Parallax Adventures in After Effects #2 - Photo Showcase with Perspective! | Andrew Pach ⭐ | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Parallax Adventures in After Effects #2 - Photo Showcase with Perspective!

teacher avatar Andrew Pach ⭐, Animation all the way!

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

10 Lessons (27m)
    • 1. Introduction

    • 2. Prepare a photo and composition

    • 3. Create the first mask

    • 4. Duplicate and resize masks

    • 5. Add a shadow effect

    • 6. Add depth to the photographs

    • 7. Add a Camera

    • 8. Add movement to the Camera

    • 9. Advanced Adjustment Layers

    • 10. Transitioning out of it

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this quick After Effects class I would like to show you a very popular technique of giving images additional depth and perspective. The effect we want to achieve will fall into the parallax effect category. Our project will be turning one selected picture into something like this:


In the class we will create fun things, for example:

  • Search and use a free photo (for example at
  • Use mask to reveal portions of our image
  • Add Position / Scale / Rotation keyframes in After Effects
  • Use the Camera to add rotation and perspective to our design
  • Render out the file and create a GIF for showcase!

All in a fun atmoshphere and professionaly edited lectures. If you are interested and would like to learn a new technique - hop on and let's go! :)

A few other fun classes you might enjoy! :) Click on the links to preview the classes:










Meet Your Teacher

Teacher Profile Image

Andrew Pach ⭐

Animation all the way!


