Cameras, lights, and points of interest

You can view 3D layers from any angle and distance using camera layers. Just as it’s easier in the real world to move cameras through and around a scene than to move and rotate the scene itself, it’s often easiest to get different views of a composition by setting up a camera layer and moving it around in a composition.

You can modify and animate camera settings to configure the camera to match the real camera and settings used to record the footage you’re compositing. You can also use camera settings to add camera-like behaviors—from depth-of-field blur to pans and dolly shots—to synthetic effects and animations.

Cameras affect only 3D and 2D layers with an effect with a Comp Camera attribute. With effects with a Comp Camera attribute, you can use the active composition camera or lights to view or light an effect from various angles to simulate more sophisticated 3D effects.

You can view a composition through the active camera or a named custom camera. The active camera is the topmost camera in the Timeline panel at the current time for which the Video switch   is selected. The active camera view is the point of view used for creating final output and nesting compositions. If you have not created a custom camera, the active camera is the same as the default composition view.

All cameras are listed in the 3D View menu at the bottom of the Composition panel, where you can access them anytime.

It’s often easiest to adjust a camera when using one of the custom 3D views. You can’t see the camera to manipulate it when you’re looking through the camera itself.

Create a camera layer

Change camera settings

You can change camera settings at any time.

You can also select the Camera layer and use the Properties panel to quickly access and adjust camera settings as well as work with transforms for the layer.

Camera settings

Select from One-Node Camera or Two-Node Camera. A One-Node Camera orients around itself, whereas a two-node camera has a point of interest and orients around that point. Making a camera a two-node camera is the same as setting a camera’s auto-orientation option (Layer > Transform > Auto-Orient) to Orient Towards Point of Interest. 

The name of the camera. By default, Camera 1 is the name of the first camera you create in a composition, and all subsequent cameras are numbered in ascending order. Choose distinctive names for multiple cameras to make them easier to distinguish.

The type of camera settings you want to use. The presets are named according to focal lengths. Each preset is meant to represent the behavior of a 35mm camera with a lens of a specific focal length. Therefore, the preset also sets the Angle of View, Zoom, Focus Distance, Focal Length, and Aperture values. The default preset is 50mm. You can also create a custom camera by specifying new values for any settings.

The distance from the lens to the image plane. In other words, a layer that is the Zoom distance away appears at its full size, a layer that is twice the Zoom distance away appears half as tall and wide, and so on.

The width of the scene captured in the image. The Focal Length, Film Size, and Zoom values determine the angle of view. A wider angle of view creates the same result as a wide-angle lens.

Applies custom variables to the Focus Distance, Aperture, F-Stop, and Blur Level settings. Using these variables, you can manipulate the depth of field to create more realistic camera-focusing effects. (The depth of field is the distance range within which the image is in focus. Images outside the distance range are blurred.)

The distance from the camera to the plane that is in perfect focus.

Makes the Focus Distance value match the Zoom value.

The size of the lens opening. The Aperture setting also affects the depth of field—increasing the aperture increases the depth of field blur. When you modify Aperture, the values for F-Stop change to match it.

Represents the ratio of the focal length to aperture. Most cameras specify aperture size using the f-stop measurement; thus, many photographers prefer to set the aperture size in f-stop units. When you modify F-Stop, Aperture changes to match it.

The amount of depth-of-field blur in an image. A setting of 100% creates a natural blur as dictated by the camera settings. Lower values reduce the blur.

The size of the exposed area of film, which is directly related to the composition size. When you modify Film Size, the Zoom value changes to match the perspective of a real camera.

The distance from the film plane to the camera lens. In After Effects, the position of the camera represents the center of the lens. When you modify Focal Length, the Zoom value changes to match the perspective of a real camera. In addition, the Preset, Angle of View, and Aperture values change accordingly.

The units of measurement in which the camera setting values are expressed.

The dimensions used to depict the film size.

