Real 3D Photo Animation [After Effects Tutorial] | Photomotion X Series

What’s going on guys Tom here from Integnity.
Today we’re gonna be talking about Photo Animation. You might be asking what is that and why should
you care? Well that’s a fair question. With photo animation you can take a usual static
picture and transform it Into an eye-catching 3D life photo. In a world that is always connected,
we usually only take a couple of milliseconds to look at something
before we move on. With animated photos you are way more likely
to capture someone’s attention right away. With that let’s look at some examples. ♪♪ So you can see in these pictures how making
live photos can be truly immersive experience. Every photo no matter how or when it was taken
has hidden depth in it. All you really need is a way of reintroducing
that Depth back to that picture. Well there are different ways and techniques
for Photoanimation, but you can clearly see all of them have one thing
in common. They all make static pictures more
engaging by recreating depth and adding movement. So how do we actually create those animations.
The secret lies in combining After Effects with the power of Photo motion X. As we all
know After Effects is an amazing tool but sometimes it can make things complicated,
with all the buttons panels and options. That’s why we built Photomotion X; a dedicated
Photoanimation tool that simplifies the process of creating these live photos. Photomotion X works with
After Effects, but don’t worry if you never open After Effects before, I’ll walk you through
the whole process step by step. So let’s talk about one of the tools included
in Photomotion X. It’s called horizon and it helps you create Photorealistic 3d projections
from a single picture. We are going to split these tutorials into three separate videos,
so that we have enough time to focus on all aspects of the workflow. This first video is all about using Horizon
to import your picture and setup the foundation for our animation. In the second video, we’re
going to focus on the actual animation. I’ll show you the ins and outs of the process.
How to tweak our animation, add Particles, and other cool elements. In the final part
I will cover all the ways you can export your animations out of Photomotion. So let’s begin. ♪♪♪ All right so first things first, what we’re
gonna need is Adobe After Effects and Photomotion. Photomotion is a toolkit for Adobe After Effects
and it looks like this. So you open that folder. You have a quick start tutorial here, but
inside of this folder Photomotion X, you can see you have five different Projection types.
In this tutorial we’re gonna be focusing on Horizon, But you also have; Glacier, Mirage,
Parallax and Portrait Projections. If you double click on this file open change log;
that’s gonna open a website. Our website where you can
check what’s new, what’s coming soon. Over here on this section, if you actually hover
over this it will show you time estimates as well. If you have any new ideas you want
us to implement into Photomotion, just click on this button, or just go down here on this
chat bubble. Click on that and let us know. All right we’ll come back to these two folders
later on, but just to give you a brief overview, this preview particle systems that is for
previewing particle systems basically. So what are we gonna be using inside of horizon;
any type of particle, you will see the previews inside of that folder. Slideshow builder is
for connecting multiple Photoanimations together. So for example, you can use horizon for one
picture, Portrait for something, else Parallax for something else, and then you sideshow
builder to connect them together. All right that’s all here if you just go inside
of this Horizon folder you will see three After Effects project files. One thing to
understand about Photomotion Is that it is a view port based project and that means you
don’t have to install it, you don’t need to copy anything anywhere, everything happens
inside of your view port, which has one massive benefit, and that is portability. That means
you can start working on a project on one computer, save it and then take it with you,
open in another machine and continue where you left off. You don’t need to basically
copy anything else apart from these files here, that footage folder, and these project
files, and you should be good to go. Alright so you have three files here. This
one is for Adobe After Effects CC 2017, 2018, and this last one is for the current version.
