The Okino's CINEMA 4D import conversion system intelligently and robustly converts CINEMA 4D scenes and native.c4d files into a plethora of professionally supported 3D file formats and programs such as: 3ds Max (via PolyTrans-for-3dsMax), Maya (via PolyTrans-for-Maya), Collada, DirectX, DGN, DXF/DWG, DWF-3D, Electric. A '.max' file is a project file, simply open it in 3 ds Max (File > Open). You can then select the model and export it as FBX (File > Export > Export Selected). 3 ds Max, mesh splitet into many parts when importing. FBX or OBJ Models (Importing).
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. 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. After Effects can import 3D-image files saved in Softimage PIC, RLA, RPF, OpenEXR, and Electric Image EI format. These 3D-image files contain red, green, blue, and alpha (RGBA) channels, as well as auxiliary channels with optional information, such as z depth, object IDs, texture coordinates, and more. Though you can import composited files with 3D information into After Effects, you cannot modify or create 3D models directly with After Effects.
After Effects treats each composited 3D file from another application as a single 2D layer. That layer, as a whole, can be given 3D attributes and treated like any After Effects 3D layer, but the objects contained within that 3D file cannot be manipulated individually in 3D space.
To access the 3D depth information and other auxiliary channel information in 3D image files, use the 3D Channel effects. (See.) 3D Channel effect plug-ins from fnord software are included with After Effects to provide access to multiple layers and channels of OpenEXR files. (See.) After Effects can also import baked camera data, including focal length, film size, and transformation data, from Maya project files as a single composition or two compositions. (See.) After Effects imports camera data saved with RLA or RPF sequence files. (See.) Softimage PIC files have a corresponding ZPIC file that contains the z-depth channel information. Although you can’t import a ZPIC file, you can access the additional channel information as long as the ZPIC file is stored in the same folder as the imported PIC file. Similarly, Electric Image (EI) files can have associated EIZ files with z-depth channel data.
As with ZPIC files, you cannot import EIZ files into After Effects; instead, you simply store them in the same folder as the EI files. For information about creating EIZ files, see your Electric Image documentation. Lutz Albrecht provides a two-part document on the 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 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 explains the RPF format and how to create RPF files in 3DS Max. The 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 from Learn by Video.