Camera Commands

After Effects has camera commands that can be used separately or with the Create Stereo 3D Rig function. To use the camera commands, select a layer and then Layer > Camera.

Creates an expression on the selected camera layer’s Focus Distance property, setting the property’s value to the distance between the camera and its point of interest.

Creates an expression on the selected camera layer’s Focus Distance property to be the distance between the camera’s position and another layer. This method allows the focus to follow the other layer automatically.

Sets the value of the Focus Distance property at the current time to the distance at the current time between the camera and the selected layer.

Create a light and change light settings

A light layer can affect the colors of the 3D layers that it shines on, depending on the light’s settings and the Material Options properties of the 3D layers. Each light, by default, points to its point of interest.

Lights can be used to illuminate 3D layers and to cast shadows. You can use lights to match the lighting conditions of the scene into which you are compositing or to create more interesting visual results. For example, you can use light layers to create the appearance of light streaming through a video layer as if it were made of stained glass.

You can animate all the settings for a light, except for the light type and the Casts Shadows property.

You can specify which 3D layers a light affects by designating the light as an adjustment layer. Place the light in the Timeline panel above the layers on which you want it to shine. Layers that are above a light adjustment layer in the layer stacking order in the Timeline panel don't receive the light, regardless of the positions of the layers in the Composition panel.

Create a light

Change light settings

You can also select the Light layer and use the Properties panel to quickly access and adjust light settings as well as work with transforms for the layer.

Light settings

Parallel emits directional, unconstrained light from an infinitely distant source, approximating the light from a source like the Sun. Spot emits light from a source constrained by a cone, like a flashlight or a spotlight used in stage productions. Point emits unconstrained omnidirectional light, like the rays from a bare light bulb. Ambient creates light that has no source but instead contributes to the overall brightness of a scene and casts no shadows. Environment creates realistic lighting, reflections, and shadows using an image-based environment map.

The color of the light.

The brightness of the light. Negative values create nonlight. Nonlight subtracts color from a layer. For example, if a layer is already lit, creating a directional light with negative values also pointing at that layer darkens an area on the layer.

The angle of the cone surrounding the source of a light, which determines the width of the beam at a distance. This control is active only if Spot is selected for Light Type. The cone angle of a spot light is indicated by the shape of the light icon in the Composition panel.

The edge softness of a spotlight. This control is active only if Spot is selected for Light Type.

The type of falloff for a parallel, spot, or point light. Falloff describes how a light’s intensity is lessened over distance.

Falloff types include the following:

• None: Illumination does not decrease as the distance between the layer and the light increases.
• Smooth: Indicates a smooth linear falloff starting at the Falloff Start radius and extending the length specified by Falloff Distance.
• Inverse Square Clampe: Indicates a physically accurate falloff starting at the Falloff Start radius and decreasing proportionally to the inverse square of the distance away.

Specifies the radius of falloff from a light. Inside this distance, the light is a constant light. Outside this distance, the light falls off.

Specifies the distance a light falls off from a light.

Specifies whether the light source causes a layer to cast a shadow. The Accepts Shadows material option must be On for a layer to receive a shadow; this setting is the default. The Casts Shadows material option must be On for a layer to cast shadows; this setting isn't the default.

Sets the darkness of the shadow. This control is active only if Cast Shadows is selected.

Sets the softness of a shadow based on its apparent distance from the shadowing layer. Larger values create softer shadows. This control is active only if Casts Shadows is selected.

Adjust a 3D view or move a camera, light, or point of interest

Camera and light layers each include a Point Of Interest property, which specifies the point in the composition at which the camera or light points. By default, the point of interest is at the center of the composition. You can move the point of interest at any time.

A one-node camera ignores the point of interest. Learn more about camera settings.

To make a light ignore its point of interest, select an option other than Orient Towards Point of Interest in the light’s Auto-Orientation options.