Hi! My name is Andrew Pach, to my friends known as 'Nigel'! I am an After Effects / PowerPoint / video / graphic design junkie eager to teach people how to utilize their yet uncovered raw design talent! I run a YouTube channel called "andrew pach" which I do with absolute joy and passion. Here on Skillshare, I would like to share interesting, project-based classes that will make your design workflow a greater experience.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: hello and welcome in the second module off our parallax jury. Here we'll work with a photograph. Well, create masks to create this cool effect. I'll record very short lessons so you can follow each thing step by step. We're well prepared. A composition. Then we'll create our masks that we will duplicate the masks at effect at depth, and we will finish everything up by adding a camera. Adjusting the camera movement, then at the end will at adjustment layers with additional effect to intensify in the entire parallax effect. If this is something off interest to you, you'll have plenty of fun working through this product. Let's go. 2. Prepare a photo and composition: Hello. Let us explore, then. Next, Parallax Animation we could do in aftereffect. This time we'll go in very small steps at first. Please let me create a new composition for it. I'll call the com Let's maybe stay at the beginning with Camp one full HD size 30 frame rate and five or 10 seconds for the actual animation. It all depends on what you would like to achieve if you want to showcase one photograph if you want to showcase more. But in the beginning were always show you how to create everything. Police select rather a 10 seconds long composition and let's hit. Okay, now your action for the first lesson. Apart from creating off course, the composition will be to download a few photographs you would like to use. I have selected a few example photographs. I have, for example, a a mountain, a turtle and a nice sunset to showcase. I especially like the turtle, so I think that we work with the turtle and I made it full agency size 1920 by 10 80. But the photograph can be off course bigger because when we use parallax and you make it closer further away, we might need a little bit more than the actual photo. Yes, of course, we can re scale it. But if you want to remain with perfect 100% quality, you can select a bigger photograph. For example, this one is 3000 pixels to 2000 pixels. We will work on pre compositions, so we'll be able to change everything afterwards. At first, I'll begin with the turtle. I'll import it into my composition, I haven't said here, and let me close the first lesson here because I would like to go one step at a time so you will have no problems full of because I would like to go one step at the time. So you will have no problems following. Thank you for watching the first lesson. Let's create the same thing. Please create your composition, import your photograph and you will be prepared for work. 3. Create the first mask: okay. I hear nothing around so we can continue the work. At first, I would like you to pre composed this photograph, right? Click on it and click on pre composed. You can name it like photo one, for example. Gorgeous photograph. The reason why we do we work on a pre composition is that we can later go inside it and change the actual photograph. And it will inherit all the changes we are making here. Okay, so we have this photo one and we would like now to chop up this photograph. Now, making circles is very popular, but let's make rectangles click on this photo. One click here to select the rectangle tool and by having this photo one selected in the middle off it click shift and control and create a rectangle like this. This will create a mask. And what we want to do is to invert the mask, because at first we only want to reveal the outlines. Now, a little adjustment you have to do is to select V on your keyboard to take the selection toe double click on the mask, rotate it with the shift key. 45 degrees. Oh, sorry, I went too far. Okay? I wanted a rotation like that because I would like those rectangles to slowly reveal this photograph. Once you create this mask, you will be ready with the second step. In the next lesson, I'll follow through and fill the entire picture with those rectangles. I'll show you how just in a second, please continue to the next lesson and we can move forward with the design. 4. Duplicate and resize masks: Okay. Welcome again. Let us now fill out the screen with the masks. You should have the first pre composition and the first mask like that. Once we have this pre composition to sell it controlled the to duplicate it. Now you can click the 2nd 1 You can again double click on the mask. And with my shift key and control key, I can make the mask again. Smaller. You can see what's happening here. I'm creating a mask. Another mask duplicated again. Double quick. Make it smaller. Okay, we have number three and number four. Well, do we want more? Let me check out. We could make a smaller on like that. Or let maybe do it. Number four is like this. Control the press em to reveal the mask and just delete it. Now we have older masks we need I tried to make them equal when it comes to the size and in the next lesson, we will at one effect. So we will see the difference between them. Because right now, basically, we have several off the same compositions around here. Head over to the next lesson to at the proper effect 5. Add a shadow effect: Okay. Once you're done with this step, let me select photo number one, which was the first mask. Let me go to effects and presets. You can press control five to reveal it or go to window and just open up effect and presets . And I would like to use my drop shadow effect. You can take the shadow and drop it on the photograph. Or simply drop it here. Now you can see on the left side a little shadow has appeared and this is what you will get . You'll get a shadow from one side, depending on how you trained the direction. I'll make it from the left side, so I will see the shadow in here. And, of course, the distance should be small, like three points. Or I can go for a bit more at a little softness. I just wanted to be a really small shadow on the left side. That's definitely too strong, so I can work with the opacity. I can work with the distance, and still, I think that's too strong. Let's just lower down the opacity like 25% the softness a little bit last, the distance was too far Okay, Well, now it's too little. It all depends on how would you like it to look? And I kind of know what I want. Okay. Lets stay with a shadow like that for the first vote of rough. Now we can do adjustments toe all other layers. Or if you want to use the same shadow, just take this drop. Shadow control. See, go to the next Control V Control V Control V and we'll have the shadow around here like this. Now it will be up to you to decide if this is too strong or you should do some adjustments . But I, for example, will make it a bit softer because I think it's a bit too abrupt here. Also, the 1st 1 The softness makes the shadow a little bit longer. And it it's the little extra depth, and we also see the shadow a little bit on the right side. I think this looks really good, really beautiful, and this will be it for this lesson. So this lesson wants to at the drop shadow effect on toe all our pre compositions. In my case, I have five pre compositions with rectangles around here. Let's proceed to the next lesson and slowly start to build in the magic into it. 6. Add depth to the photographs: all right. Hello again. Basically, we've preferred everything. Toe. Start creating the magic into this photograph. People very often used circles because circles