Animate 3D Parallax Camera in Photoshop and After Effects | Motion Design A. | Skillshare

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Animate 3D Parallax Camera in Photoshop and After Effects

teacher avatar Motion Design A.

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (35m)
    • 1. H intro v2 skater

      0:41
    • 2. Client Brief and Plan of Action

      2:01
    • 3. Separating the Hero - Pen Tool

      7:43
    • 4. Painting the Hero out - Clone Stamp Tool

      6:37
    • 5. Cleaning up - Patch Tool

      3:08
    • 6. 3D layers and Camera in After Effects

      7:48
    • 7. Text layer in After Effects

      6:42
    • 8. Conclusion

      0:32
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About This Class

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This class is made for the beginner motion designer who is looking to learn more about Adobe Photoshop and After Effects, and how to apply these skills in a professional setting.

In this class you will learn how to animate a still photograph.

We'll start in Photoshop where we will learn how to use the Pen tool to separate the photograph and create a layer mask.  Then we will paint the skater out using the Clone Stamp Tool and the Patch tool.

We'll bring these layers into After Effects and convert them to 3D layers and animate them using a camera.

Finally, we will animate some text using the text tool and 3D layers.

In addition, throughout the course I will be supplying my working projects so that you can use them as a downloadable resource.

At the end of this course, you'll be able to animate a still photograph using these techniques.

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Meet Your Teacher

Motion Design Academy (MDA) aims to deliver high quality courses in the Adobe Creative Suite software.

We also offer courses detailing the production techniques necessary to begin and grow into an experienced top notch designer and animator.

