Tudor "ted" jelescu
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Chop the large image in PS to manageable tiles, save as tiff, png or whatever you like, and then rebuild the image back in AE. Link all tiles to a Null and you have what you need.
Tudor “Ted” Jelescu
Senior VFX Artist -
There are 2 separate issues here. First is the glow for the fire footage. You should work in 16 or 32 bit color depth for your AE projects. This will enable you to get smooth soft glows. You can use AE’s own Glow effect applied to the fire and maybe a second pass on an Adjustment layer on top of all the layers to help blend in the effect. You can assign colors for the glow to have the orange reddish cast you want.
Second – the light on the cave walls. It would have been best to shoot this with a practical effect (like light generated from a real flame or flashlights) to get the shadows. However, there are several ways of complexity you can work towards. The easiest would be to create a vignette type of color grading around the fire (to give the orange red cast), making sure you animate the intensity of the brightness of the cave and the size of the vignette to match the flicker of the flame. Next step would be to create a series of garbage masks to adjust major features- actors, big objects and large rock face features. This should be used to highlight where the light hits and create shadows where the light casts them. For more detail add more masks for the smaller features (contour of face features, modeling on objects details…). One more Adjustment layer with an overall color correction, pushing the lighter areas to orange and the dark to a dark bluish gray should add to the overall effect.Tudor “Ted” Jelescu
Senior VFX Artist -
Your example is classic animation – several drawings of the sword and swipe, a couple of frames of each most likely with a crossfade in between.
That being said you could animate shape layers, have particle “light streaks” using Particular, or use the time effects and motion blur.Tudor “Ted” Jelescu
Senior VFX Artist -
No professional in the VFX business will give you any estimates without first knowing the details and seeing a storyboard. And by details I mean knowing how many fx shots exactly, what is involved in each and the exact length of each shot, together with any additional involvment, such as vfx on set/off set supervision.
Tudor “Ted” Jelescu
Senior VFX Artist -
From your response I gather you’re after a lower budget solution – the one man band type. The more expensive one involves few people.
You need a VFX director (to help you design the shot for production) that can also do the work in post production. Such a person can also provide you with a realistic budget.
For examples of what the plugin software for After Effects that I mentioned in my previous post can do, go to their websites and you can see a lot of examples in the tutorial section, or just google for additional examples.Tudor “Ted” Jelescu
Senior VFX Artist -
This may be a job for Syntheyes or Boujou.
Tudor “Ted” Jelescu
Senior VFX Artist -
Post a screen grab of your layer setup, the comp window and your depth map.
Tudor “Ted” Jelescu
Senior VFX Artist -
The question is what budget do you have? I understand it’s not enough to do a real stunt, but that does not tell us what you can afford. There can be several ways of approaching this – from custom modeling of the car, with digital actor doubles and fancy particle effects, crane shots and production done on location (of the cliff) to get the back plates to composit all later, to a much cheaper approach that uses less fancy production and simpler techniques, like using stock models of cars, Element 3d and Trapcode for the 3d animation and fog, and so on.
Tudor “Ted” Jelescu
Senior VFX Artist -
You either need to do a 3d camera track on the clip and then position the layer you want to comp on top in 3d space to match the angle of the wall you’re trying to paste it on
OR
You can use Mocha to do a planar trackTudor “Ted” Jelescu
Senior VFX Artist -
If you just need an extruded cylinder that perfectly matches the shapes, you can use FreeForm Pro or Free Form V2 to extrude the flat animation.
Tudor “Ted” Jelescu
Senior VFX Artist