how to draw 3d cube and camera rotating around it

3D layers overview and resources

When you make a layer a 3D layer, the layer itself remains apartment, but it gains additional properties: Position (z), Anchor Point (z), Scale (z), Orientation, Ten Rotation, Y Rotation, Z Rotation, and Textile Options properties. Material Options properties specify how the layer interacts with light and shadows. Only 3D layers interact with shadows, lights, and cameras.

Individual characters within text layers can optionally be 3D sublayers, each with their own 3D backdrop. A text layer with Enable Per-character 3D selected behaves but like a precomposition that consists of a 3D layer for each character. All camera and light layers accept 3D backdrop.

Past default, layers are at a depth (z-axis position) of 0. In Subsequently Furnishings, the origin of the coordinate system is at the upper-left corner; ten (width) increases from left to right, y (meridian) increases from top to bottom, and z (depth) increases from well-nigh to far. Some video and 3D applications utilize a coordinate system that is rotated 180 degrees around the x axis ; in these systems, y increases from lesser to top, and z increases from far to about.

You tin transform a 3D layer relative to the coordinate space of the composition, the coordinate space of the layer, or a custom infinite by selecting an axis mode.

You can add effects and masks to 3D layers, blended 3D layers with 2D layers, and create and animate camera and light layers to view or illuminate 3D layers from whatever angle. When rendering for final output, 3D layers are rendered from the perspective of the active camera. (See Create a camera layer and change camera settings.)

All effects are 2d, including effects that simulate 3D distortions. For example, viewing a layer with the Burl issue from the side does not bear witness a protrusion.

Equally with all masks, mask coordinates on a 3D layer are in the 2D coordinate infinite of the layer.

When you convert a layer to 3D, a depth (z) value is added to its Position, Anchor Point, and Scale backdrop, and the layer gains Orientation, Y Rotation, 10 Rotation, and Material Options properties. The unmarried Rotation belongings is renamed Z Rotation.

When you convert a 3D layer back to 2D, the Y Rotation, X Rotation, Orientation, and Material Options backdrop are removed, including all values, keyframes, and expressions. (These values cannot exist restored by converting the layer back to a 3D layer.) The Anchor Point, Position, and Scale properties remain, forth with their keyframes and expressions, but their z values are hidden and ignored.

Convert a layer to a 3D layer

Convert a text layer to a 3D layer with per-character 3D properties enabled

Convert a 3D layer to a 2D layer

3D axes are colour-coded arrows: red for x, green for y, and blue for z.

If the axis that you lot want to dispense is difficult to see, try a different setting in the Select View Layout menu at the bottom of the Composition panel.

Chris and Trish Meyer provide a video tutorial on the ProVideo Coalition website that demonstrates the apply of the 3D axis layer controls.

Rotate or orient a 3D layer

You can turn a 3D layer by changing its Orientation or Rotation values. In both cases, the layer turns around its ballast point. The Orientation and Rotation properties differ in how the layer moves when you animate them.

When you breathing the Orientation property of a 3D layer, the layer turns as directly as possible to reach the specified orientation. When y'all animate whatsoever of the X, Y, or Z Rotation properties, the layer rotates along each individual axis according to the individual property values. In other words, Orientation values specify an angular destination, whereas Rotation values specify an angular road. Breathing Rotation backdrop to make a layer plough multiple times.

Animating the Orientation belongings is often better for natural, smooth motion, whereas animative the Rotation backdrop provides more precise control.

Rotate or orient a 3D layer in the Limerick panel

Rotate or orient a 3D layer in the Timeline panel

Online resources near rotating and orienting 3D layers

Donat Van Bellinghen provides some expressions on the AE Enhancers forum for placing and orienting a 3D layer in the airplane defined by three points.

Centrality modes specify on which prepare of axes a 3D layer is transformed. Choose a manner in the Tools panel.

Local Centrality mode

Aligns the axes to the surface of a 3D layer.

Globe Axis mode

Aligns the axes to the absolute coordinates of the composition. Regardless of the rotations you perform on a layer, the axes e'er represent 3D space relative to the 3D globe.

View Axis mode

Aligns the axes to the view you have selected. For case, suppose that a layer has been rotated and the view inverse to a custom view; whatever subsequent transformation fabricated to that layer while in View Axis mode happens forth the axes respective to the direction from which yous are looking at the layer.

Differences between the axis modes are merely relevant when you have a 3D camera in a limerick.

The Tools console remembers the terminal-used 3D axis way when yous quit and restart After Effects.

The Photographic camera tools e'er adjust along the local axes of the view, so the activeness of the Camera tools is not affected past the centrality modes.

Angie Taylor explains 3D axis modes in this tutorial.

3D layer interactions, render order, and complanate transformations

The positions of sure kinds of layers in the layer stacking order in the Timeline panel foreclose groups of 3D layers from existence processed together to determine intersections and shadows.

A shadow bandage by a 3D layer does non bear upon a 2D layer or whatsoever layer that is on the other side of the 2D layer in the layer stacking order. Similarly, a 3D layer does not intersect with a 2D layer or any layer that is on the other side of the 2D layer in the layer stacking society. No such restriction exists for lights.

Only like second layers, other types of layers too prevent 3D layers on either side from intersecting or casting shadows on ane another:

• An aligning layer

• A 3D layer with a layer style applied

• A 3D precomposition layer to which an event, closed mask (with mask fashion other than None), or rails matte has been applied

• A 3D precomposition layer without collapsed transformations

A precomposition with collapsed transformations (Collapse Transformations switch selected) does non interfere with the interaction of 3D layers on either side—as long as all of the layers in the precomposition are themselves 3D layers. Collapsing transformations exposes the 3D properties of the layers that compose the precomposition. Essentially, collapsing transformations in this case allows each 3D layer to be composited into the chief composition individually, rather than creating a single 2D blended for the precomposition layer and compositing that into the main composition. The tradeoff is that this setting removes your ability to specify certain layer settings for the precomposition as a whole—such as blending style, quality, and motion blur.

Shadows cast by continuously rasterized 3D layers (including text layers) are non affected by effects practical to that layer. If you want the shadow to bear witness the results of the issue, then precompose the layer with the effect.

To ensure that the shadow remains where expected on a 3D layer with a track matte, precompose the 3D layer and the runway matte layer together (but don't collapse transformations), then utilise the shadow to the precomposition.

Effects on continuously rasterized vector layers with 3D properties are rendered in 2D and then projected onto the 3D layer. This projection does not occur for compositions with collapsed transformations.

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Source: https://helpx.adobe.com/after-effects/using/3d-layers.html

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