“When you learn, teach. When you get, give.” - Maya Angelou

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Transcripts

1. H intro v2 skater: Welcome to motion school. I'm Evelyn Lee, and I'll be your instructor for this course. I have over 10 years of experience with various clients, and in this course, I'll be teaching you how to make something like this. Were gonna separate this photo and photo shop using the pencil, the clone stamp tool and a patch tool. And then we're gonna import it into after effects and animated using the camera and three D layers. Then we'll be ringing in type and animating type onto. Well, I'll be walking you guys through how to make this. I'll also be talking about the principles of motion, tips and tricks and things that might just come up while working in the industry. All right, I'll see you in class. 2. Client Brief and Plan of Action: okay, so I could just start this tutorial often and jump right into the technique. But, um, but let's just, you know, take a minute and, like, simulate sort of how this would work in a professional setting and, like, basically, that's a producer or a client comes to you and they give you this sort of image PST or J Peg. And they're like, Well, we want, like, you know, this skater to kind of have this three d parallax camera move and then we want some sort of type two. Come on, like, maybe it's a person's name. Or maybe it's like the city which this is in Venice, so we'll just go with the city. Um, and that's sort of the guidelines that you get. This kind of happens a lot. So for me, like when I get that when I got this image and those like, you know, those notes or those details like I'll go ahead and in my mind a lot of just going my mind and get a plan of what I want to do. Um, Ali there, like, right down in my sketchbook. Or you can even do it in like Photoshopped so I just make, like a guide layer. And this is just because it's always good to know, like toe have a plan and then just executed, as opposed to, like, you know, doing all this and then ending up in after effects and you're not sure what you're doing. Like this way. You know what you just prepared and you just know to go in and just, you know, efficiently and effectively use your time. So with the Parallax caramel, I know that this skateboarder is gonna be moving in Z space like back. And then this four grounds gonna be moving forward and then as faras the type. I mean, that could go here. I'm probably gonna put it here, Um, Tamara type. And that's pretty much the plan. Is that number one? It's gonna be this camera movement, Number two. We're gonna have the time coming, and that's how we're gonna do in aftereffects. And this in photo shop. Basically, what we're gonna do is we're gonna separate our hero or skater from the background 3. Separating the Hero - Pen Tool: Okay, So this God, we can either delete it or just you turn it off. And I'm just gonna turn off just because I always like to keep my like, work history in case there's a note where there's a change and there's always a way I can go back and, um, not have to work from scratch, which is another like, just another thing that I've learned working just how to save as much time is just toe always kind of keep a work history so you don't have to start all over in case their notes . So you have done is I've duplicated this background and again for the same reason I'm keeping this just in case there's any notes. So there's a reason that you know, I have to go back and have the original image. And instead of scrambling it or looking through emails or trying to find in the finder, I have it right here in photos show. And then this background it's been background copy. I'm gonna call it hero, and, um and so I'm going to go in and I'm gonna use the pencil, which is this, or you can press P and I'm gonna use the pencil, and then I'm gonna use I'm gonna zoom in and out a lot and zoom in is command plus or command minus. And then I'm gonna press the space bar to move myself around. Um, so, command plus in space bar, And then I'm just gonna use the pen tool, and I'm gonna click, Click. And then when you click and drag you get this, like, curve, so click and drag around his head have been dragged, and yeah, pretty much, you know, um, there are other tools that you can use to do this. Like you can use the magic wand tool. You can use the lasso tool. Um, I found that, like, the best, the quickest. And the best results come with from using the pen tool just by using these keys, like the space bar key and pen. And, um and then when I kind of don't like what I'm doing, I just press command Z, and it just lets me go back and kind of redo it. And I'm also just using the, uh, the wild compound Teoh to make this, um, instead of the mouse. Um, and I found that like by using like the welcome pen is so if you if you already know how to use it than you know, this is you probably flying through this section if you're someone who kind of jumps back and forth between the pen, the welcome Penn and on the mouse. One thing I used when I was jumping back and back and forth between the was I would place nude in between renders and it's like this really old game. Ah, that I think you could just download for free. But it's so sensitive with Thea with the welcome tone for some reason, and I would play on the journey or puzzle. And once I was able to beat it, I was really comfortable using the pencil like I could surf the Web and I just never needed to use a mouse. So that's my, uh so I learned how to use. But while compound is by playing snood, so I'm just clicking and dragging and ah, pressing the Space Marquis Command Z in case I make a mistake and and just outlining him, that is all right. So I'm gonna close this up, and when I close up, you'll see that there's like, Let's see if there's a little zero or a circle that and so when you click it, it kind of it closes up all the points and it creates this path, and that would have to do is I'm gonna right click and I'm gonna create Make us make a selection. And I already have this defaulted. But basically having the only thing that gets changed is the father radius I'd like to put at one just cause it feathers the, um the path of it so impressive. Okay? And what it does is it makes a selection of those amounts. You can kind of see that. And then what I'm gonna do is I'm gonna go in here and create a layer mask, and that key creates and what it does, is it It creates this sort of black and white mass that's linked to the original, um, image. What's great about the layer mask is that you can disable it and you get that you go back to your original image, you can also enable it back, and you can alter the mask. But you kind of keep your original image. So I'm gonna go in and Ah, and get his legs Command plus space bar command minus on. Go back and just get his legs Or get the in between for his legs and then in command Z when you Okay, so now I'm gonna be closing up this path again. You see the circle hoops, you see the circle, and then it closes up the path, you know, press right. Click. Make a selection. Grandfather, The radio sent one press. OK? And since this is a mascot, gonna make sure I'm in the mask part and not the image part of him, an image part. You see that there's color when I'm in the mascots, black and white, and I'm just gonna kind of white is shows the image and