Tudor "ted" jelescu
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You can use the methods described in the previous answers, but I would render out of Maya a high frame rate- 120 or 240 fps. This way you have all you need for slow motion without quality loss when played at 25 or 29.97 fps, and you can speed up the footage as much as you need.
Tudor “Ted” Jelescu
Senior VFX Artist -
https://all-free-download.com/free-vector/filigree-flourish.html
There are other sites as well.
You need to do some work and separate the vector drawings in layers.
You can also use Autotrace in AI to use the bitmap you have and convert that to vector.Tudor “Ted” Jelescu
Senior VFX Artist -
Fastest and easiest way I found is to use FreeForm Pro (or the cheaper Free Form V2) from Mettle. It allows you to use displacement and 3d distortion. You can use black and white images as displacement maps, so you can just use Photoshop to create your own displacement map over the image of the map you are using in order to get the exact shapes you need to be displaced. If you can find the area of the map you need with a elevation map as well you can use that as displacement.
Tudor “Ted” Jelescu
Senior VFX Artist -
What do you mean by projecting the 3d masks? Wouldn’t a rendered out image/sequence with an alpha be what you need?
Tudor “Ted” Jelescu
Senior VFX Artist -
If you’re not familiar with a 3d app, you could try to build an approximation of the chair from 2d cards. It will look pretty angular, but if you will end up on the front side after a quick turn, you may get away with it.
Tudor “Ted” Jelescu
Senior VFX Artist -
No pic attached- without seeing it though I can suggest you make sure you can get some good track points and then you can use AE’s 3d camera tracker to get a camera solve and use that to comp in your footage. For a more realistic result though I would break your background in several layers and set them in 3d space to get parallax
Tudor “Ted” Jelescu
Senior VFX Artist -
Not quite sure I get what you’re asking, maybe because it seems too simple. Would fading up a black (or white) solid on top of your footage do the trick, or are you looking for a fade in the colors in the footage to solid shapes of black and white?
Tudor “Ted” Jelescu
Senior VFX Artist -
I would track the movement from a blade of grass or tree branch to get the same movement in the distortion and then link the x value to a distortion property in the Warp Distort or Bezier plugin on an adjustment layer on top of the flame, precomp that and comp in your final.
Tudor “Ted” Jelescu
Senior VFX Artist -
Maybe I do not understand your issue, but it seems to me that in your duplicate comp you can just use the track data to apply that to a Null (or just use the camera itself), parent the objects you require in the shot to it, then orient them using their individual controls.
Tudor “Ted” Jelescu
Senior VFX Artist -
It may be a codec issue. If the file imports fine in Premiere, render a audio track only out of it and import as separate file in AE.
Tudor “Ted” Jelescu
Senior VFX Artist