Move a camera, light, or point of interest with the Selection and Rotation tools

Move or adjust a camera or working 3D view with the Camera tools

You can adjust the Position and Point of Interest properties of a camera layer by using the Camera tools in the Composition panel.

You can also use the Camera tools to adjust a working 3D view, a 3D view that isn't associated with a camera layer. You can think of 3D views as being virtual cameras through which you can view and preview a composition. The working 3D views include the custom views and the fixed orthographic views (Front, Left, Top, Back, Right, or Bottom). The working 3D views are useful for placing and previewing elements in a 3D scene. If you use a Camera tool to adjust a working 3D view, no layer property values are affected.

After you’ve modified a 3D view, you can reset it by selecting View > Reset 3D View. Learn more about choosing and using 3D views.

After you’ve modified a 3D view, you can reset it by selecting View > Reset 3D View.

Move or adjust a camera or working 3D view to look at layers

You can also move a camera or adjust a 3D view to look at selected layers or all layers. After Effects changes the point of view and direction of view to include the layers that you have selected.

• To adjust a 3D view or move a camera to look at selected layers, select View > Look at Selected Layers.
• To adjust a 3D view or move a camera to look at all layers, select View > Look at All Layers.

For keyboard shortcuts for these commands, see 3D layers (keyboard shortcuts).

Material Options properties

3D layers have Material Options properties, which determine how a 3D layer interacts with light and shadow.

Specifies whether a layer casts shadows on other layers. The direction and angle of the shadows are determined by the direction and angle of the light sources. Set Casts Shadows to Only if you want the layer to be invisible but still cast a shadow.

The percentage of light that shines through the layer, casting the colors of the layer on other layers as a shadow. 0% specifies that no light passes through the layer, casting a black shadow. 100% specifies that the full values of the colors of the shadow-casting layer are projected onto the layer accepting the shadow.

Specifies whether the layer shows shadows cast on it by other layers. There is an Only option in the Accepts Shadows for when you want to render only a shadow on a layer.

Specifies whether the light reaching it affects the color of a layer. This setting does not affect shadows.

Ambient (nondirectional) reflectivity of the layer. 100% specifies the most reflectivity; 0% specifies no ambient reflectivity.

Diffuse (omnidirectional) reflectivity of the layer. Applying diffuse reflectivity to a layer is like draping a dull, plastic sheet over it. Light that falls on this layer reflects equally in all directions. 100% specifies the most reflectivity; 0% specifies no diffuse reflectivity.

Specular (directional) reflectivity of the layer. Specular light reflects from the layer as if from a mirror. 100% specifies the most reflectivity; 0% specifies no specular reflectivity.

Determines the size of the specular highlight. This value is active only if the Specular setting is greater than zero. 100% specifies a reflection with a small specular highlight. 0% specifies a reflection with a large specular highlight.

The contribution of the layer color to the color of the specular highlight. 100% specifies that the highlight color is the color of the layer. For example, with a Metal value of 100%, an image of a gold ring reflects golden light. 0% specifies that the color of the specular highlight is the color of the light source. For example, a layer with a Metal value of 0% under a white light has a white highlight.

Specify resolution to use for rendering shadows

Advanced 3D renderer is used to render compositions containing intersecting 3D layers. To render shadows, it uses shadow maps, which are images rendered from the point of view of each light source. Normally, shadow resolution is computed automatically based on the composition resolution and the quality settings of the layers. If normal resolution doesn’t create the quality you want, or renders too slowly, you can adjust the shadow map resolution. For example, if shadows are blurry and the Shadow Diffusion material option is set to 0, increase the shadow map resolution. Or, if shadows render too slowly, decrease the shadow map resolution.

When a shadow-casting layer intersects another layer, sometimes a small gap occurs behind the intersection that is supposed to be shadowed. To decrease the size of the gap, increase the shadow map resolution.

Stereoscopic 3D

You can create stereoscopic 3D videos with Adobe After Effects.