black kind of deletes it. Someone impress, um, all italy to kinda delete that or just press delete. And then I'm impressed. Command D to get the selection done. And then there got we've got our skater separated from our background 4. Painting the Hero out - Clone Stamp Tool: So next thing to do is ah is Teoh. Duplicate the background again and call this BG Um and I'm gonna turn off the hero. And basically what we're gonna do is we're gonna paint out the paint, the hero out of the background, and we're gonna be using command Plus come in Mina Space Bar. And the other tools we're gonna be using is going to be the clone stamp tool, which is right here clone stamp, tool or s and a patch to which is right above it. And thats should be J Yeah. So there's a bunch. There's a lot of different ways you can kind of do this. But these are the two tools that I find you know are the were, you know are suitable for this to toil and just for and in general just too good, great tools to know. So basically what the clone stamp tool does is it pretty much takes it when you press all these cross here is kind of come up and basically any information that you if you just press down and it's like you're pretty much taking that information from that photo and then it takes it from from there to whatever. Wherever your brushes press. All right, here. This is what I want. And then I'm painting it, and then you can see the crosshairs of exactly like where it's taking it from. I'm going to go in here and grab it like this and just sort of taking the information and, uh, painting them out. And it's OK if it's not perfect, because we're going to be going in and smoothing in a lot of stuff. A lot of this stuff. Ah, using the patch tool which will use after we clone stamp this out. Basically, what we want to do is we want to make sure we just get the information as accurate as possible by just using, you know, by just using the photograph at it it's from and it gets a little tricky when you're like, right here. Um, but then, like when you're in these areas, you can even change the brush size to make it bigger. Um, and it's okay if it sorts splotchy like that because, um, we'll be going with the patch to a fencing that but again, like these edges, these air sort of like the tricky areas. And sometimes you gotta test out different areas just to see it's even gonna work. - Once again, we're at, like, this sort of freaky little area. Um, - and even to get more detail, I like command minus just to, like, make the rush a little smaller. And then for the bigger areas, probably the brush bigger really be ableto so you can see what I've cut. Don, I've kind of, like when and really close in the areas that needed that detail. And then what? Really? Uh huh zoomed out to get ones that didn't need as much detail. It was gonna kind of fix in areas. Look a little strange. Some rears in this has I might have accidentally moved it around. Okay, so this is sort of where we're at with the clone Simple. 5. Cleaning up - Patch Tool: and it kind of like, You know, I think there is some areas that could be smooth out, like here. Maybe here. So that's where the Paterson comes in. Also, Jay, and zoom in a bit, and I'll do it on on something like this. You can see. Um, So what the patch still does like this isn't really all that needs to be kind of smooth like that. I noticed that this backgrounds a little, um I might have accidentally, um, soon. Memphis Jigen. Soon I'm gonna grab this area. And what it does is it just smooths it. It seemed like, and I'll just go in in the areas that I need to be smooth so that, um, this stuff of glucose through this, like, I can't really tell. But we're gonna go in and just, you know, some time with the constant to it can end up looking like, really like you've taken the same information in the same area. And so it kind of creates this weird little pattern on I'd like to use the patch tool. It is too late. Break that up of it. Like right here. You can kind of see it was like the same area. And now this looks pretty to this. So that comes up, Mom. And then you can kind of see, like, here it looks a little painted. So smooth it out and, you know, take it from areas that that comes up sometimes espresso, kay. And Okay, so that's pretty much are separated image. Um, you've got the original background, which I'm just gonna turn off. Um, and then we've got our hero, and these were the two layers were going to be bringing into aftereffects. Thes two are just They're just because, I mean, the guy light layer may come in handy when we're in after effects. Just so we know where to put the type. We have an idea of where we're going, So you just leave that in? Um, a lot of times, if I'm gonna be bringing this in the after effect, I might say this is a different. I call it like skate be one e and bring it in just so that if there's someone else is taking over the project, um, it won't get there. Won't be wondering whether he's like these two hidden layers. So, um, anyways, I'm gonna save this, and then we're gonna go into after effects, so I'll see you in after effects 6. 3D layers and Camera in After Effects: Okay, so I'm in adobe after effects, and basically, I'm importing in this skate PSD. And, um, I'm gonna bring it in as a composition out of the layer styles press. Okay, Importing is apple I or file import. Or you could just double click the project, and it will bring it in. So the first thing I do went on in, uh, aftereffects is I'm pretty much going to use the composition of this mood on a press fit. But usually the first thing I do is, um I press up, okay, Or you could go into composition, composition settings, and, um and I'm just gonna check all my settings. I'm gonna check the aspect ratio, and then I'm gonna check the frame rate. And it's always important to make sure that they those two things air what you wanted to be and that they're also everything that you're bringing in is set to that, especially the frame rate. Because if it's off a little bit, um, or if there's one, if there's at one pre comp, that's just a different frame rate. Ah, you're gonna it's gonna make the renders a lot longer. The animation is going to be like a frame off. And so it's always just a great idea to make sure that the frame rate all matches and it's at what you want it to be. Um, otherwise, it can cause a really big headache down the road. So I'm gonna press okay, especially for the com center, like, lengthy. And there's lots of the facts and lots of pre camps impressed. Okay. And, um, and it's brought. And when you double click, it's brought, like, you know, everything. All our photo shoveler is the guide background. I'm going to leave the background. We don't need it in here. Um, but I'm gonna take a look at this guide and, you know, it gives a good idea of where things were supposed to be. I could turn it off. I might deleted to just to give the calm clean, um, brings in a little bit. So first. So then what I'm gonna do is I'm gonna turn these layers into the three dealers, and this is the three d layer. It tells you exactly what it is. This is the adjustment is motion blur. So I'm just gonna make that thrillers. And what that does is I'm gonna show to views which, going here gonna make this one our active camera and this one I'm gonna make it our custom . You and a custom view is just showing, you know, the competent