So at this point it’s CC 2019 but it will also work in 2020, when 2020 is out and so
on. So all you have to do really is just double click on this
file and that will open for Photomotion Horizon. Before we do that let’s just minimize that
folder and let’s have a look what we’re gonna be animating. This lovely picture from
Unsplash from a guy named Nathan Dumlao on there, go check him out. I’ve chosen this
picture because it really kinda allows us to play with different features inside of
Horizon. Now you have this horizon over there, somewhere
over there, then you have a couple of layers so these two people will go into one layer
like this. I’ll probably put that rock into the same layers as those people because they
are basically standing on it. So next layer would be this rock behind it and this one
as well over there. That could go into another layer. Now it’s important to understand that as we
have different projections, each projection is good for a different type of picture. Now
I’ve prepared a couple of examples here just to give you a brief overview this one, for
example, this is great horizon because you can see these walls going over here like that
and obviously he is standing front, actually he’s jumping, but that’s the same standing
right. He would be standing somewhere over here but he’s jumping. So obviously this is
straight Projection for horizon you can see all the walls,
you can see the floor as well, roof as well, easy. Now this picture for example,
obviously not for Horizon but for Portrait Projection. In the latest update you can actually
do sunglasses as well, which is pretty cool. So even pictures like this one, she’s obviously
looking to a camera but the camera angle is bit awkward, but that would work in Portrait
Projection as well. Now couple of other things here. This one,
again, this one would be for Horizon because, again you can see a lot of floor here going
on, and obviously those people are standing on that floor, so you really want to kind
of pinpoint them to that specific location. If you used any other projection or, for example
Parallax Projection, you would see them kind of floating in space and it wouldn’t really
look Photorealistic. What Horizon allows you to do is kind of create that
realistic depth in your images, especially when you have someone standing on floor and/or touching
wall or something like that. So this one would be for Horizon. This one over here, you can
use either Horizon or Parallax, both of them would work. Again, you just put him
into a layer, including that rock because they are on the same depth. I wouldn’t worry
about this too much, there’s just not enough space there anyway so you wouldn’t notice
and you put everything else into a background just like that. So that’s for either of them
really. This one, again, it’s up to you really it
could be Parallax could be Horizon. I would probably use Horizon just to kinda allow me
to separate these trees over here and these bushes into their own layer and to just kinda
align my 3D cage to go that way. Something like this, and obviously put him into mask
and that skateboard as well. Couple of other things, this one. What would
you use for this picture? Again, it’s up to you, could be Parallax could be Horizon.
Purely because you don’t see her legs, hes not standing on that ground – actually she is you just
can’t see it, so therefore it’s really up to you. I would probably use parallax because
it’s easier to set up. So I would put her in one layer and everything
else into a background layer. That will do. But I have the same or similar shot from,
I guess it’s the same photographer. So this one specifically, you have to use Horizon
for that one and that’s purely because you can see her standing on that floor and you
also see that floor kinda going this way… like that. So this is definitely for Horizon
so I would put her into one layer, those people into second layer, that balloon can go into
layer number three including those people, so that basically this whole thing can go
into layer, including that balloon. Probably this one as well, I wouldn’t bother. That
one as well, this one, these two over here. Probably put them into separate layer because
there is one behind here as well. So put it into separate layer and therefore you
have one layer here second layer is over here and obviously the fourth layer behind that. Now, as you can see there are plenty of different
examples, I’m sure we will come back to this as we are animating our pictures, just to
give you a better idea, because it might be a be a bit overwhelming might not so clear
on what projections to use but just remember this if you see someone standing on the ground,
that usually means you should use Horizon, or if your picture shot from angle like this
for example. Again you are way to close to the that ground here and you have layer here
as well, therefore you would have to use Horizon for pictures like this. But, again
if you don’t see their legs or you know like picture like that what I show you before.
Really this is really flat picture so I wouldn’t bother using Horizon. It would work, but I
wouldn’t bother setting up everything in Horizon I would use Parallax because it gives you
very similar animation. Alright so let’s just jump back to our Horizon
and then double click on this last After Effects Project file. Alright, give it a few seconds,
it’s probably going to take a little longer if your opened it for the first time as we
need to load all of these assets into your cache, but it shouldn’t be too long. Alright
if you never open after effects before, it might look a little bit overwhelming, I believe
it does. So, let me just quickly run you though this whole interface, what’s happening here.
Now over on this side you have your project panel, you import all of your files over here,
down here you have your timeline, specially this section is important because that blue
thing you can drag it along the timeline and basically go through that timeline. Over on
this side, you have things like effects, brushes, stuff like that. Not going to be using this
too much with Photomotion, just so that you know where to find them. This area over here,
on top, is your tool bar, so you have couple of things here, really important one is this
blue one currently selected one, I’ll show you why in a bit. And then obviously the biggest
one over here, is the view port. So as I said before Photomotion is a view
port based application so everything will be happening inside this view port. Alright
so what we have to do now is just make sure we are in that selection tool, shortcut V,
otherwise if something else was selection you wouldn’t be able to click inside of that
view port, so just make sure that this icon is selected and all we have to do is double
click on one of those buttons. Obviously if you haven’t activated Photomotion yet,
go here, double click on it and go to that URL. By the way, things over here down here, as
you can see now we have two of them opened and these are called compositions, this is
a new composition. So, if you close it it will go back to that previous
one which is this start screen. So all we have to do now, double click on that Horizon
button, that will load new composition, slightly more complicated but nothing to be afraid of. You really only have one option here at this
point and that is adding your photo down here. So that’s what we are gonna do. Double click
on that ADD Photo and now we need to get our picture, this one, inside of After Effects
and then from After Effects to Photomotion. So we are gonna do that by, go back to After
Effects, either double click on this area here or just go into file, import file, find
that picture, click import. I will get it here so you can see over there, and
then click and drag that picture down here. Now you can see that picture is way to big so we
need to scale that down and you do that by clicking on this swirl, over here, and dragging it
to this first layer. This swirl allows you to parent your layer to that
first layer and that basically means you can use positions, scale and rotation of that first layer
and it will be automatically applied layer number two. I’ll show you why this is important when
we start importing our layers into Photomotion. So, we need to scale this image down, all
you have to do, find that scale attribute, this one, and click and drag to make it smaller.
