Importing 3D images from Photoshopand Illustrator

1. Import 3ds Max To Blender
2. Import Sketchup Files Into 3ds Max

Adobe Photoshop can import and manipulate 3D models (3D objects) in several popular formats. Photoshop can also create 3D objects in basic, primitive shapes.

After Effects cannot import 3D objects from PSD files.

• The CGSociety's official. 3ds max > Importing Cinema 4D model into 3Ds Max. I'm trying to export a Cinema 4D file into 3D Studio Max as an FBX file.
• How can I convert a 3ds Max.max to a Cinema 4D.c4d and maintain the. When importing an FBX file into any. Tagged 3d animation 3dsmax models cinema-4d or ask.

See working with 3d layers video on the learn tutorials page.

When you use the Vanishing Point feature in Photoshop Extended, you can then use the File > Export For After Effects (.vpe) command to save the results as a collection of PNG files—one for each plane—and a .vpe file that describes the geometry of the scene. You can then import the .vpe file into After Effects. After Effects uses the information in the .vpe file to re-create the scene as a composition containing a camera layer and one perspective-corrected 3D layer for each PNG file.

Now if I load this OBJ into Cinema 4D. We do have a preset here for 3ds Max that says the options in the format that 3ds. How to Import and Export OBJ Models. I have a bunch of models that I. Which format is best for importing CAD files in Cinema 4D? Folks which is best format to import into 3ds Max? Or do I need.

The camera is on the negative z axis, at (x,y)=(0,0). The point of interest for the camera is in the center of the composition. The camera zoom is set according to the field of view in the Vanishing Point scene.

The 3D layers for the planes in the scene have a parent layer with its anchor point at the center of the composition, so the whole scene can be transformed together.

Vanishing Point exchange only works well for images that have square pixels in Photoshop.

Manual: How do I import models from my 3. Art Asset best practice guide. The FBX file was created in 3ds Max (2012, 2013. Import FBX file into After Effects CS4. 3D geometry with other 3D modeling programs. 3ds Max can import and export a variety of file formats.

Bob Donlon provides a tutorial on his blog that shows how to use Vanishing Point Exchange.

Lester Banks provides a video tutorial on his website that demonstrates how to use Vanishing Point in Photoshop Extended and then either bring the 3D scene into After Effects as a .vpe file or bring the 3D scene in as a 3D object layer in a PSD file.

Andrew Kramer provides a video tutorial on his Video Copilot website that shows how to use Vanishing Point Exchange.

PaulTuersley provides a script on the AE Enhancers website that turns alayered PSD file into a 3D scene in After Effects. The script createsa composition and adds expressions to the layers from the PSD file.When you move the layers along the z axis, the scene looks exactlylike the original artwork through the Active Camera view. You cananimate the camera around the scene to see that the layers are at differentdepths in 3D space.

The effects inthe 3D category in Illustrator—Extrude & Bevel, Revolve, and Rotate—givea three-dimensional appearance to any vector graphics object, includingtext and drawings. If you want to add depth to your vector art andtext, consider creating it in Illustrator, using the 3D effects,and then importing the results into After Effects.

Importing and using 3D files fromother applications

After Effects can import 3D-image files saved in SoftimagePIC, RLA, RPF, OpenEXR, and Electric Image EI format. These 3D-imagefiles contain red, green, blue, and alpha (RGBA) channels, as wellas auxiliary channels with optional information, such as z depth,object IDs, texture coordinates, and more.

Though you can import composited files with 3D information intoAfter Effects, you cannot modify or create 3D models directly withAfter Effects.

After Effects treats each composited 3D file from another applicationas a single 2D layer. That layer, as a whole, can be given 3D attributesand treated like any After Effects 3D layer, but the objects containedwithin that 3D file cannot be manipulated individually in 3D space.To access the 3D depth information and other auxiliary channel informationin 3D image files, use the 3D Channel effects. (See 3DChannel effects.)

3D Channel effect plug-ins from fnord software are included withAfter Effects to provide access to multiple layers and channelsof OpenEXR files. (See Using channelsin OpenEXR files.)

After Effects can also import baked camera data, including focallength, film size, and transformation data, from Maya project filesas a single composition or two compositions. (See Bakingand importing Maya data.)

After Effects imports camera data saved with RLA or RPF sequencefiles. (See ImportRLA or RPF data into a camera layer.)

Softimage PIC files have a corresponding ZPIC file that containsthe z-depth channel information. Although you can’t import a ZPICfile, you can access the additional channel information as longas the ZPIC file is stored in the same folder as the imported PICfile.

Similarly, Electric Image (EI) files can have associated EIZfiles with z-depth channel data. As with ZPIC files, you cannotimport EIZ files into After Effects; instead, you simply store themin the same folder as the EI files. For information about creatingEIZ files, see your Electric Image documentation.

A common technique when working in a 3D modeling applicationis to insert null objects, such as null lights or null locator nodesin the locations where you want to composite in an image in AfterEffects. Then, after you have imported the 3D file into After Effects,you can use these null objects as a reference for the placementsof other visual elements.

Lutz Albrecht provides a two-part document on the Adobe website about integrating 3D applications with After Effects. These articles cover the creation of UV maps, mattes, and channels from various 3D applications, including Maxon Cinema 4D, NewTek Lightwave, and Luxology modo. The articles then show you how to use RE:Vision Effects RE:Map and fnord ProEXR plug-ins to use that data in After Effects.

