Have you worked with Spherical Maps in After Effects?
The Ultimate 3D Sphere! 100% Free Plug-in! Orb is a physically-based Shader. Create Incredibly. Have you worked with Spherical Maps in After Effects? If not, it’s a good place to learn how to. If you have, then just let us remind you how it’s done. Note: Remember to watch the video tutorial in which Jeff, our Adobe certified instructor, explains the process. When you’re working with environment CC Environment and Spherical Maps in After Effects Read More ». Unless an After Effects plugin has it's own installation instructions, you can typically install a plugin by copying the file to the Adobe After Effects plug-ins folder. The following steps will show you how to download a plug-in and copy it to the After Effects plug-ins folder. High quality After Effects Video Tutorials for motion graphics and visual effects presented by Andrew Kramer. For all of those in the comments asking if it works in 2018 CC. If you have plans to update this for 2018, that would be AMAZING. Sure Target 2 is a plug-in for. تحميل بلجن Sure Target 2 لعمل تحريك الكاميرا باحترافية للافتر افكت كل الاصدارات للماك+الويندوز 32+64 بت من فيديو كوبايلت. Program FilesAdobeAdobe After Effects CS6Support FilesPlug-ins.
If not, it’s a good place to learn how to. If you have, then just let us remind you how it’s done.
Note: Remember to watch the video tutorial in which Jeff, our Adobe certified instructor, explains the process.
Lets’ start!
When you’re working with environment you need to get a special kind of images. They’re called:
– Spherical Map,
– Light Probe (which is angular map)
– and Vertical Cross Images.
– Light Probe (which is angular map)
– and Vertical Cross Images.
Sure Target 2 After Effects Ccs
Notice that
they’re all large, large files.
If you just double-click on this Spherical Map image, you can see how big it is.
If I go to the Project Panel, and go to the Assets, and go to Spherical Map, you could see that it’s 3,000 by 1,500.
So it’s a big image.
And it’s been specifically made to be able to use it in a 3D space.
Let me just zoom out and zoom
press “Shift +/”
So it’s created such that you can move around in this place. It’s a panorama, essentially.
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So you tell the effect (the CC Environment Effect) what kind of image you’ve got, which one of these three images you’ve got. Let me click on this solid layer for a second to show you that.
So you say, “What is it?”
It’s a spherical one as opposed to probe or vertical cross.
Notice that
You don’t apply the effect to the image.
You apply the effect to the solid layer, that’s the size of your comp.
So the comp here is 640 x 40. I kept these guys pretty small so it would move quickly.
It’s a relatively small comp but the image is relatively much, much bigger obviously.
So you create a solid layer equal to the size of the comp.
And then you apply the effect to that, and then you say
what thing are we going to use inside the solid layer?
We’re going to use the spherical map on here, that’s how it’s going to work.
And then you can take a camera and move around the scene.
So the camera’s not built-in to the process.
Here’s the video tutorial:
You need to:
add the camera
and point it where you want to point it.
and point it where you want to point it.
But as you point it, as you move it around, you can see down here with the camera, left-hand camera, that’s the camera right up there.
And as you move it around you can see that the camera has kind of panned left and because the environment connects to the camera, you can notice
that the environment is not 3D
The text and the label things are in 3D space but the environment and the solid layer are not. They’re 2D.
And this camera goes around and reacts to them as if they were 3D space, which is pretty amazing.
What next?
So tilt up now.
So it’s tilting straight up and still sees this environment because it’s a spherical environment.
And go back down to the right, my right anyways.
And back to the beginning. Pretty remarkable.
So that’s called environment.
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Sure Target 2 After Effects Cc 2019
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I love Video Copilot‘s After Effects plugin Sure Target 2, but unfortunately there are no written instructions or manual. Yes, there is an excellent video tutorial. But if you want to look up a feature, you’ll need to scrub through the video to find it.
I took notes on the tutorial and I thought it might be helpful if I shared them with you. These notes are raw and originally for my own use so it may not be a pretty read but you may find it easier to find what you need.
1. Create a new Null Object and apply Sure Target 2 to it.
• It will automatically be made 3D.
• Automatically adds a Camera and Parents the Null to the Camera.
• It will automatically be made 3D.
• Automatically adds a Camera and Parents the Null to the Camera.
2. Assign Targets
• Camera Targets must be 3D.
• Assign under Target Layers twirly.
• Camera Targets must be 3D.
• Assign under Target Layers twirly.
Auto-Populate Targets
• In Effects Panel, Make sure Sure Target name is selected.
• Next, hold CTRL and click on the Layers in Order.
• Then click Execute Button under Target Layers:Auto-Populate.
• You can CHANGE THE ORDER by following the same procedure.
• In Effects Panel, Make sure Sure Target name is selected.
• Next, hold CTRL and click on the Layers in Order.
• Then click Execute Button under Target Layers:Auto-Populate.
• You can CHANGE THE ORDER by following the same procedure.
Fixing Text Alignment
• Sometimes when you apply this the Text flies off to one side, or you may simply just want to reposition it.
• You can fix this by using the Pan Behind Tool on the text.
• Sometimes when you apply this the Text flies off to one side, or you may simply just want to reposition it.
• You can fix this by using the Pan Behind Tool on the text.
3. Animate between Targets
• With Sure Target at top.
• Starts at 1.00 which corresponds with Target 1.
• Change it to 2.00 to go to Target 2, etc.
• You can also set these value on the Null Layer in the Timeline.
• With Sure Target at top.
• Starts at 1.00 which corresponds with Target 1.
