How to Make Moving Photos a.k.a. 2.5D or Parallax Effect | Alan Pun | Skillshare

How to Make Moving Photos a.k.a. 2.5D or Parallax Effect

Alan Pun, Designer & Visual Artist

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10 Lessons (36m)
    • 1. Trailer

      1:34
    • 2. How does the Parallax Effect work?

      1:08
    • 3. Seperating the Layers Pt 1

      4:36
    • 4. Separating the Layers Pt 2

      4:33
    • 5. Filling out the Background

      5:23
    • 6. Setting Up After Effects

      3:43
    • 7. Putting the Layers in 3D Space

      3:22
    • 8. Setting Up Keyframes on the Camera

      1:25
    • 9. Animate the Limps using the Puppet Tool

      7:16
    • 10. Adding Final Touches and Exporting the Video

      3:05

About This Class

What you will learn:

In this course I will show you how to bring a still photograph to life, also known as the 'Parallax Effect' or the '2.5D effect'. I will be using the Beatles' album cover Abbey Road as an example. You will learn:

  1. How to edit the photo in Photoshop to get it ready for animation
  2. How to use After Effect to apply the parallax effect to the photo

Who is it for?

Anyone working with video, animation, graphic design or visual communication in general.

Why would it benefit you?

- If you are a graphic design, animation or motion design student or professional, it will help you improve your portfolio, help you land a better job, or get more clients.