If you want to go by smaller steps, all you have to do is hold down control or
command key on your keyboard. I think something like this looks pretty good,
nothing else here, we can close this composition by clicking on that close sign, that’ll
bring us back to this main dashboard composition. Alright so back into this main dashboard composition,
you can see a lot of these new buttons are now available to you. Now, there’s a lot of
them but don’t get scared about that, you have access to these two over here, couple
of layers settings over there, export setting obviously, couple of buttons on this side
which are really important, and actually will be really important when we do animation. Over here
as well these are for resolution, I’ll show you all of them later on, but lets just focus
on this area down here which are our layers. Ignore that thing in the middle and that green
box as well, I’ll come back to that after we finish setting up our layers. So, in terms of layers if I minimize this
and go back to our original image, let’s try to kinda establish what we gonna put where.
Now that rock is as I said, including those people, ideally should go into one layer because
they’re standing on that rock so there’s not really any benefit of splitting them into
two layers so I’ll put that into layer number one. Then we get that rock behind them into
layer number two and then I guess last thing should be this big rock because it’s quite
big, if we put it into separate layers I think it’s going to look a lot better if we just
put those two there, that actually gives you a lot of Parallax movement between those three
things as well because obviously these guys and that rock they are on kinda same level in terms
of depth in that picture. This rock behind them is still kinda way to
close to them, so that still would give you a lot of Parallax movement but we want something
more so that why that rock would kinda save this picture, I think so. So, we can completely
ignore these rocks here, they are way to small to make any difference so what we are gonna
do is just gonna get Horizon going on here something like this, then we set up floor
to go like that. That should be pretty straight forward. Just like this, excuse my lines they
are pretty ugly but that’s fine. You see that’s gonna be a floor and we gonna place
those three different layers on top of that. OK, back to After Effects and here we just
make sure in selection tool again. Double click on layer number one. Alright so here
you have your import and drawing mask, import really useful when you already have your layers
split up/seporated, for example, from Photoshop. I’ll show you that as well. But for this first
layer, let’s just have a look how to do everything inside of After Effects, so double click on
draw mask. That will open this thing here. Now in this composition
what we have to do is mask those two and that rock. We can either use these two masking
tools, which is rectangular mask or pen tool, both of them would work but they especially
pen tool will give you ok-ish results. But there is a better way of doing that, and that
is by using rotobrush over here. So that’s what we gonna do. Single click on it and
then double click on this “Draw mask on this layer”. That’s gonna open this thing and if you zoom
in by using control plus, or command plus on mac, it will allow you to kind paint those
green lines, like this, and After Effects will try to calculate that mask around those
lines. So something like this, actually you
can see it’s not too bad. Obviously we will run into issues
as we just did, so you can see that purple line goes way out of our intended
masks so we will have to do is hold down alt and just drag like this and that will remove
that part of the image. So every time something is not right, like here for example, we will just zoom in a little bit, and you can do that,
and that will remove it from that mask. Now obviously rotobrush,
especially in After Effects, is not that great when comes down to hair
like this. But it will do for now. Alright so I think something like this will do, obviously it’s not perfect,
you have areas like down here, which is not really that great,
but you know, what can you do. Areas like these two, all we have to do is
hold down alt and drag line like that, it should calculate them. Yeah that’s absolutely fine.