• Change it to 2.00 to go to Target 2, etc.
• You can also set these value on the Null Layer in the Timeline.
To hold a Camera, do as usual
• Open up the Null Layer in the Timeline to see the keyframes. Add more keyframes there.
• Open up the Null Layer in the Timeline to see the keyframes. Add more keyframes there.
Rotation
• SureTarget2 works with Rotation, NOT Orientation.
• Camera will Rotate with layer BUT…
• Auto Rotate is not on by default. You must check it in the Effects Panel.
• SureTarget2 works with Rotation, NOT Orientation.
• Camera will Rotate with layer BUT…
• Auto Rotate is not on by default. You must check it in the Effects Panel.
Ease
• SureTarget2 automatically applies easing if it’s set to…
• Effects Panel: Ease Targets: Ease.
• Other options for East Targets: None (which lets you do the easing), Ease-Out (moving away from the target) and Ease-In (moving in toward the target).
• SureTarget2 automatically applies easing if it’s set to…
• Effects Panel: Ease Targets: Ease.
• Other options for East Targets: None (which lets you do the easing), Ease-Out (moving away from the target) and Ease-In (moving in toward the target).
Wiggle
• Wiggles the camera. Settings for time, space and seed.
• Wiggles the camera. Settings for time, space and seed.
Inertia
• Just adds some bounce into the camera move.
• To make the bounce work well, you want to set Ease Targets to Ease-Out (’cause if there’s ease on the ease-in then that would interfere with the bounce.)
• The Inertia calculates the speed at which it arrives to the next target (so i guess more bounce for faster moves.)
• Inertia Amount: Overall amount of bounce. (Andrew used 6 and 10 in tutorial).
• Inertia Decay: Works backwards: a higher number (10) will make it cut off sooner and a lower number (3) will make it bounce longer.
• Just remember it this way, Decay decays the bounce, so a higher number will make the bounce decay faster and thus end sooner.
• Just adds some bounce into the camera move.
• To make the bounce work well, you want to set Ease Targets to Ease-Out (’cause if there’s ease on the ease-in then that would interfere with the bounce.)
• The Inertia calculates the speed at which it arrives to the next target (so i guess more bounce for faster moves.)
• Inertia Amount: Overall amount of bounce. (Andrew used 6 and 10 in tutorial).
• Inertia Decay: Works backwards: a higher number (10) will make it cut off sooner and a lower number (3) will make it bounce longer.
• Just remember it this way, Decay decays the bounce, so a higher number will make the bounce decay faster and thus end sooner.
Camera Roll
• Makes the camera turn like a jet. When it turns, it sortof turns towards the side that it’s turning to.
• You need to Enable it.
• Roll Amount: usually want to keep it low if you have a fast animation (.1, .5). Slower stuff (2).
• Makes the camera turn like a jet. When it turns, it sortof turns towards the side that it’s turning to.
• You need to Enable it.
• Roll Amount: usually want to keep it low if you have a fast animation (.1, .5). Slower stuff (2).
Auto-Focus
• Basically controls the Auto-Focus of the Camera.
• Also can control Depth of Field.
• It automatically calculates the distance from the Camera to your Target.
• Use Aperture to control what gets blurred out and when.
• Use Blur Level to control how much.
• Basically controls the Auto-Focus of the Camera.
• Also can control Depth of Field.
• It automatically calculates the distance from the Camera to your Target.
• Use Aperture to control what gets blurred out and when.
• Use Blur Level to control how much.
Dolly
• Allows you to change how close your camera is to your targets.
• Just change the values for Dolly 1, Dolly 2, Dolly 3, etc.
• You don’t need to keyframe this because each target gets its own Dolly value, but you CAN keyframe it if you need.
• You can set to negative values.
• Allows you to change how close your camera is to your targets.
• Just change the values for Dolly 1, Dolly 2, Dolly 3, etc.
• You don’t need to keyframe this because each target gets its own Dolly value, but you CAN keyframe it if you need.
• You can set to negative values.
Create Baked Camera
• Bakes the Camera Move and turns them into Keyframes so AE doesn’t have to work so hard.
• Expressions can slow things down.
• Motion Blur can slow things even more because it involves sub-frame sampling so it would have to calculate the expressions at a sub-frame level.
• To Use: Set Work Area to where the keyframes are and hit the Execute button. It will take some time.
• It will create a NEW Camera with keyframes and it will SHUT OFF the original Camera.
• You can always go back to the original camera. Just delete the new camera and turn the old one back on and Bake again if needed.
• Make sure Motion Blur is OFF before you bake. Turn it on after.
• Bakes the Camera Move and turns them into Keyframes so AE doesn’t have to work so hard.
• Expressions can slow things down.
• Motion Blur can slow things even more because it involves sub-frame sampling so it would have to calculate the expressions at a sub-frame level.
• To Use: Set Work Area to where the keyframes are and hit the Execute button. It will take some time.
• It will create a NEW Camera with keyframes and it will SHUT OFF the original Camera.
• You can always go back to the original camera. Just delete the new camera and turn the old one back on and Bake again if needed.
• Make sure Motion Blur is OFF before you bake. Turn it on after.
Condition Protection
• If you turn of the 3D switch of a layer being used, SureTarget will alert you that it needs to be 3D, and then remove it from the Target List.
• If you turn of the 3D switch of a layer being used, SureTarget will alert you that it needs to be 3D, and then remove it from the Target List.
Refresh Expressions
• Should you get into an Expression error, just hit this button.
• Should you get into an Expression error, just hit this button.