- Cheaper and faster than filming

Transcripts

1. Trailer: Hi. My name is Alan Pun, a designer and a bitch ISO artist. Back in surveys and faulty, I took some of the most iconic still images in the world and turned them into moving pictures. This'd effect is known as the 2.5 d effect on the Parallax Effect. This set of work went semi viral. It gathered around half a 1,000,000 views and got to put five K up Folks on Reddit has definitely added some credentials to my career in this cause of show you step by step instructions on how you can do this technique for yourself. So who is this cause fault and why would it benefits you? Is for anyone who's working with videos, animation, graphic design, official communication in general, this cause will benefit you because no only will it at a fantastic and unique piece to your portfolio. It will also help you attract more clients because doing the parallax events comparison filming has the offensive of being quicker and cheaper. Older clients has to do is send you already been images and you're good to go. Let's mention there are things we can't even fill many more like archival images or one off offense in this scale, Chicos. I'm going to be showing you step by step instructions on how you can apply the Parallax events to the iconic Bitos album. Cover Abbey Road using basic photo shop and aftereffects techniques. This may look complicated, but it's really easy once you oversteps. So if you like to learn the skill, think like them robots him right now and I'll see you in the next video. 2. How does the Parallax Effect work?: a welcome to the class, thanks from rolling. So before diving right into how to create a moving image, I'm going to show you what the concept behind the parallax effect is and how it works. The idea is to turn a still image like this one and separating them into different layers, a foreground and the background. This will be done in photo shop. In this case is you can see the foreground is the full members of the Bitos and the background, this abbey road itself. And in after effects, we will create a physical distance between the foreground and the background. And coolest thing is that were also able to animate the limbs of the Beatles in after effects. And then, in order to create that moving image quality, will be placing a camera in front of the foreground and background in after effects. And by moving the camera, that's what creates that shifting motion. And in the end, it would look something like this. Okay, I hope you're excited. Let's get started 3. Seperating the Layers Pt 1: okay. To start up with, I imported the Abbey Road image onto photo shop. Feel free to just go along this cause using the same image. Alternatively, use your own image for your skill share project. But bad mine. But Ben, but bad mind the ideal image would be something which, like this one, has a foreground in the background. Okay, so firstly, we're going to be extracting Paul McCartney into his own layer. To do that, I like to use the pen to here on the left, going to be assuming in the little, and I'm going to be clicking the first point. And then the second point of where I want this to be cuts out and I'm going to be dragging it in a now like this to just the same point and then do the same thing for the next couple points just like this. Don't worry if it's a little bit off, because you can just that afterwards. So I'm going to be fest folding the rest of this video, or at least the rest of this part so that it won't take too much time. Okay, So when I'm done outlining where I want to cut. I'm going to be adjusting where I've made little mistakes. So I'm just gonna go over here to get my barrettes election toe, and I'm going to be clicking on the individual points where once it change its on, you do that by just simply dragging it out on when you want it to be. Alternatively, if that doesn't work in certain areas, you can drag these little arm boss at the side here to just the actual curvature off where you want to change like this. Okay, everything looks good. Let's go into the next step. Now go visit a path tap here and select what you just created. And if you can't see the Paps tab, simply go on windows here and just make sure the path selection is text. So while selecting the work path here, I'm just going to rename it by double clicking it and I'm going to be renaming, renaming it poll. It's always a good idea to name or your stuff in photo shop for clarity purposes. And now I'm going to be dragging this path fare to this doctor circle line here, and that's the selection tool. So now going back to layers here. I'm going to make sure I right click the background layer and click layer for a background , which unlocks this layer and before drag. Before extracting this selection, I'm actually going to better it a little bit. So she do that Click, Select, Modify and Federer, and I'm going to be doing it by one pick. So maybe maybe if your photo is less retro in mind, you can you select less pixels such a snow 0.5 or something? So I'm just going to click OK, here And what? That this is that it's smooth and is it a little bit? And now I'm going to go back to my selection tool, and I'm going to copy and paste. And now, as you can see, we have out wrong Paul McCartney layers separated from the main background, and again, I'm going to be naming this whole 4. Separating the Layers Pt 2: Okay, So after extracting Paul McCartney into his own layer, we need to think about what else is going to move in the movie, and we need to extract those into their individual layers as well. So using the same technique is before I've highlighted the arm, which will be swinging and also the shadow, which will also move slightly when Paul McCartney walks. So I've already done the arm here to save us time. But I'm going to show you what treatment I'm going to do with the Shadow, as that