Now that we have our outline in place, what we have to do is convert that into an
actual mask because this, this point, is not really a mask, it’s a rotobrush, so we should
kinda convert that to a individual masks, and you do that by going to layer and selecting
auto trace. Leave everything as it is. Click ok and it should provide you with separate
masks. If you open this, go into masks, you can see we already have three masks here. Now one thing to mention is, go back to your
selection tool and close this panel here because now we are in layer panel and you really want
to go back to composition panel. So close that layer, now you are back into composition
and we zoom in you can see that we have these outlines. These are actually the masks that
the rotobrush created when we created when we used autotrace. So, one thing to do here
is you can clearly go to rotobrush over here or just down here in effects controls and
what you can do is delete it or disable it for the time being and you will realise that those
three masks that autotrace created are actually set to none over here. So We need to change
that. Mask one, what isa the main outline, should be set to add. Mask two and mask three
because they live inside of that mask one, they need to be set to subtract because we
want to subtract them from that mask one. So now you have your mask layer number one,
we can close this go back to this dashboard. There also other tools you can use like puppet
tools, displacement maps on that specific layer. So these are more advance tools but
we will come back to these tools when we do the actual animation on this picture.
Lets close this dashboard, that brings us back to this main dashboard and you can see that
layer number one is now infront of that green cage that we have here. Right. Next layer then is number two,
I would probably use something else here. If you double click on it again make
sure you are in that selection tool. I would probably use layers from photoshop
because I already pre-created this whole picture inside of Photoshop. Double click
on import and all we have to do now is just bring those layers over here. So minimize
After Effects, open Photoshop, now here I just created couple of layers so this is our
original image. Then I basically started adding, this is layer number one, as you can see I
mean, masking tools in Photoshop are so much better in terms of like hair here, things
like that, it is a lot a lot better, obviously this area here down there needs little bit
more attention but that’s fine. Ok so that’s layer number one
and we have layer number two which is basically that rock behind them. Layer number three, obviously that big rock.
I put that rock there as well but I don’t really think we gonna need it so, just select
that mask, go to brush, brush is by the way over here. Click on that, make sure my foreground
colour is set to black and all I have to do is paint it out like this. It’s not gonna
be on that layer any more. I also created Layer number four but again I don’t think we gonna need
that layer so maybe just drag it to this bin over here. OK. Enable all of these layers, hit save. That
will save it onto your drive, now you can close Photoshop, get back to After Effects,
go to project panel over here. Click on it and same what we did with our JPEG, all we
have to do is go to file, import, import file and select that PSD file, hit import, that’ll
give you this dialogue. “Import Kind” chose composition,
“Layer Options” choose “Merge Layer Styles Into Footage”, we don’t really need
editable layer styles And click OK.
Now this is going to create two things here, one is the actual composition where you can see all
of your layers inside of that and the second one is folder that contains all of your individual
layers as such. We don’t really care about that composition down there, we don’t need
it really, so you can select that, delete it. All we care about are those four different
layers. So this is layer number two, so select that layer number two, drag it all over down
here into layer two import and as you can see again we are having the same problem and
that being that image is way to big for that composition, so we should scale it down.
Now, you don’t really want to manually scale this specific layer because you already did all
of your scaling in that photo over here. As you remember we kinda parented that layer
and did all the scaling here so ideally I just want to copy these kind of values over
to that layer here. There is better way of actually doing this, and all we have to do
is click on this swirl and just make sure you hold shift, and then parent it to that
top layer here. And that will, tada! Copy all of those attributes from this original
ADD photo and apply them to that layer number two Now, if we decided that this picture
needs to be a little bit bigger, say like this and then we just go to this, you can see
that it is automatically applied as well, so this is a way better way of doing this rather
than applying individual scaling options to those layers. Let’s just put that back as
it was and tada, we are done with this importing layer number two. I’ll go ahead and do layer
number three as well, so close those compositions, close this, chose the dashboard. Give it a
second and now you can see, that rock appearing behind them, so pretty cool. Now let’s just do the same thing with
layer number three. Again we gonna use that import, double click
on import, then layer three, drag it down there. Swirl, click, drag, hold down shift, that
is really important if you don’t hold down shift, it’s not going to copy those values
so make sure you hold down shift. Release, tada! Copy so now you can close this. Now we are in the dashboard so we can close
that as well. Give it a second and should bring that rock over here. Alright, I think
we are done here with our layer set ups so we will move on and do cage animation. So lets just focus on this thing here and
this is our cage controller. Now to better understand how this actually works
and how Horizon is actually treating that cage, what would be beneficial if we just go back here
to our pictures, and I’ll show you couple of different
examples on how you would set up that kind of cage. So this one for example, I would probably
just set up that cage in this way. This is wall, this is back plate over there, this
is another wall and obviously that is the roof and that is the floor down here. So something
like this. That’s wall one, wall two and then obviously putting her into mask. So this is
how would set up that kind of projection on this specific image, also obviously other
scenarios like this one. Pretty cool. This picture would be better if we, well obviously
we gonna put him into layer but, I would just create back plate that is wide as this so
actually goes beyond the edge of the image. So that’s the back wall of that cage that
we’re going to be doing and then obviously floor would go something like this, right.
