Chapter 6 Camera: Flat, Limited and Deep Space —fini

You know, I had my head down just a runnin’ this race not realizing I had crossed the finish line. The whole book has been rewritten. How did that happen?  Now to go back and do three things: 1) Polish again, of course. 2) Add a brand new chapter!! Oh my.  3) Add a pass of Toon Boom tutorials.  So, not REALLY finished, but finished with what existed. Now onto the new. Onward and upward….


John-Michael Kirkconnell Flat to Deep Space example

In chapter six we combine everything we know about pipelines and which type of asset goes first into the main topic of camera usage.  Ah, what a lovely topic.  Here we start to explore a whole bunch of methods.


First we break down what types of camera movements make for flat, limited and deep space; just to make sure we all have our glossary terms straight. Then we get down to working the softwares.

We learn how to create flat space in Maya using Ambient light and some blend node texture tricks. Randomly, you may start thinking about Big Lebowski quotes. You are kinda funny that way.


Flat space in Maya using Ambient Light and texture tricks.


Limited Space in After Effects

Limited Space in After Effects

Next we explore limited space in After Effects by setting photoshop layers up in 3D After Effects layers then learning how to move the camera. This chapter is missing something isn’t it – we should have something that takes camera data out of Maya and into After Effects. I’ll put that in there before we go to print. Won’t that be fun?

Next we explore multiplaning in Flash – because, well, why not. It’s a manual way to create parallax movement that you can use in any software that doesn’t have a z-depth camera.

Manual parallax in Flash

Manual parallax in Flash

Then the final part of this chapter we go into a 3D world to create a deep space move;  combining 2D animated images into 3D planes. In our example we make the planes a hemisphere to add more of a fish eye effect. We explore bringing textures in from photoshop and working with alpha channels as well as a quick look at how UVs can be useful (or harmful) depending on how you use them.

Deep space with 2D character in a 3D world in Maya

Deep space with 2D character in a 3D world in Maya

Well now, that was quite fun.  I’ll polish off the Maya > After Effects camera tutorial for this chapter then decide what the new chapter should be on.  Hmmmmm.  What could it be.


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