really work well with the Parallax. But why wouldn't we use rectangles? It should look good as well. The thing we need to do now is to reposition the layers. We have the pre compositions to make the feeling off distance because later on we'll move around to see this photograph from different angles, and I would like to give it some depth. If you have troubles knowing how far you should go, you can always select two views and just click on one of the views and selected to be from the top side. The reason we don't see that upside now is because our layers are not set to treaty. Please make always treaty because we want to work with a depth not only with the X and y values, which is two d. We need the third Dimension toe actually change this photograph. Okay. My active camera shows me everything, and you could work only on the active camera. It's no problem, but select photo number one, then select number two just press on all with 50 p. And the 2nd 1 should be repositioned a little bit further away. Is this the right one? I do believe so. Okay. The next photograph. I think that I should start from the biggest one. So let me select photo number one and drop the position of it backwards. Now the second, even more the next one. Even more the next one even more. And the last one even further away. Now you see the little problem because this photograph isn't as big. It appears as this photo doesn't cover the entire screen. This is because we moved those objects, those pre convulsions further away. So we don't see them exactly now. But you can see they are staggered, their layered over each other, and this will become the entire perspective. Now you can select everything, press s on your keyboard and just precise everything to fit this screen again. OK, in my case, it looks like that I'll even scale it a little bit more because I still would like to have some room to work with. Now I'll go back to my one view, I'll come a bit closer and this is what we have until now. We are starting to create the perspective by displacing everything into our third dimension . Okay, At this point, let me close up this lesson. Let's proceed to the next on where we'll make Superfund adjustments. We will work with the camera and we will finally achieve depth here. 7. Add a Camera: hello and welcome in the next super important lesson. Now you know that in after effects in this video editing software in motion graphics after they're always certain ways to do element now we could eventually pre compose everything. Then we could make a scale key frame and make escape different. Go towards us, make it three d, make a simple rotation. Take those key frames forward, make a rotation like that, and this would also add a little bit off that because we would have movement in this picture. But we'll go another approach because I think in this particular case, the camera will be far easier to use than pre composing it. And you'll see in a moment why? Because as we rightly select new and select a new camera, it could be the standard normal camera we have here in after effects on the left side. You have this to unified camera, too, and just just for a preview to see what's possible here, please select the orbit camera, too, and this tool will show you what do we actually have if you couldn't imagine, what did we do with this photograph? What's happening here? You can see it right now. You see, we have the same image. Staggered one after another. It's displaced a little bit to give it depth. And if you see it from another perspective, you see how simple it is. This is just a normal photograph set a few times, and for us this will be a perfect way off adding depth to it. OK, to not make this lesson too long in this lesson, we'll have only two things to do. Let me delete the crime. Murat. I'll select new please create a camera. Select. Okay. And maybe at zoom to this photograph A little zoom. You could skip this part. That's why, why I was talking about the resizing. But a tiny bit of zoom could be very useful. Here. You can go to the transform options and to the actual camera options you can see the first option is a simple zoom. Now I will make use off that because I will not have to pre compose everything and to resize it because we have that built into our camera tools. So why not use it? Please take a key frame on the zoom. Go to I'll make the animation at 1st 5 seconds. We can extend it later if we feel that we have still space for it. Now I can zoom in March because my object off interest, my actual turtle, isn't as big. So I kind of have to stay with it like this and make a small zoom. Maybe a bit more. I'll delete the key frame. Okay, this will be very fine. Now let's head over to the next lesson. Where will make them more orbital movement, which will make the entire animation much, much better and smoother. 8. Add movement to the Camera: hello and welcome in our camera continuation. So now you slowly see how people arranged those parallax life shows and image showcases. I have my camera. Please open it up and inside the camera In the transform options. You have deposition. It's way cooler than the normal position. Now again, it will be better visible if you select two views just to see how actually a camera operates. Now, if you change the orientation of a camera, you can see you would not know what happens in the design without seeing this. So as I work with the orientation, I can create something like that. And basically, this is the camera and this is what happens in front of her. OK, But the position is also way cooler because it doesn't move this point. It moves the actual camera to the left, to the right, so the composition can be seen from another angle from another perspective and perspective is our main keyword here. Okay, I will go back to my one view because I like to see as much as possible. And now you can see why did I make the size a little bit bigger? I want to work with the first value off the position because it perfectly shifts the image and it makes me look on it from another perspective. Let me go to the beginning and make the position to the basic 960 points. Okay, I keep frame it like this. And where was my second key frame? I see. I made a little mistake with Zoom. I accidentally deleted the zoom key frame. I don't know why, but let me zoom it in and let me switch the position to the right side. I will make this as far as I can, because if I would go too much, I could eventually show you blank space. But I don't want to do this, OK, maybe not as much. And we have a movement like that. Now. You should preview the entire animation and see if you do like it. If you need a stronger movement, if you want to change the orientation because you can of course, do that. That's there's nothing wrong with that. I don't to preview this animation and okay, I can slowly see the depth. What I would like to adjust is I'm not very found off this scale. Maybe you should adjust. The scaling is a little bit. So the 1st 1 the 1st 1 is the biggest one. Okay, I'll make it a bit smaller, but basically, I want it in the middle. It to be a bit smaller, to be a bit displaced. Okay, Like this. Also the head. I would like to have a bit more off the parallax feeling here. Okay? And for me, it's too much zooming, too little displacing that's welcome. Here are lower down to zoom, and I strong in their position to give it more perspective. Okay, let's previewed now. Okay, now it really moves faster towards me. And I can see this middle moving within the 1st 5 seconds. This is exactly Look at those here. Now. I see. They are displaced there, slowly being connected to each other. Everything move. Everything lives. And this is the animation which I want it. Okay, so I need something else. Maybe a little movement towards here. Let me go. Exact to the place where the key frame is. And a little movement to the bottom side would also help. Because this would be a swimming turtle. Perfect. Now we can finally go on and at additional effects to make everything better, to give it more perspective and a bit more off this parallax feeling. So I'll close up this lesson. Let's head over to the next one and we'll add additional effect to add some flavor into this entire design. 