So that will be the floor of that cage. And now do exactly opposite for sky.
So something like this. Now obviously he is inside mask,
I wouldn’t bother about this thing down here. I just put him into mask. And that’s it. And back wall over here,
that would basically our back plate. I keep talking about back plate,
just visualise. This thing over here is the back
plate, this is the roof, this is the floor and these are the walls. I’ll show you how
to properly manipulate just in a second and if we just go back here. Things, I’ll show you one more example.
Again he’s definitely going into layer like this. So he is on that layer and I’d probably put
these boxes here into layers as well. And then in terms of the cage, I would do something
like this. So, this would be the backplate,
probably that DJ back, he should go into layer aswell. So, right, this is backplate,
this is wall and this is roof. We don’t see floor that much here
but we can actually put this whole thing into floor like, basically that will
be the floor then right. So obviously, as I said before
there are different scenarios on how to set up that kinda cage,
now obviously for pictures like this, you don’t really need a cage,
you can be pretty much fine with using parallax, so that’s absolutely fine. Let’s focus on our image and how we would
do that cage here. Now, obviously we just put horizon over there
and then they’re already in their mask. So they are already masked out and layer. That rock is in layer as well
and this rock is in layer as well. So all we have to do now is basically, selecting that
back plate which could be, I would probably say, something like this. Although we don’t see sky as much,
it’s good practice to kinda, assume that sky is there so you set up back
wall like that. This is the roof, and this is obviously the floor going on like this. So, lets do that. Now back to After Effects.
Now this is our main controller, make sure you are in that selection tool and if you
click and drag this, you see that this actually updates this main controller. Now one thing
to mention, over here down, down here, if you keep full selected that would mean this
is a 4K resolution, even though that the view port is kinda small. So what we have
to do is go over here, click on half, that will half it which would still full HD resolution
so your not gonna loose any kind of detail, this is just for preview. That’s absolutely
fine. Back to selection tool, I’ll just move it over here. Like this. You can do couple
of things with this controller actually, you can make it wider, like that which is something
we will be doing here. Move it up here so that it actually, that back wall,
matches with the horizons, so we make it smaller like that. Yeah that’s absolutely fine we don’t need
super, super precise, what’s more important are these things surrounding it. So this is
the roof, this is the floor plate, these are the side walls. Right, for this specific image I don’t think
we are gonna need side walls so we just gonna focus on roof and floor.
Now, in terms of roof, there’s not much to kind of focus on, all we have to do is rotate
that so it actually matches the direction of that, of that sky. So how would you do that?
It’s actually really simple. Make sure that it’s selected,
so click on it like that and then go to Effect Controls over here.
Now if you don’t see this if you don’t have that panel there, all you
have to do, go to window and select it down here. Effect Controls. So now, that being
selected, we can use rotation, so if you keep dragging that slider you will see that will
rotate that top plate. So, I think something like this is absolutely fine. Now we just need to extend it a
little bit further so it actually covers that area as well. You do that by basically
clicking on this drag it out like that. Yeah that’s absolutely fine. We not gonna need
these side walls so I’ll leave them as they are but they obviously same set of controls.
As you can see that panel here, really adapts to what ever you have selected, so if you
select the middle one, you can see that there are couple of other options like rotation,
up, down, left, right, tilt and all sorts of things like that where you can actually
rotate the whole cage like that if you need to. We don’t need it for this image, so all
I wanted to do is to mention that these walls here, they rotate exactly the same as the
main roof and floor. So, don’t worry about it too much. Now with this floor down here,
what we want to do, is obviously, start with rotation, so rotate it to something like this.
Probably a little bit more. Yeah that’s absolutely fine, now we need to
extend it. Now watch what happens if we extend that, for example, down here. You can actually
see that, that floor is now intersecting with our layer three and you can see that by kind
of focusing on that thing here. You can see that goes straight through that layer.
