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Guys and welcome to this new lecture and this new section mainly this is about 3-D aftereffects 3-D



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in After Effects is very extensive and it's really very wide you can do so many things including multiplying



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moving into plans and you know working with your videos in 3D and your images.



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And so if you want to know everything about 3-D and how it works the cameras the lights and more information



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and I'm getting this really in-depth.



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I have a three hours course about 3D in After Effects that you can take and really sharpen your knowledge



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and sharpen your skills.



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For now we are going to focus on the most important aspects of 3D.



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So you can understand how 3-D works and do some animations and some motion graphics.



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Let's start the first thing when we are into the open we shift as and shift.



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Are we not is that the position here has two parameters.



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Of course and the scale has to play in meters and the rotation has a single permuted here that you can



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change parameters or value is the same as in After Effects are always created by default into the and



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you can't set that layer to 3D.



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You cannot create a layer in 3D.



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You can switch them on and off into and out of the 3d.



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To do that use the smart switch here.



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Remember this is the small switch palette that you have here.



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And under the cube you press and it becomes a 3-D.



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If you enable the 3-D now a lot of changes happen.



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First of all the primitives here and the number of parameters have changed.



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Second do you have something called the active camera that has appeared as effective camera that after



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effects it creates to be able to show you 3D also the access system has changed.



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Now we have our zoomin.



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Now we have the y x and z or x y that.



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Now this is not complicated this is not geometry.



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This is not math.



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It's pretty simple by the way to work with.



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Let's return to 100 percent.



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Let's focus on position.



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Of course you still have the X that you can move on the X and you have the y it moves on the Y.



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I will undo both.



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But then that is a meter on the value that is.



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This is the Zed.



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If escape through it seems like a scaling up and down.



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Actually it's not scaling the perimeter rules take it away from your fictive camera when it's positive



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that is your camera here and that when it's negative into take it need your camera.



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So it looks smaller or bigger.



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And actually it is positioning the laser in 3D or in the Zoopla.



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Now we have three plans.



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So this is how this will work.



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Also let's look at the access system you have here a x axis y axis and the Z axis you can see them.



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If you click and drag on the x axis you notice how the mouse pointer.



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You notice how the mouse pointer has changed to a not always an X.



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It will move on your x axis it doesn't move up and down and so on.



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I'm not pressing shift or anything.



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And then if you come to y axis we'll also do the same.



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It moves up and down but not left or right or anything it's fine.



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You have that that is now also it will move away from the camera or nearer to the camera until it can



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pass even the camera and go on the other side.



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Let's look at the order of the layers in the timeline and how they appear on top or under each other.



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I'll put back that at Xs here to zero and I will bring the top layer on top of the second layer.



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Now into the what determines and layer is on top of the other one is the order of the layers in the



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timeline.



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If you take the bottom layer put it on top then the bottom layer will appear on top of the second layer.



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That's obvious.



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But in 3-D it's a bit different.



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Let's put them back to 3-D.



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Select them both and press position on the head.



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We see the position property with its parameters.



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The first layer is on top of the second layer.



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That is because the Zed is the same.



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So when the Zed value is the same for both layers even if you make it 50 here and 50 here.



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So the top layer is on top of the bottom layer or the second layer because the Zed's value is the same.



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But what happens when the scrub through the add value.



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The first layer now can go behind the second layer.



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So the order here is not so relevant is the Zed's value that is relevant.



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So if you take this lead and bring it in front that's OK because the value here is negative.



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So it's very near the camera.



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And the second layer has a value of 50 which is further away from the camera.



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Now if you scrub this one to make it on top here you are nearer the camera.



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In short a laser appears on top of another layer depending on the Zed's value.



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If the Zed's value is identical the order of the layers will matter.



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This is something very important and you might be wondering OK how do I get my layers to be on top of



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each other and why this there is on top of the other one.



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So this is the reason usually we will always look at the Zad value here and try to determine which layer



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is on top.



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Let's do a small animation here.



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That's come here and keyframe for example and go back to the beginning.



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We use the Y to take it out and the extra to bring it here.



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Then we use the Zad to go away and then when we adjust for example we can do that and put it outside



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of course this is a busy path so I can't change the past.



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And let's turn our animation.



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This is your first animation in 3D.



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So that is using the position only I created quite an interesting animation.



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Where does that come from outside.



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It grows and comes in.



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This is about 3-D animation and the position in the next lecture we will see about the orientation and



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the x y is that rotation.