9. Advanced Adjustment Layers: Hello and welcome back in the next lesson. Now I can select control a and close everything because the first part is done Now what I would like I would like to work this image a little bit, maybe on the corners, to give it a bit more off off first active off warping. Because I would like the paradox to be a bit stronger in orderto not harm any off those layers to that effect on those actual layers, I can right click, select new and select and adjustment layer adjustment layer will be very safe for me. Boom! Call it effect warping one because I would like to try a few effects now degrading and after effects is that you don't have to use those effects here. You can simply go to effect. And I know that I think I want to achieve here is distorting the image. I have an entire category with effects perfectly filled out with that which I can use in this composition now magnifying, liquefying It's all wonderful optics compensation Definitely want to to try. Okay. At first I would try the lens. Now you can see what happens if I used the lens The reason I'm using a lance because I want to work the image only on the corners because we have an image like that. And I would like to curl this image towards me. So? So the edges will be even more perspective fied. Don't worry that this looks so horrible now because you can off course adjust the size off the actual lens and you can now see what I mean. You see this lens as I gained size with my lens. The corners off this image like are a bit war are displaced and I are coming towards me. This is exactly what I wanted to achieve. You can also work with the convergence do like the strength off this this effect to change it. But I do really like how the size operates here. And the great thing here will be that we can simply de select it If we say now this is the strong. We do not want this, but I do want this and maybe I don't even want to animate it. Let me presume on the camera because I want to know where the key frames are. OK, at first it shouldn't be a strong so size 500 but going here, it should be much stronger. Okay, lowering this ice will make this animations and look at that. Now we can see the entire Parallax come together. Well, it's too strong at the end because at the end, when it's more turned, it gets a bit too strong. So maybe I could also keep from debt, and at first it could be a bit stronger. But later on, the convergence should drop off because that's far too strong. Okay, letting preview that. Okay, we have this little additional perspective. If you don't believe me, just be selected. You can see it's happening. Okay, let's maybe try another one. I'll control DE to call it a fact warping 12 Okay, I have affect warping to, and now we let me delete the lands. Maybe I de select lens because I would like to eventually try something else. And you can again you can go to affect the store. And really, to be honest, you could select everything you can see warping vents the image, and it's also so cool because we could have a small band. It could be bigger. So it wouldn't bend like that. And this little banding. It's also distorting the image. But war isn't what toe work so good. So you can go again to distort and try a few off those effects, a very similar effect to what we have in the warping. Number one is optics compensation because optics compensation is like an additional feature in the camera. With my field of view, you can see if I work with the future of you. It curls the edges like this. If we reverse this, it will curl the edges towards me. So this is nearly exactly the same what we did. But it's kind of without the convergence. So it's in one feature and I Lagan key frame that I will come forward and here at the end page up page. Don't okay, make the entire coral stronger. Okay, I could no have both lenses open or just one of them. Let's say that I'll use both because I want to give this image a really strong perspective and I will make this closer so I only have five seconds off animation. What do we have now? Perfect. This looks really parallax. See to me Now I'll close to lessen up because we still have work to do. I would like to show you how you could get rid off this and reveal another image. And you would have to work with another image again. But this is how you could set up an entire slide show. 10. Transitioning out of it: Okay. We are slowly arriving at the end off our animation. We have this great animation and we would like to reveal another image with it. What we will do, we will select everything we would right click pre composed and create a new composition for it. I have this composition here, and I have my photograph number one. And this time we're lucky. Because since we are using those rectangles, we could use effect transition, and we could use the iris wipe effect. Okay, I have the Irish wife. When I work with the radius, I can reveal it like this here. OK, we need more points. How many do we need for a rectangle like this? Okay, you can see we have an iris, reveal her like this, and we could place this this other photograph here. Let's just make it Casper or the sounds that it doesn't really matter. I just wanted to show you what's possible. Of course, I would need to go to photograph number one, select a key frame at zero points, go forward, make the outer radius grow like this and boom. And there we have it. This'll is how After this animation you would reveal a second image. Another way of doing this with native adobe tools will be also very simple. Because since we know that we have this rectangle, take your rectangle tool and with my shift key again from the middle, I want to be precise. Tight election safe. Okay, control and left shift doom. We have they speak rectangle I would press are to rotate it 45 degrees. And what do we need else we need to scale? I will scale it from 0% but its actual big value to cover the entire screen. Yeah, perfect. And you can see we have the straight player. We have this photograph, but we need to move this underneath The new, shapely recreated. Maybe I'll also call it transition mask. So you will have an easier time understanding it. And by hitting the Casper image, the image you want to reveal the transition has to be first. The image has to be second and the photograph has to be deterred. And in the track. Matte, You want to select all format? I thought it will be inverted, but no. If we make an animation like this, it will be the simple all format. Now let me de select the title action safe. And we have a very simple IRAs Wipe created ourselves. And you can also, of course, adjust the speed, adjust the key frames. But that doesn't matter. I just wanted to show you this little approach here, I hope use it like that. Transitioning is also very important and it will help us get set up for our future Parallax projects we want to explore in this project. I think we've reached the end. This is everything I wanted to teach you in this little module. So basically making a photograph like that adding perspective to it waas our objective goal . And I think we did that pretty well. Thank you so much for watching this. I hope you'll consider a positive review after that. And I hope that we can still continue exploring this topic together.