Okay.
Now we're going to make our scene three D well, ten layers into 3D layers.
Position them how we want.
Add a camera and animate that 3D motion.
Now, for the scene, we want a pretty simple camera motion,
and we're just going to be moving straight ahead to the center of the comp.
All of our UI elements are going to stay still.
There'll be no movement of the UI elements themselves.
But as we push in and get closer to camera, we'll get that nice
parallax effect because some will be closer to us than others.
And that doesn't make sense.
We're going to see that by the end of this chapter.
So don't worry.
Now, I think it makes sense to make a camera first.
We've got such a simple motion, so I think we can animate that.
And then as we adjust the positions of these columns,
we'll be able to see how they look in the final animation in the camera right away.
Okay, So let's create a new camera.
We're going to layer new camera.
Camera one is a great name.
We're going to choose a preset, though.
Let's just go for a 50 mm lens.
That is always a good, safe option.
It is often known as a nifty 50 just because of how versatile it is.
You can use a 50 mil lens to take portraits to landscapes.
Pretty much anything works, so when in doubt, go for 50. Mm.
It's as close to an all purpose lens as you can get.
Now. Also don't want any depth of field.
We don't want anything in and out of focus.
Nothing blurry in our design, everything with sharp.
So that's how we'll keep it
and we can always adjust this later if we think we need to.
But especially at the start, we don't want all of that blur
slowing us down as it takes longer preview.
So 50 millimeter, no depth field.
That's all we need, let's say. Okay. All right.
We'll make sure that camera is on top of the last stack
and we can hide our style frame reference as well.
We don't need to see that.
And now let's make our 3D layers.
So I think we can make pretty much everything a 3D layer
except for our background lines in that background.
So let's make all of these 3D and let's change our views
from one view to two views.
Okay, I will make some extra room for these views as well
because we were going to be doing
a decent amount in here for the next little while.
So we need all the screen real estate we can get. All right.
And this one set to custom view three. That's great.
That's the one we want.
So on the left we have an active camera.
Camera one, which is what we'll render.
And on the right we have the overview of everything in 3D space,
which at the moment is only 3D layers, which are all in this one same flat plane.
Now we also can't see the background layer,
and that's because it is a 2D layer.
Even if we go to the front view where we would definitely see the background
behind it, it is not visible because this only shows a 3D layers.
All right, let's go back to Custom View three.
And now let's animate our camera.
Now let's open up it's position properties and we're going to animate its
Z position, which currently is at -2,666.7.
So that is how many pixels, I believe, how far back it is from our layers,
which will currently have the default position which will be zero Z position.
So I think we want a camera to start off a little further back than it is now
and then push in and get closer over the duration of our animation.
Now we haven't actually decided how long we want this animation to be for comp.
Let's do 5 seconds. I think that work.
I'll put the end of the work area there using the shortcut and let's zoom
in a bit as well.
So it fills up the majority of our timeline. Okay.
Now let's keyframe our camera position here right at the end.
In this view.
And we want and a little bit more zoomed in.
We want the whole animation to roughly look like this style frame.
So we'll get to this in between two or 3 seconds, I think.
So the very end here at 5 seconds, let's zoom in a bit further
and we can either do that
by dragging this number or we can drag this control on the camera here.
I think it makes sense to drag it in here.
And you can see as we do that, we get a bit of parallax
between the other layers, which are the keyframes
and the after effects layer designs as well.
And actually we want those to be 3D as well.
So let's just turn the 3D layers on those on as well.
And you can see as we do that they pop into this view here
and they will also currently be at a0z position.
All right, back to our camera and let's find out what we want.
A maximum zoom to be.
Something around -2200 I think is good.
I might just change that.
So it's a nice round number and then at the very start,
we're going to have our camera further back.
Let's go -3300. There we are.
Now, it doesn't matter that the edges of some of our UI elements are cut off.
We're going to be repositioning those and drawing in the extra bits anyway.
I'll just try to imagine they're there.
All right, so we've got a camera slowly zooming in.
Let's just watch it and see how it looks.
All right.
I think that's pretty good. We cover a decent amount of distance.
We will definitely notice that, but not too much.
It's not like we're really pushing in really fast.
And of course, this is really easy to change.
This is just two keyframes and adjusting this won't really affect anything else.
So we animate.
Okay, now let's put our 3D layers in actual 3D space.
Let's get a bit of distance between each of them
so they're not all on the same one flat plane here.
Now we'll start with UI one.
Now this is really the main focus of our animation.
This is what we want our eyes to be drawn to.
It's right in the middle.
So let's keep that where it is.
And a Z position of zero.
This is going to be our baseline
and we can move our other layers forward from this or back from this.
Now, UI two over here
is obviously designed to be a little bit closer than this layer.
You can tell by the size and kind of where I've positioned them,
the intended Z position that I wanted these to have.
So this one definitely feels like it should be closer.
It is overlapping with other layers as well.
So let's move this one forward, bring up its position here
just so we can see the number
and we can click and drag on any of these controllers to bring it forward.
I'll just drag on this one on the custom view
and you see, as I'm dragging it forward, it's getting more off
screen, it's getting further away from where it was before.
