Guys.
And welcome to come at us in the after effects city 2018.
Cameras are very interesting and that will allow you to make some awesome animations but you have to
be patient take it step by step.
They're not very easy to animate so unique first to understand the whole system and then your animation
will start taking shapes is not like position or rotation.
You need to understand the 3-D and you need to understand how a camera moves in reality and in After
Effects.
If you want to follow along with me and I would appreciate that please open the file.
3-D cameras dash start DOT EPA when you open this file you're supposed to be in the minimal workspace.
If not come over and select your minimal workspace and then you can that in the minimal workspace.
I would like you to put two views here.
Two views horizontal and this view overheating.
Click on it and you'll select custom view one we have seen all this in the previous section when you've
been introduced to the 3D piece double click on intro to cameras positioned so we can see it in the
active and because of you want let's start by creating a camera the color is it come out earlier.
Of course you gets that I'm sure.
To explain to you very clearly how to create a camera and all the presets and the parameters involved.
First I would create a camera then edit this camera and show you how it works to create a new camera.
You just right click in your timeline you go to new and you go to come out.
Of course you can come to your layer can you and you have camera over here.
I select this option.
Now the camera settings has opened and I have the preset head of 50 millimeters.
This is the default camera for after effects.
I click OK to create this camera and then like you said I come back and edited to show you how the Palamedes
will work.
Now first of all it's not just what happened.
There is a big gizmo here.
This is your camera.
It has what the camera is seeing for now.
You notice this rectangle.
It has it gone here.
And the most simple about the cone is at the angle of view here just this angle and it has its axis
and this molecule but it is the cummer.
If you come to the cone you're not is a still active camera active coming ahead of you.
Not just do you have coming I want since you have only one camera the Active Camera is coming on you
can come in on is no difference.
But if you have more than one camera you will need to set the right commander.
Keep it to active committer for now to the camera settings you just double click on the camera at.
Now there are two types of commands that do not come at camera.
And the one not come into the camera has a point of interest.
The one north camera does not have a point of interest.
The one not coming out will prove to be very useful later on done or didn't exist says about it.
Well you don't want to worry about the point of interest.
So don't disregard one comment.
I would go back to not come into you have here the pre-sets if you click you will have different default
cameras here from 15 millimeters to 200 millimeters.
I would stay on the 50 million into camera you have here the zoom that's the distance between the camera
lens and all of your composition.
If you are in units please go back to pixel just to see this figure you see is 12 18.
So it's the distance between the camera lens and all of your composition.
It is not the distance to your layer.
OK I'll go back to many meters.
It's easier.
And then you have the angle of you this is how wide or narrow the camera is viewing your composition
pretty easily and start changing the values and you have the focal length not just millimeters the focal
length is equal to the set itself.
Then you have the Enable depth of field.
If you put it on you will have a depth of field depth of field to create some blurring.
For example if I take it's on.
OK.
Notice how in the view here things are getting very blurred the further away layer is from the depth
of field more it will blur.
I would disable it just to start simply.
Let's go now and select 15 millimeters come into swatches.
First of all the zoom distance.
Now this camera has a bigger angle of view and will see your composition from a bigger angle because
the angle is bigger.
Your layers had become smaller.
The camera can see more and the focal length has become 50 millimeters.
If you go for example for a 135 That is the angle of view has become very small.
The camera can see a lot on the far distance not just the distance has increased.
So the camera can see more on the further distance.
The angle of view is very small.
Of course the focal length has changed.
If you go for example exaggerate to a hundred You're not just the camera now has become even longer.
If you'd like to the angle of view become very small.
It's 10 only.
This is the angle of view here and the zoomed distance is 2500.
So I would present certain benefits for your initial.
I go back to 50 millimeters and you can come over and start playing with these values.
For example you can increase the angle of view.
Now you don't have a preset.
It became custom can come and play with these values and set your camera the way you want.
You have the film size.
I like it very much like what is the size of your film.
If you remember a long time ago they had rules so you can make the rule bigger if you like too.
So it talks pretty fine guys.
So let's go back to 50 millimeters and click OK so now you understood the concept of creating a camera.
Usually I will use the 35 millimeters.
That's good for me.
You can use any one you want but if you're doing the same exact size please use the same camera and
music you can change all these properties from the layer itself and you can keyframe them also.
So any comment I create will be OK in the animation.
You can change these values and work the way you like.
I'll click OK and we have our first camera here 35 millimeters and in the next lecture will continue
about commence.