your layer.

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OK I'll go back to many meters.

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It's easier.

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And then you have the angle of you this is how wide or narrow the camera is viewing your composition

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pretty easily and start changing the values and you have the focal length not just millimeters the focal

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length is equal to the set itself.

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Then you have the Enable depth of field.

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If you put it on you will have a depth of field depth of field to create some blurring.

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For example if I take it's on.

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OK.

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Notice how in the view here things are getting very blurred the further away layer is from the depth

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of field more it will blur.

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I would disable it just to start simply.

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Let's go now and select 15 millimeters come into swatches.

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First of all the zoom distance.

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Now this camera has a bigger angle of view and will see your composition from a bigger angle because

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the angle is bigger.

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Your layers had become smaller.

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The camera can see more and the focal length has become 50 millimeters.

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If you go for example for a 135 That is the angle of view has become very small.

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The camera can see a lot on the far distance not just the distance has increased.

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So the camera can see more on the further distance.

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The angle of view is very small.

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Of course the focal length has changed.

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If you go for example exaggerate to a hundred You're not just the camera now has become even longer.

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If you'd like to the angle of view become very small.

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It's 10 only.

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This is the angle of view here and the zoomed distance is 2500.

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So I would present certain benefits for your initial.

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I go back to 50 millimeters and you can come over and start playing with these values.

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For example you can increase the angle of view.

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Now you don't have a preset.

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It became custom can come and play with these values and set your camera the way you want.

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You have the film size.

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I like it very much like what is the size of your film.

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If you remember a long time ago they had rules so you can make the rule bigger if you like too.

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So it talks pretty fine guys.

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So let's go back to 50 millimeters and click OK so now you understood the concept of creating a camera.

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Usually I will use the 35 millimeters.

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That's good for me.

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You can use any one you want but if you're doing the same exact size please use the same camera and

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music you can change all these properties from the layer itself and you can keyframe them also.

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So any comment I create will be OK in the animation.

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You can change these values and work the way you like.

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I'll click OK and we have our first camera here 35 millimeters and in the next lecture will continue

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about commence.