3D Depth - After Effects

In this workshop I learnt how to use flat 2-D shapes within a three-dimensional space. The effect this gives to the animation is one that can be used in collaboration with graphics for print, this is due to the layer-based definition and physical qualities.

The technique enables the ability to add to the Z (depth) space capacity though the objects themselves remain 2-D. The camera will be pulled back rather then pulled in as to reveal the surrounding environment; this also provides greater story-telling potential. Further to this we learnt how to effectively use the “peel” effect to achieve a fluid result.

Oneedo - Animation Example

Our tutor showed us an example through the animation called “MGMT-All We Ever Wanted Was Everything” which was created by “Oneedo”. Sara asked us to consider how the camera was used in combination with the technique.

MGMT - All We Ever Wanted Was Everything from oneedo on Vimeo.

I noticed that by pulling the camera out from the centre of the screen, as mentioned previously it added to the progression of the story. Meanwhile I noticed the addition of further layers was gentle and well paced to the music, which in this case had a slow beat. The artist customised the “peel” effect to a high standard as to achieve a natural progression. The stylistic feel to the animation is one that reflects the many material variations seen within a town or city while focusing on a clear bold typeface as the centrepiece. Throughout the video there is a high usage of textures overlaid upon scanned articles, including photographs, and vector illustrations.

Process

The first step we took in preparing for the lesson was to come equipped with a set of textures, an Illustrator file comprising of a scene (ideally made up of at least 8 layers) and an audio track. I had prepared such and the next step was to set up the composition and camera. It is this step that typically is the most intensive in terms of ensuring settings are correct and once this has been configured then work can be tweaked and adjusted to your hearts content. 

Vector Layers

Sorting the technical elements of an animation or film from the outset is typical within the TV industry, especially due to the high pressure, short deadlines. This ensures that within the animation process you don’t come across a problem that would require a complete re-staging of the elements.

Before importing your vector imagery and textures we need to ensure they are set in accordance with the needs of the process. As usual the vector imagery needs to be set to HD sizing, however before importing over we need to create a second version which is larger and crosses past the art board. The reason for this is to ensure that no areas of our design (unless required as part of the style or object pictured) cut off before the screen edge. In addition to this we need to ensure all our textures are set to a DPI of 72 as not only is this the standard screen resolution, but this dramatically decreases file size and therefore production time also.You should ensure the second illustrator file doesn’t overwrite the first, as you may need the initial file as to ensure correct alignment within the video.

Composition Views - Active Camera and Top

To make the process easier in terms of viewing and positioning we need to change the composition window view from 1 to 2 views. This allows us to view the set from the camera and/or front and the side. The vital part of this workshop is to ensure that the “3D layers” option is switched on for all those you wish to be affected. This option appears as a toggle box within the layers timeline. In terms of the sampling quality we will leave it set to best, however if we were to have tens and tens of 3-D layers then setting this to draft may make the process more time-manageable. Although set at draft initially, you would change this to best for the final render unless stated otherwise.

Camera Settings

CC Page Turn

In terms of using the "peeling affect" the magic of this comes from the "Page turn" or "CC Page Turn" option within after effects. However in order to use this effect in a way which displays the layers appearing within the screen as opposed to "turning" into place, we need to customise the settings within the effect. You can achieve this by altering the fold direction while also manually moving the crosshair for the positioning of its crease. In order to get more control over these settings it is advisable to select "Classic UI" however this may change in future versions of Adobe CC and is something to be aware of.

Now all the technical elements are set up you can really have fun and add shadowing, colorization, textures and more. In terms of adding the textures to the layers we need to right-click on the desired layer and select pre-compose. Once selected this will bring a dialog box up asking if you want to move all attributes or leave them within the main comp. In this cause we want to leave them within the main composition and ensure what we edit within the individual composition for the layer is the same as that of the scene’s composition.

Outcome

3-D Depth - Night time musk from Nicole H.D.W. Sinclair on Vimeo.

Throughout and after the workshop I added the textures onto my layers and used previous techniques such as colorise to alter the hue and saturation of the images. Further to this I added some movement and jitter onto the bat and owl layers. Finally I added the soundtrack and selected an area that I felt suited the scene best. In terms of the workshop I had come up with the visual ideas upon listening to a few soundtracks, of which this one featured I found inspiring due to the transient, mystical and wildlife-like tones. Originally I had planned to create a more dark and mythical setting, though throughout creation this developed into a more natural forest scene.

Credit to Southern City's Lab for the soundtrack. See below for the track source: freemusicarchive.org/music/Crossworlds/Day__Night/Crossworld_-_Day_And_Night_-_10_-_Full_Moon_Night_Dream