But that's okay.
We can compensate that.
Let's get back to the start and play it back
and we can add a little bit of parallax in there.
It is kind of pulling away from the other layers which are further behind.
It's moving faster because it's closer to us, but it's not that noticeable.
Let's move it a little bit further forward.
It's a -723 now let's move it up to -900 ish
there, that's a little more noticeable.
Okay.
But it does position it kind of outside of that frame for most of the duration
of the animation, which is not where we intended it to be in our design.
It was a lot closer to the center.
So let's move it further back and I'm just going to make our sovereign
visible again so we can see that.
And obviously this isn't going to match now that we have the motion of the camera,
but we can find a position where all the other elements kind of fit together,
and that is almost about halfway through to be closer to 3 seconds here.
So at around this time, everything else is pretty much lined up.
So let's move this UI two element into place and change it size so it matches it.
So let's move.
It's exposition with this arrow here and then it's wide position up
and then to get it to be the same size, I'm just going to open up scale
and scale it down to its approximate size.
Let's zoom in a bit and make that a little bit more precise.
It doesn't need to be exact, but there we go.
We can hide our style frame and playback.
We still have that parallax, but the composition matches the design.
We intended, what we designed it for.
Okay, now let's exaggerate that parallax a bit more,
and we can do that by pushing back the depth of the UI elements around it.
So these are elements UI ten and UI nine, UI nine.
Let's push that further back.
Let's push that way back to 1000.
We can see the numbers ticking over right near the cursor over here.
When we move it around, around a thousand.
Let's see how that looks.
Okay, we're getting a lot more depth there.
You can see that UI nine element moving less because it is further away from us.
Now let's reposition it by pulling up a star frame again.
This time we are going to need to scale it up
and we'll just nudge it with these 3D controllers here.
Looks like we scale it up a bit too much and scale it down
and put it roughly into place there by the style frame.
See how that looks?
All right.
That's pretty good.
Now, if you tend this one over here, let's put it back.
Maybe not quite as far.
Maybe let's push it back. 500 there.
Great. I'm liking the depth we can see there.
Ten on that style frame.
And let's move that back into position and resize it.
That's close enough.
Now, this after effects layer that we have here, let's move this way back.
Let's just push this back, see how it goes to 4000 or so.
It gets pretty much hidden underneath that layer.
That's great.
We can see it barely moving at all.
That feels really distant.
Now. Let's alter it size to match the style frame again.
All right, that's looking good.
This whole bottom left corner starting to have a lot of depth.
Now, this keyframe, while we're in that area, let's push that back a bit as well.
Let's go to not quite 1765.
And while we're here, scale it up to fit kind of zoom
in a fair bit, reposition at roughly, scale it up too far.
Let's push that back there. Okay.
Hide the style frame.
Now, this bottom left corner should be pretty close.
All right, That is good.
I'm really liking how all of its elements are starting to feel separate,
like they're on separate planes.
And we really do have a 3D effect.
Now, just to finish up this area, this little blue box here,
let's push this way back to around 3000.
It's much harder to to control here when it's completely flat on.
So that's undo that and I'm going to control it
over here in this window.
There we are, about -3000.
Reposition it to match the style frame there.
Okay. This whole bottom left section is done.
All right, Now on to our next element.
Let's just go down the right side here.
We'll start with UI five, which is right at the top.
And I think we'll just try to go down our layer stack now.
I think overall I want more things move forward closer to us
because the closer to us they are, the more motion they give us,
and that's just a little bit more exciting.
We do need a balance, but it's good to have things nice and close.
So this one, let's move a little bit closer to us and to grab it here
on our Custom View three and let's drag it forward around.
It's going to -600.
Some are about that height. Good.
We get some more motion in there. I like that.
Let's align its position with how it was in the style frame.
They're looking pretty good now.
Next we have UI three.
Now let's do something similar.
We want this more forward, but we do want it at a different depth.
So let's drag this forward.
We don't want it a -600
because then these two will just look like they're on the same flat plane.
It's going to maybe -400.
That should be different enough.
And with these main UI elements that have all of a detail on them
with the crafts and the charts,
I really don't win these too far back or too far forward.
These ones are kind of for us to take in.
We have much simpler UI elements that we can push really far back
and really far forward
and they're going to give us a lot of interest in the movement.
These ones are all going to have animation in them as well.
So I don't want too much distraction happening at the very edges of our screen
where we really want
the audience looking in the center
and we're going to get more in depth into that later.
But that's what I'm considering. When I'm placing these in 3D space.
I don't want them too far apart.
I do want them to feel like they are separate
from each other on separate planes, but not so far out.
And also from here on in.
We don't need to reposition these with our style frame.
After each one.
It is going to be a process of back and forth anyway.
Getting to see what feels right in 3D space and then adjusting that position.
So for the rest of these elements, let's just move them around in 3D space,
move their Z position to Z depth until we like it
and like how much motion and depth we're getting out of them,
and then we'll reposition them to fit the style frame at the end.
Okay, UI for let's push this one a bit further back.
Let's go 1000.
So that's the same distance back as you want to was forward.
So that's kind of the limit.
