The image below is what we’re talking about. As a consequence the 3D files of these two logos will look rather messy: The only disturbing factor is that the lines above and under the text were not cut away. The image on the right is somewhat better: the contrast between the text and the background is consistent and the angle is correct. Additionally the photo was taken from a bad angle, making the logo look warped, and the slogan at the bottom and the top right corner were not cut away. The sides of the image are very bright while the center has a dark patch. The image on the left does not have a consistent background. Once you start using a converter app like Selva 3D, you need to make it as easy as possible for the app to understand what’s part of your logo and what isn’t. A good contrast between the text (or logo) and the background is essential for a successful transformation into the third dimension. Clean Up the 2D Imageīefore you start thinking about the 3D model, take a moment to look at your 2D image. However, many of these tips and tricks are also applicable to other websites or tools. We were really impressed by the high quality and recognition capabilities of this app, so we’re going to focus on this one for this tutorial. You simply upload your 2D image/logo/text on their website and they provide you with the printable 3D model. ![]() To turn logos and text into 3D models, we use the freemium online tool Selva 3D. If you’re more interested in photos, click here for another tutorial. In this blog post we’ll concentrate on logos and text. Logos and text files are very different from photos. The first step is to take a look at what kind of 2D files we are talking about. Luckily, this is easier to achieve than it sounds. Animate the camera’s position however ensure that you do not go overboard with the amount of movement as too much will give away that the screen is just a compilation of flat picture layers.We receive a lot of questions about how users can turn any two-dimensional objects (such as 2D logos, images, photos, text, etc.) into three-dimensional, 3D-printable objects. To move the camera, in the controls panel activate keyframing for the camera’s position. The different layer depths result in a parallax effect when the Camera is moved which is what happens in real life. As before, increase the scale to bring the background to the correct size. Now for the background layer, doing the same thing, increase how far back it is in Z space. Because the Midground layer has been pushed back in space, it no longer fills the screen anymore, to rectify this, increase the scale until it looks like it did before. Under the transform, set the Position to something negative like -500 the exact number depends on the picture you use and how far it should appear from the camera. Select the midground layer and go into the controls panel. The Foreground layer will remain where it is. Now that we have isolated the foreground, midground, and background, select the composite shot layers and change them from 2D to 3D – this will automatically create a new Camera. ![]() Lastly, duplicate the Midground layer, rename the duplicate Background and delete all of the masks present in the background layer. As before, begin to mask around the elements that are present in the appropriate depth from the camera – in this instance, these midground elements include the waterline, the near distant mountains, and the tree line. Temporarily hide the Forground layer while working in the Midground layer to be able to better see what you’re doing. Then, in the Midground layer delete all of the masks. ![]() With the foreground isolated, duplicate the layer and rename the duplicate Midground. In the Mask controls, Keep the Feather Strength of the foreground object masks low to preserve the sharp edges however, for the terrain, increase the Feather Strength so it fades in more drastically. We used a separate mask for the terrain of the foreground so we can vary the feathering. Next, create a Rectangular mask for the bottom of the frame, and position it accordingly. The mask for this must be precise as rough edges will make it obvious that the scene is a cut-out. Go into the freehand mask tool and mask around any of the shapes that are in the foreground to isolate it from the background – in this instance, we masked around the house. To keep track of the resulting images, rename the current image layer to Foreground. Begin by creating a new Composite Shot and moving the 2D image onto the timeline.
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