different, uh, Vieux port or a different angle. And what it does is if you, you know, if if I take off these three d layers, it's gonna look exactly the same because they're both Judy. Once I make them three day, it shows you how they look in the space. And so then the next thing I'm gonna do is I'm gonna make a camera layer new camera, and then it opens up these camera settings, and, you know, they have a lot of different things that you can change is that, um that the field and everything. But I'm just gonna kind of for the purpose. Just press okay? Cameras fine. And what that did is if you go into the custom view or just to show, you don't really need to be using the custom. You. But this is the camera, and I'm just gonna closes. It's gonna close all these. How many things? Okay, so, um, if I press space bar. Let me move this around and just let me see it. And then when the great things about this sort of three d things has it, sort of, if you go here, you can. It's all the Sikh ease, but it lets you kind of orbit track and zoom and what that does when you press the Seiki, it lets you kind of rotate it. Zoom in so you can see it moving around. But this is the camera, and this is our, you know, our hero in a background image. And this is pretty much how we're gonna be working. Um, whatever it is you is, I know that the cure that this is sort of our end frame. So I'm gonna actually alter the skill Reason why I'm altering the skill is because I know that the scales need to kind of switch. Um and so I'm at the end, and, um, I've used the end key to get to the end and impress home to go to the beginning. And this skater is gonna be a little bit smaller. Some of you, 90% and this background needs to be a little bit bigger. Since that's like what we determined we're going to do. And if you see the Keira, one thing I realized is that the composition is like five minutes long, and it's only socially like five seconds. So I am just gonna go here and, uh, make it five seconds. So that's where five seconds is. Um, Probably should have checked in the beginning, but it doesn't really matter, cause we can quickly adjust that, like, one quick way to make this comp at five seconds is you know, I'm not five seconds, I'm gonna press end. And that kind of is this sort of work area. When we do is I'm gonna composition trim Compton work area. And there we go. We have this sort of at five seconds, and this is what our animation looks like just by altering the scale and having a camera. You know, we've got this sort of parallax camera move already, But the nice thing about having the camera is that you know, you can move this up a little bit. Um, you can change its position. Point of interest in position. And then just by using the Seiki I want I definitely want this to be my ends. I'm gonna put two key firms there by pressing that and then go back home And then just by pressing the Seiki and you know, doing the rotation in pressing the rotation, which is right here also, just, um you know, it allows me to, like, just directly interact with the active camera. And just by pressing that rotation like that, um, we've added this added rotation to it and there's our parallels can remove. Um, he's moving in space and we've got an angle. I mean, we could even angle it even more and kind of, even if you press and see key again, this is the rotation. Was the Seiki again? This is sort of the tracking which kind of lets you move and then that there's a zoom, which I don't think I'm gonna use. But you have got a nice rotation to it as well, a sort of skill, and you can see exactly what we're doing in our, um, active camera. I'm gonna go back until one view just so and then goto active camera and press fit so that we can see exactly a bit more of what's going on. So that's our parallax can remove 7. Text layer in After Effects: So what we're gonna do next is we're gonna add some type into this, Um, And just by pressing with the character comes up and the mode of toggles down so you can see the timeline. Um, and, you know, pick a fought any fun. I'm gonna pick Gotham Bolds book Gotham Black. I'll just stick with that so you can type anything. I'm just gonna write three d camera move, and I want to make this all caps and a great way to do that. You just press this and it puts it all caps. Um, I am going to change the color because I can't see. See, you know, we'll move it down there. Work, and you can kind of write anything you want. If you're using this image, that's great. If you want. If you're using a different image, Yeah, that's fine, too. But I just kind of, um Ok, so then then I won't say that you have your type the way you want it to be, um, bigger to three layer. And that kind of changes the angle of it a little bit just because the cameras rotated. Um, and so I'm gonna go back to this move tool and move it a little bit. Um, and if you just process your zero are, you know, the It's already kind of moving with the camera so that this can remove, and now and it's animating. It's already kind of animating on, which is great. Um, and I just needed to kind of come on in a different way. So I'm gonna go into the transform total down the transform tool, and I'm in alter the position or the rotation. Sorry. And why? And, you know, I'm probably just put it on, like, 90 not 90 But and just by doing that, we kind of get camera, I'm gonna make it a little bit faster. And you can also just, you know, select these key friends. And if you right click you can get and these these easy's in and what that does It just kind of creates a curve of the animation so that it comes on a little bit smoother. You can even alter that curve by pressing this and you can kind of see, um, how it's being altered. And you can kind of, you know, by changing these impressing shift, you can change the how animates on how it eases in. It's now that we've got that coming on, and it colleagues pretty, um, like it kind of works. Um, leave the grass editor and go back, and then ah, and kind of go in and find a way. Teoh Teoh have this sort of animate on, and I'm going to use an effect, which is apple fiver effects and presets. There's gonna go in and look for some good, uh, ways for the types of enemy. And then, um and I think for this, I'm just gonna fade up the words from home. The nice thing about these presets is that you can kind of kind of lets you tweak the ah, it lets you tweak the frames, and by pressing you, you can kinda it gives you all the U lets you see all the key frame animation. Um, when you press a key u um, and then you can kind of tweak it, and it already kind of start something up Flick these impress in these, um, or you compress f nine, and it kind of there's a short keyboard shortcut for that. So, yeah, that's our parallel x three d can remove with type coming on. So now we're gonna, you know, go ahead and run this out composition. That's a render queue. 8. Conclusion: Okay, So this is our final animation. We've pretty much covered. Um, this sort of parral x three d camera move We've separated, are skater from our background, painted the skater out, um, brought them in, animated them in three d. Creating this sort of pallets came remove and adding a rotation to the camera. We created three d tux. And how did intimate on And we kind of covered a lot in this lesson. So I hope you guys have learned a lot and I'll see you in the next ones.