requires a bit off a special attention. Okay, First, I'm going to the Select this arm and concentrate on the shadow. I'm going to be extracting this into his own layer, using the technique a used before. So first, I'm going to Federer. It's so, like the selection tool. Make sure I'm selecting the background layer and then copy and paste. I'm going to be renamed renaming this into poll shadow, and here we have it Now. The problem is that while this is all great, I know while Aziz you can imagine when we moved a character the shadow of the background here it's going to have disappearing bits. So what we're gonna do here is that we're going to be filling the rest of the shadow behind Paul McCartney just like as it would be like in real life, so that when it moves, we're going to see I shadow here behind a swell. So to do that, I'm going to be re selecting the poor shadow path. Make sure I'm selecting the poor shadow layer. And then I'm going to grab my whole ago no lasso to, and then I'm going to be filling out where I think the rest of the shadow suit filling. So why did there was click Shift and then that will allow you to add to the selection like this. So I just felt him that foot over there and then fill in some way. You think the other shadow would lie on the other foot like this? And then I'm going to be feeling out where I think his rest of the body should look like. It doesn't matter if it's not 100% accurate, and there we go. So I'm going to go back to select modify feta do that. So it rounds out a little bit better. And then the next thing I'm going to do it's actually selecting my paint, too. It's her turn up the size of it, and I'm actually going to be selecting black and painting the whole thing back. You see why in a moment? So now one going to be doing is to lower the opacity off the shadow. And I did that because it becomes its own entity now. So when you moved a shadow around, as it will do when we go into after effects because of his opacity, it will automatically darkened the area around it, making it look like a shadow creating realism in our little project. So, actually, I'm going to be lowering the opacity even more so that it matches the original shadow in the photo. So I'm just going to go back to my original position. Lower it to what it was before, and now we're ready for the next step. 5. Filling out the Background: now the next step is to use a bit of Photoshopped magic to completely remove Paul McCartney from the background to make it look like as if he was never here in the first place. To do that, we're going to go back to the path step Select Pole and the Shadow, drag it to the selection circle, go back two layers, making sure the background layer is selected. And now we're going to go to select, modify, expand. I'm going to be expanding it by five pixels, and then we're going to edit Phil and making sure the content aware option is selected. I'm going to press OK and voila is as if we used a magic trick. And now photo shop has automatically filled in the background for us. Now, it's not perfect, so we're going to need to manually fix these ourselves. But it's not bad, is a great time saver. So in order to fix is manually, I'm going to be selecting my stamp to over here or by cooking s on the keyboard as a short cut. I'm going to be increasing the size off my stamp. That's too much lower a bit. Uh, you are a little bit more Okay, that would do. And the way you stamp too. Yes, by cooking boat on the area you want to sample. So I want to show sample this shadow here and I'm going to be using it on the areas I want to stamp too. So I want to get this pavement overheads who look like the color the same color as here going to dark. And this Hey, like this again, it doesn't have to look 100% right. Just needs to look roughly right in this case because it's going to be at the background So nobody can really tell anyway if it's not 100% right, just dark and this even more soon out to see if it looks OK. I'm going to be stamping this hard as well. No, that looks a bit better now, and I'm just going to be fixing this pavement of it more so that it looks like it's part of the whole thing. Instead of these blows, maybe I'll do the same thing over cubes and maybe fix this several crossing a little bit by filling it to the edge. Here, do that. Just so little bit more. So this part may actually take a while, but I think it's quite fun. And now you're done as if Paul McCartney was never a part of the Beatles. Okay, so to save you from repetition, I've gone ahead and removed other Beatles members from the background. And in addition to that, I've also Phil, then the background off whether arm would be so. The reason for that is that when I moved the arm and after effects afterwards, you will actually see the fabric behind the just as you would in real life. And the other thing here, very specific to the this project is how I managed to fill in the rest of the car here the phone so I can be to hear, because that would be quite difficult to do just with a stamp to. And what I did is that I cheated a little, and I Google imaged Abbey Road without beetles and found this image, and what I did was that I just corrupt this half of the car out and placed it onto the background. Now we could have just done that from the start and uses images out background. But where would be the fun in that hand? I wanted to show you this very cool technique in the first place. 6. Setting Up After Effects: Okay, So now we're in Adobe's after effects and I'm going to pick creating a new composition. So for that mentions, I'm setting it s 10. 80 by 10. 