We've got about 1000 pixels either way of center where we're allowing
these detailed UI elements to be know that it needs to have a specific number,
but I'm just not pushing it any further than I've already pushed this one forward.
Now, this yellow keyframe here we have on the right,
let's push that pretty close towards it.
Let's go 1000.
That almost takes it off the edge.
Let's go even further.
Right off the edge, 1500.
And that one's going right off the screen.
Let's just push that further back into the composition.
Let's take a look at how this is looking.
All right. That is pretty good.
We have a lot of depth over here on the right.
The composition isn't as good as looking a bit messy, a little bit cluttered,
but the depth is great.
We've got elements, some really far away, some really close.
We really feel that 3D and that's what this shot is all about.
Next, that the white keyframe
that we have down here now, I think this one should be a bit distant.
So we've got the contrast between this one keyframe that's really close
and we don't start to think all the keyframes
are a lot more closer to us and we sort of recognize a pattern.
So let's push that back around a thousand.
Now, this yellow UI element UI seven down here, let's go pretty far back as well.
Let's go 1000, maybe 500.
So we get some contrast between that and the UI that's in front of it
here when they separate like that pushes it really far.
Let's just move it down and across with the X and Y position.
So it kind of see the depth there.
We're getting a nice bit of contrast
in depth in comparison to this UI with the keyframe in front of it.
Now this big gray one, UI six.
Let's push this pretty far back to maybe 3000 there.
All right, lots of depth there and this last gray one at the top.
Let's push this one back to maybe around 3000 as well.
So close then.
I think that is every element we've repositioned.
Maybe you can see over here on the right, we have a lot of variation in depth.
But more importantly, what does it feel like over here in this window?
I think it's looking good.
We've got a lot of depth across the whole scene.
I think my favorite part is over here.
I love how close this yellow keyframe is.
The fact that it does go completely off screen.
I kind of like and it gives us so much depth
because we've got layers really far behind this, really close.
We get a lot of motion
and essentially what we've done here by pushing these around is
we have scattered these throughout these ad space, the Z position in depth.
So everything is moving at a very slightly different speed.
Nothing I don't think is at the exact same distance.
Some are pretty close,
but it means every single one of them is moving at a different speed.
Well, they're not technically moving at all.
They're staying still and our camera is moving closer, giving the illusion
our main elements, those five detailed ones with the graphs,
they're more interesting and they're sitting more close together.
But the simple, more basic ones like the key
and these boxes in the background, they're much further, much closer.
So they add a lot more of that depth.
We don't want our main ones with the graphs and the details
moving too much because like I said earlier, that would be distracting.
And of course we're going to fill this
with some background animation and all those lines raining down, too.
And also remember, like I've mentioned before a few times,
I have animated this scene multiple times
before in preparation, so I know approximate where I want things to go.
You will almost certainly have more back and forth, trying different things,
moving back and forth.
The elements in Z position, trial and error, moving them around,
playing it back and seeing if we'll try it to you and feel right in this case.
I mean, do they feel separated enough from the other elements?
And because all of this is decided by that camera motion,
we can come back and change the position of these
in touch base any time of the UI elements and even that camera motion to.
And that won't really affect the timing at all.
Now let's just reposition these UI elements to get closer
to that style frame will make our stuff invisible again.
Navigate to where it was pretty close.
I remember it was just before 3 seconds and just move the Y and exposition
in of those layers.
We've just adjusted and scale them down so they match and we should get
a more pleasing composition and keep the depth we like as well.
All right.
Now it's looking better, a little more composed.
Let's play it back and see how that looks.
Wonderful.
Now, obviously we can't match the style frame exactly because the movement changes
how it's composed and how it looks across these 5 seconds,
but it matches the composition overall better and spread out in a way
that still looks random but is more considered visually.
Now, I'm not worried at all about some of these lines being cut off.
When we go to animate each one individually, we're going to fix that.
At this point, I'm just worried about the depth and the position in 3D space.
And does the overall animation look good too?
I like the speed too. I like where things are sitting.
And one thing I do think I might want to change this
yellow keyframe over here, being really close to us gives
I think maybe we need something a bit like that over here on the left.
So let's actually get this eased keyframe over here and we're going to make a copy.
We're going to duplicate that layer.
Okay.
And let's push this forward, way forward.
Let's go all the way up.
So it feels really, really big.
It's at 1800 now, almost.
Let's slide it over so it doesn't go L frame too quickly.
Let's move
over to the last frame of the composition and then slide it over from there.
Maybe move it down a bit, maybe a little too far over.
Let's just adjust it slightly there.
I think that gives us some nice depth.
Okay. Now, pretty much all of our elements are here.
We'll add those gradients online training in the background, of course.
And next we're going to add the motion inside all of these UI elements.
But the major motion of this project is done
and that is all done with two key frames on a camera, just two key frames.
We get all this depth
and all this motion now, all of our layers open, showing the scale of position.
I'm going to select them on.
The shortcut for that is control or command A
and then I'm going to hit you on the keyboard and that hides them all
there.
I'll do select them all with control or command shift.
I know it's much tidier and now we can move on to the more familiar animation of
the UI elements inside.