So, we need to fix that somehow. Easiest way to do that would be, make this smaller
so that actually ends with that layer down there, it doesn’t kinda extend to those two layers
we gonna fix them in a bit. So make it smaller. Yes, something like this is absolutely fine.
Now, the main purpose of setting up layers and floor like this is to kinda give you that
Photorealistic effect that, that rock is actually lying on that floor and you achieve that
by making sure that it doesn’t kinda intersect with that layer like this, but it is slightly
below that. So I think something like this is absolutely fine. Now what we need to do
is extend that floor and do the same for that rock behind them, which is this thing here and
then do then do the same thing for them and the rock. So, if you extend this like that,
and just remember fifty six over here. Kinda keep rotating this so you are focusing on
intersection between that floor plate and this first rock. If you keep doing that you
could actually see that we are now running into issues with this layer number three.
Now layer number two, again, things like that is intersecting but this this is intersecting
way too much so what we have to do is just go back where it was fifty six because now
we can be sure that, that is the position, the actual slope of that floor plate, for that
layer number three, and all you have to do is just kinda create another floor plate that
is coming from that floor plate one. And you do that by selecting that floor plate one
and going down here and it says activate floor two. Click on that and give it a second and tada.
Your floor plate number two which you can rotate interdependently from that floor plate
one so that’s what we going to to do because we want to now focus on that rock that is
behind them. Let’s just make it a bit bigger, and keep rotating until you see intersection
between that layer and the floor. So, I would assume something like this be fine, I mean obviously layer one is now obstructing it but that’s absolutely fine. We know we are
getting closer to it, so something like this absolutely perfect and now we gonna do the
same thing for layer number one. So select this floor plate two, go over here. Activate floor three, click on this, and that will
bring another control for floor number three. Now, that can be, again, rotated completely
interdependently from those two previous floor plates.
Now just make it longer like that and now you can actually see,
now we intersecting with that layer. So, something like this looks pretty fine, I would say. Now over here on this section you have
plenty of other options, each of these panels comes with their own
flaps for example. They allow you to kinda extend that floor plate to the left or the
right. So if you drag that it will allow you
to kinda create these kinda areas so if you have uneven surfaces you can play around with it. It really gives you a lot of flexibility,
but we are not going to need it with this picture, so just gonna to bring it back to
zero. That’s fine. And just to mention this, obviously these
extensions work across this whole controler so, you can kind keep extending walls if you
have different angles of your walls. So if you are doing buildings, stuff like that,
these walls will make that possible. Same with the roof as well, if you have something
uneven on your roof, you can keep extending those thing and achieve whatever you really
want to do, and as I mentioned those flaps for example, if you select that wall so we
can focus on that area here. You have flaps, top and flaps bottom,
so if you extend the flaps over here, it can kinda allow you keep that angle here but extend that wall down here,
it’s really important for things like stairs and stuff like that.
So that’s absolutely fine. I’ll definitely make a tutorial for it,
so don’t worry about it too much. One more thing to mention here is that,
I don’t really want to see the whole cage like this. I would really want to put some crop on it,
on this main image. And you do that in
this section over here, so come over there, single click on it. By the way when you see
grey button, that means single click and blue button means double click. So single click
on any of those buttons here, so lets say vertical which is 16:9 but rotated
the other way. Single click on it and then go into effect controls panel and click activate.
And that will give you that 9:16 resolution, which is by the way, ideal for things like
Instagram stories and stuff like that. Alright I think this is enough for this video,
we’ve covered a lot of different topics from masking to setting up your cage. In the next
video we gonna look into animating this picture. So if you look down here, this is where the
magic happens. Let me just quickly switch to that and just to show you how it actually
looks, so I’ve prepared some animation, so you can see what we will be creating something
like this. Full 3D animations, we’ll add some particles as well,
if we will enable this it will automatically add those particles into that 3D scene and we can choose different
types of particles. It’s going to be a lot of fun trust me. Alright so now you should have a solid understanding
on how to set up your 3D scene in horizon. We’ve covered opening Photomotion, adding
your picture, adding new layers and setting up the 3D scene. It might look a little bit
overwhelming especially if you’ve never done any Photoanimation before, but trust me, you
are more than halfway there. In fact, this was the difficult part. In the next video, we will animate our picture,
add 3D elements such as flying particles and tweak the animations
key frames so our result looks more professional. Then in part three we will look at exporting
our final animation out of Photomotion. You can find part Two and part Three of this
tutorial series in the links below. If you have any questions hop onto our live chat here,
or leave a comment below. I’ll see you in part two.

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