80 because the image or the video is going to be a square. The frame rate. I've set it at 15 frame rates per second because I want it to have that retro low frame rate field to the video as this a retro album cover. And for the duration I've set at four seconds because for these parallax effects, you generally want it to be quite shot. I found 3 to 5 seconds to be quite optimal. So press OK and the next thing to do is to import our photo shop, file you So you click file import file again, click on our Photoshopped file. And the most important thing is to select calm precision, retain layer size where the imports s option. This here compress imports and you should make sure creditable layer styles ISS selected and press. OK, so now you'll see it. Our photo shop file layers here on the left hand side on the projects have or wherever your projects happens, Doctor. And now what we're going to do is select all these layers in, negated by a blue photo shop there, selecting them and then drag it into our composition. We just creates it on. The next thing to do is to separate separate them into their appropriate layers, and the next thing to do is to import our Photoshopped file into after effects. So we do that by going file imports and foul again. Click out Photoshopped file. And the most important thing here is where it says importance. Choose the complicity in option and click import and Ed. It's a bowl latest always select here, which is okay, so press OK. And now you see our our Photoshopped file and it's corresponding layers here on the projects hap. And now what we're going to do is select off these Photoshopped layers here, ignoring the composition in between and the layers indicated by the Blue Photo Shop. I can't here, and we're going to be dragging them into the composition we made earlier on. The next step to do is to rearranged the layers into their correct, uh, layer order. So, for example, the background there should be at the bottom like this assuming a little bit so we can see better. You can see some of shadow layer is not correct. So we're going to direct the shadow layer here behind Ringo. Poor shadow, layer behind, poor and so on and so false and also work on soupy making sure the arm layer It's a buff, the body layer a swell like this. Everything else looks right. 7. Putting the Layers in 3D Space: the next step we're going to do. It sets older layers in the appropriate set spaces or their free DIY spaces by moving them forwards and backwards. So the first thing we're going to do is by selecting all the layers or press control or command a on your keyboard, and we're going to be making them or Freedy by clicking this little cube I call here, and now they're or in Freedy Space, and now we're going to be moving the background backwards to separate it from all the other layers in Freedy space. So we're going to select the background layer here, press P on your keyboard to bring up the precision options and on the less on the last number here, which is the said space. We're going to be moving it back like this and to help you visualize what's going on here. You can click on this tab here where the active cameras and click on top, and now you're going to see a top down few off all the layers and the top the top here. That's the background layer. And what we're doing is that where essentially moving it backwards from its original position. This is where the rest of the layers are at. So I'm pretty happy with it being here. Go back to exit camera and the next thing we're going to do is to scale this background up so that it looks right. So while selecting the background, they oppress s on your keyboard to bring up the scale controls and make sure make sure this link icon ism which will keep other ratios across X Y and said the same and we're going to be dragging it up, I'm going to click fit up to 100% to help me see better. And I'm going to be dragging it up, OK, now that the background fits the frame mawr less, I'm going to be adding my camera layer. I do this bike oil, a layer new and camera press. Okay. And there you have the camera sitting on top of your layers, if not, drag it up all the way to the top. So to show you how the camera to works, click on the camera layer, press p on your keyboard to bring a precision. And now you can just play the control so you can do some assuming in you can move it up and down like this, all you can move it left and right Like this. Um, this is what creates that parallax effect. That's pretty cool. Her feel free to play around the experiment with the movements yourself. 8. Setting Up Keyframes on the Camera: in this video. I'm going to explain to you very briefly what to keep Ramos and after offense. And then we're going to apply that to our camera layer here. So a key frame represents a moment in time where and action has been applied or movement has changed. So to demonstrate this more clearly while selecting the camera layer, press p to bring a precision and click this little clock icon here on the left. Now, you see, this diamond shape has appeared on their timeline, and this is known as a key frame, and this key frame has stolen information regarding these coordinates on your position. So now if we drag it all the way to the end 24 seconds and then we change the precision of the camera, assuming in and then shifting it slightly, I'm going to assume, and even more so that the picture covers the edge and you see that a new key frame has been applied. And now this key frame stores the new coordinates, and as you drag the timeline, you will see that's we have created movement in time 9. Animate the Limps using the Puppet Tool: in this video, I'm going to be showing you how to use the puppet to animate the limbs. But before we do that, we need to set up boys known as a parent and child relationship between these layers. So what a child and parents relationship means in after effects is essentially when you link a so called child layer to a parent's layer. When the parents layer moves, the child layer will move along with it to demonstrate this. I'm going to be moving the Paul McCartney layer by itself without linking it to a child. And