Tyson Ibele provides tutorials on his website that show how to use output from 3ds Max (3D Studio MAX) in After Effects.

Dave Scotland provides a pair of tutorials on the CG Swot website in which he demonstrates how to create RPF files in a 3D application and how to use RPF files in After Effects. The first part explains the RPF format and how to create RPF files in 3DS Max. The second part shows how to use the Object ID and Z depth information in an RPF file within After Effects, using the ID Matte, Depth of Field, Depth Matte, and Fog 3D effects.

Using 3D tracking completes camera movements so that additional elements can be composited into the scene to make it appear to honor the same camera movement. The 3D camera tracker effect analyzes video sequences to extract camera motion and 3D scene data. The 3D camera motion allows you to correctly composite 3D elements over your 2D footage. For details about using the 3D camera tracker effect, see this video tutorial by Angie Taylor from Learn by Video. To know more about 3D camera tracker feature, see Tracking 3D camera movement.

Bartek Skorupa provides a tutorial on his website about using Blender and exporting the animation to After Effects. You can also watch the camera tracking in Blender tutorial that shows focuses on lens distortion issues.

Harrison Ambs provides a two-part video tutorial on the CGTUTS+ website that demonstrates how to import data from Cinema 4D into After Effects:

The tutorial Use Cinema 4D Lite with After Effects cameras and lights explains how to create an After Effects comp with cameras, lights, and solid layers, and then open it in Cinema 4D Lite to add 3D objects.

After Effects imports camera data saved withRLA or RPF sequence files. That data is incorporated into cameralayers—one for each camera in the sequence—that After Effects createsin the Timeline panel. You can access the camera data of an importedRLA or RPF sequence and create a camera layer containing that data.

Add the sequence to a composition, and selectits layer in the Timeline panel.

Choose Animation > Keyframe Assistant > RPF CameraImport.

Note:

To create an RLA or RPF file with the camera data in3D Studio Max, save your rendering in RPF format with Coverage,Z Depth, and Alpha Channels enabled.

After Effects imports camera data from Maya project files. Before importing Maya camera information, you need to bake it. Baking camera data makes it easier to animate with keyframes later in your project. Baking places a keyframe at each frame of the animation. You can have 0, 1, or a fixed number of keyframes for each camera or transform property. For example, if a property is not animated in Maya, either no keyframes are set for this property or one keyframe is set at the start of the animation. If a property has more than one keyframe, it must have the same number as all of the other animation properties with more than one keyframe.

Reduce import time by creating or saving the simplest Maya file possible. In Maya, reduce keyframes by deleting static channels before baking, and save a version of the Maya project that contains the camera animation only.

Import 3ds Max To Blender

Note:

The following transformation flags are not supported: query,relative, euler, objectSpace, worldSpace, worldSpaceDistance, preserve,shear, scaleTranslation, rotatePivot, rotateOrder, rotateTranslation,matrix, boundingBox, boundingBoxInvisible, pivots, CenterPivots,and zeroTransformPivots. After Effects skips these unsupported flags,and no warnings or error messages appear.

By default, After Effects treats linear units specified in the Maya file as pixels.

You can import camera data from Maya project files (.ma) and work with the data as a single composition or two compositions.

For each Maya file you import, After Effects creates either one or two compositions:

• If the Maya project has a square pixel aspect ratio,After Effects creates a single, square-pixel composition containingthe camera data and transformations.

• If the Maya project has a nonsquare pixel aspect ratio, AfterEffects creates two compositions. The first composition, which hasa filename prefixed by Square, is a square-pixel compositioncontaining the camera data. The second, or parent,composition is a nonsquare-pixel composition that retains the dimensionsof the original file and contains the square-pixel composition.When working with imported camera data, use 3D layers and square-pixelfootage in the square-pixel composition, and use all nonsquare-pixelfootage in the containing composition.

When you import a Maya file with a 1-node camera, After Effectscreates a camera in the square-pixel composition that carries thecamera’s focal length, film size, and transformation data.

When you import a Maya file with a 2-node or targeted camera,After Effects creates a camera and an additional parent node inthe square-pixel composition. The parent node contains only thecamera’s transformation data. After Effects imports 2-node camerasautomatically with the locator node as the point of interest, withthe Auto-Orientation option of the camera set to Orient Towards PointOf Interest.

After Effects doesn’t read 3-node cameras.

Note:

After Effects reads only the rendering cameras in Maya filesand ignores the orthographic and perspective cameras. Therefore,always generate a rendering camera from Maya, even if it’s the sameas the perspective camera. If you apply the FilmFit camera setting,make sure to use either horizontal or vertical FilmFit, not fill.

Import Sketchup Files Into 3ds Max

After Effects can read Maya locator nodes, which enable you totrack objects from the Maya scene as it is translated into AfterEffects. After Effects creates a null layer and applies the relevanttransformations to it if the name of a Maya locator node containsthe word Null, NULL, or null.Avoid parenting locator nodes to each other in Maya; instead, parentthe locator nodes to geometry.

Note:

After Effects doesn’t read World or Underworld coordinatesin the LocatorShape. Use a transform node to place them.

For detailed information on working with MAXON Cinema 4D files and Cineware (a full-featured workflow integration between Adobe After Effects CC and Cinema 4D), see CINEMA 4D and Cineware.

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