Stereoscopic 3D camera rig

After Effects has a Create Stereo 3D Rig menu command, allowing you to turn a 3D composition into a stereoscopic 3D composition. The Stereo 3D Rig creates all the elements for you, including the 3D Glasses effect.

Make a stereoscopic 3D camera rig by first creating a composition with 3D elements in it. A composition that contains items such as a 3D collapsed precomposition or 3D elements in the composition itself works well. If you already have a camera in use, you can select it when creating the stereoscopic 3D camera rig. If no camera is selected, then a new camera is created. Select Layer > Camera > Create Stereo 3D Rig. The rig only works with two-node cameras.

The rig is produced by creating a primary camera or by using the existing selected camera in the composition. There are left eye [compare Left Eye] and right eye [compare Right Eye] compositions. Each composition has a camera linked to the priamry camera, the original composition nested in them, and an output stereo 3D composition [compare Stereo 3D]. The output stereo 3D composition nests both eye compositions and contains a layer called Stereo 3D Controls. This layer contains a Stereo 3D Controls effect for controlling the rig and a 3D Glasses effect that combines the left and right eye compositions into a stereo image.

The Stereo 3D Controls effect has the following settings for Camera Separation and Convergence:

Center places the left and right camera on either side of the master camera. Hero Left places the left camera in the same spot as the primary camera with the right camera to the right. Conversely, Hero Right places the right camera at the primary camera position with the left camera to the left.

Controls the interaxial separation between the cameras as a percentage of the composition’s width. That way, if the composition is resized, the separation amount is constant. This setting starts low at a value of 3% to keep the effect subtle. Ideally, this value does not need to increase to more than 14%-30% for reasonable 3D footage. However, it can be bigger depending on the scene content (objects are very close together) and the camera field of view, for example.

When off, the cameras remain parallel to the primary camera but offset to either side. When on, the position remains offset. However, the Point of Interest of the left and right cameras are joined at the location based on the following two properties.

Determines the Z distance away from the camera that the screen appears to be when looking through 3D glasses. Everything farther in Z space appears to be pushed into the screen, and everything closer appears to pop out of the screen. When working without converge the cameras check box on, and cameras are parallel, changing the scene convergence has the same effect as changing the Z offset. Use difference mode to set different elements in the scene to screen space in that case. Learn more about 3D Glasses effect.

Getting started with stereoscopic 3D

If you are working with stereoscopic 3D, you don’t necessarily need a 3D television. For example, you can use anaglyph (red-cyan) 3D glasses and view 3D stereoscopic footage right in the Composition panel. However, you can use a 3D television for doing live editing with a 3D television and active shutter glasses, as well. For that workflow, you need a few things before getting started:

• A monitor or television that supports 3D stereoscopic viewing.
• Glasses for viewing stereoscopic 3D television.

• Stereoscopic footage or a 3D composition.

Once you have gathered these items, do the following:

Stereoscopic 3D tips

• If you are working with3D stereoscopic footage in the Composition panel and you do not have a 3D television, you can work with the anaglyph format. Ordinary red and cyan anaglyph 3D glasses work best for this 3D stereoscopic workflow.

• Increase or decrease Stereo Scene Depth to change how deep the 3D environment appears.

• Turn on Converge Cameras and change the Convergence Z Offset to move different objects behind and in front of the screen. Objects closer to the camera than the Z offset appears in front of the screen, objects farther away appears behind it.

• You can make your composition’s depth of field match your stereoscopic camera’s convergence by doing one of the following:

  • When using Link Focus Distance to Point of Interest on the primary camera and converge cameras for the rig, the depth of field and stereoscopic 3D convergence matches.

  • If you want the depth of field to change over time, you can animate the focus distance of the primary camera. Then, set the convergence point to converge from Camera Position, and set an expression linking the convergence Z offset to the primary camera’s Focus Distance