you see, when I moved Paul McCartney, his arm stays where it is. But if I link his arm layer to hall at the main Paul McCartney layer by clicking and holding this squiggly line, I gone and dragging it to the parents layer. The Paul McCartney may layer. Now when I move, Paul McCartney, his arm will also move along with it. Okay, so now I'm going to show you how to use the puppet to so select your Paul McCartney layer and making sure the timeline that set zero, I'm just going to assume in to Paul McCartney so that it's easier for me to see him. So make sure you're Paul McCartney layers selected and that your time is set to zero. So I'm just going to assume in their little so I can see him better. And how the puppet to works is that you place anchor points onto the object you want to move. So the logic behind this is by thinking of really how a human body would move in real life . So I'm placing all these, uh, points of where the joints would be in real life. So, for example, I've placed this joint hair on the need because if I click and drag this point now, you will see that it will move the knee for you. Uh, that's pretty cool, huh? And the same ghost with the other knees. Or if I want the head to go backwards a little, you can do that. Okay, so I'm just going to click undo on all those movements just now, and I'm actually going to go a step backwards. Andi, play with the position again. This is because it will be a lot easier to use to puppet to, And you see why in the moments. So just like before I brought up the position of the polio by present P. And I'm going to be clicking this clock icon here to set up a key frame that registers the moment off this particular time. And I'm actually going to peace, switching off the visibility off the other layers just so that we can concentrate purely on poor for now. Okay, so I'm going to be dragging the timeframe to the end, and I'm just going to assume out so I can see him properly. And I'm just going to be moving him forward so that it looks like he's moving walking, So I don't think that was enough, so could be moving him even more. Okay, so maybe a little bit more even. And I'm also going to be parents ing the shadow to him and see if that's better. Okay, Okay, so now we can get back to the puppet, so I'm just going to be assuming again so that make sure your puppet to is selected and we're going to start moving the joints off where we want him to be at the end of the video . So just going to be moving the knees and feet so it looks like he's walking and maybe toting his head slightly back and his chest up a little bit. I'm also going to be adding and the point here at moving it back So it looks like he's bringing his and backwards, So let's see how that looks. So the movement issa bit too subtle there. So I'm going to be exaggerating this movement and see how that will work out. Okay, having this looking a lot better, but it's still looking a bit unnatural. The moment and what's missing is that we haven't animated his arm yet. So by clicking the arm layer and drag me back to zero, I'm going to be doing the same thing to his arm. So clicking on where the joints of his arms or hand would be and then clicking it back to the end of the timeline, I'm going to be dragging his arm back so that groups like other they knew anchor point by mistake. So click undo to remove that. So I'm just going to be dragging his arm back so it looks like he's swinging his arm back. Andi, there we go, is looking a lot better already. So what would happen if I swing it back even more? Yeah, quite like that. As you can see, it does take a lot of experimenting, but is really fun on. I hope you play with it yourself and do some experiments of yourself. 10. Adding Final Touches and Exporting the Video: Okay, So using the technique I showed you in the last video I've gone ahead, had animated all the members of the Bitos family. And I'm just going to preview that for you now. So the preview. But in case you didn't know, it's on the right hand side here and you just click the play button and here we are. I think that's pretty cool. Those you and you may have noticed that there's a certain grainy quality to it to give it that retro feel. And that's something I added intentionally, and I'm just going to show you how to do that now. So what? It wasa Zai added an adjustment layer. So I'm just going to delete that and show you have to do it from the start. So what you do is you go on layer new and adjustment layer. Make sure it says right at the top off oil layers, and then you go right click defects, noise and grain, and then at the grain and on the left. Here, on the effects panel, you can adjust the various setting off the grain intensity, size, softness, etcetera, etcetera. So play around with Bill until you're happy with it. And after you're done, there's nothing left to do but to exports the hoping and show it off to your friends. So to do that, click file export had to render queue And here on best settings, you can change your time. Spend your work area only, or your level come by the way, your working area is this little control here so you can drag it out or drag it down. I'm going to keep it as it is. So going back to file export at surrender que going back on best settings. Yet I'm happy with everything here. Apart from hair and the frame rate, make sure it's the frame rate you want press okay and then go on and put Monjo, I want my app to be in quick time or whatever your preferred. I'll put this on my audio and when the switch it off because I have no audio press, OK? And finally click where you want to save it. And then there's nothing left to do but to click Orender. Wait for that to be done, Andi. Afterwards you're all good to go. So congratulations and thank you for completing this class. I can't wait to see what you've come up with and have a good time playing with this. Thank you.