User's Guide Low Poly OBJ Importer v1.0

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1 User's Guide Low Poly OBJ Importer v1.0

2 Chapter 1 How It Works 1 Chapter 2 Quick Start 2 Chapter 3 Main Interface 3 Import 3 Object/SubObject Selector 4 Fill Options 5 Stroke Options 7 Global Options 8 Chapter 4 Chapter 5 Chapter 6 3D Object 10 Composition 10 3D Layers 11 Export from 3D Apps 12 Export 12 Contacts 14

3 How it works LowPoly OBJ importer enables users to import *.obj files into Adobe After Effects 1.Create or download a simple model at OBJ format. Open it with the LowPoly OBJ Importer script. 2.The model will be imported as a set of 3D layers in a single composition. You can rotate it, resize, apply effects etc as usual. With a script you can apply simple shaders that allow objects look like a 3D without using of additional light sources. 3.You can save the model as *.aep file and open at the other workplace as a regular project file without any scripts or plugins. Keep in mind that the After Effects is not a software for 3D modeling, so there are some limitations for a imported model. - The number of polygons. Depending on the performance of your computer, the model should contain no more than polygons. - The polygons of a model must be planar at the other case there may appear a gap between the layers. A polygon is planar if all its points lie in a certain plane. There are several solutions to this problem. a) You can edit model in a 3D application to transform into a planar polygon. b) Try to break into triangles ("triangulate") non-planar polygons or whole model. с) You can slightly increase the size of the polygons via Offset Amount. d) Do nothing. Quite often, the gap between the layers very small. - Textures and animation are not supported. Sad but true. - The object must be in the same composition as the camera. - Due to a software bug After Effects sometimes incorrectly displays 3D layers. This problem looks as follows: layers that are farther from the camera overlapping layers that are closer to a camera. In this case, it is necessary to reduce the scale of the object move the camera closer to its point of interest as long as this problem persists

4 Quick Start 1. Start Adobe After Effects 2. Create a new composition and camera inside it. 3. Choose File - Scripts - Run Script File 4. Open OBJ_Importer_v1.0.jsxbin 5. Or place OBJ_Importer_v1.0.jsxbin into the "ScriptUI Panels" folder within your After Effects Windows : A fter E ffec ts */S upport Files /S c ripts /S c ript UI P anels Mac: /A pplic ations /A fter E ffec ts * /S c ripts /S c ript UI P anels * - your vers ion of After Effec ts. F or ex am ple After Effec ts C S5.5, After Effec ts C C etc restart AE and then run via Window - OBJ_Importer_v1.0.jsxbin

5 Import a new OBJ file Geometry imported from OBJ files appears in After Effects as 3D shape layers. Procedures To import new OBJ file Click the "OBJ File" button to open the import dialog. Choose an OBJ file to open and click Open. To set import preferences Click the Setting [ = ] button to open Import Setting dialog Import Settings Flip ZX-axis When on, transfers all Y-axis values to the Z axis and vice-versa. Zero point to Center of Mass Positions the Anchor Point of each imported object at its center. When off, the Anchor Point are positioned at the world center: (0,0,0). Scale Factor Determines the scaling for the contents of the OBJ file on import. The default value of 1.0 means no scaling is performed.

6 Object/SubObject Selector The objects in the imported OBJ file appear in this scrolling list. For simplicity we will call them SubObjects. Each SubObject can have its own set of parameters. A composition, which contains a SubObjects will be called Object. Procedures To select SubObject from list Click on name of SubObject To select Object Select composition on Timeline and click "Select OBJ Comp"

7 Fill Options A fill is a color and opacity inside a polygon. If possible, Fill Color set from the material library during import. Interface Fill color Displays the selected SubObject's color and lets you select a new one. Click the button to display the Color Picker dialog. Opacity [0..100] Controls how transparent the fill is. This value is a percentage: at 0, the material is completely transparent, at 100, the fill is completely opaque. Skylight [ ] The Skylight is modeled as a direct light from plane of infinite size placed above the Object. Defines the amount of light that emits this panel. Use Gradient Gradients shade from one color to another. Sets the Second Color on faces whose normals point outward from the active camera view, and Fill Color on faces whose normals are parallel to the active camera view.

8 Second Color Displays the selected SubObject's second color and lets you select a new one. Click the button to display the Color Picker dialog. Midpoint [ ] Controls the center point of the middle fill color. Color Mixing [ ] Adds noise to the color gradient function.

9 Stroke Options A strok e is a visible outline of a polygon. Interface Stroke color Displays the selected SubObject's stroke color and lets you select a new one. Click the button to display the Color Picker dialog. Opacity [0..100] Controls how transparent the stroke is. This value is a percentage: at 0, the material is completely transparent, at 100, the fill is completely opaque. Width [0..10+] Sets the width of the outline on the current object

10 Global Options These settings affect both the fill and stroke. Interface Single Material Sets the same setting for all SubObjects. Offset Amount Makes the outer border of polygons bigger or smaller, depending on whether the value is positive or negative. Cast Shadow Specifies whether the light source causes a SubObject to cast a shadow. Hide BackFace Defines whether or not a polygons of SubObject should be visible when not facing the active camera. If the Falloff Opacity Midpoint (see below) value is negative then inverts the visibility of ploygons

11 Falloff Opacity Defines global opacity, depending on the angle of the material to active camera view. It can be useful if you create "x-ray" material. Midpoint [ ] Controls the center point of the middle global opacity.

12 Composition of a 3D Object A composition, which contains a 3D shape layers (SubObjects) will be called Object. The name of of the composition is the same as the OBJ file name. Inside Object composition stores the name of the parent composition. Com p1 - nam e of the parent com position If you move the Object to another composition, you must change the parent name.

13 3D Layers This is an excerpt from the Adobe After Effects help The positions of certain kinds of layers in the layer stacking order in the Timeline panel prevent groups of 3D layers from being processed together to determine intersections and shadows. A shadow cast by a 3D layer does not affect a 2D layer or any 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 order. No such restriction exists for lights. Just like 2D layers, other types of layers also prevent 3D layers on either side from intersecting or casting shadows on one another: An adjustment layer A 3D layer with a layer style applied A 3D precomposition layer to which an effect, closed mask (with mask mode other than None), or track matte has been applied A 3D precomposition layer without collapsed transformations A precomposition with collapsed transformations (Collapse Transformations switch selected) does not 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 main composition individually, rather than creating a single 2D composite 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 mode, quality, and motion blur. Shadows cast by continuously rasterized 3D layers (including text layers) are not affected by effects applied to that layer. If you want the shadow to show the results of the effect, 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 track matte layer together (but don t collapse transformations), and then apply 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. OpenGL rendering does not support this kind of projection, so results may differ when rendering using OpenGL. This projection does not occur for compositions with collapsed transformations.

14 Export from 3D Applications To reduce the number of polygons use these settings. 3DS Max Blender

15 Cinema 4D Unfortunately, Cinema 4D always uses triangulation. This may lead to an increase in the number of polygons. You can use a third-party plug-in that allows you to export the polygons.

16 Contacts You can always contact me through my profile. Or directly via mail. Oleg Yarko 2015

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