THE FLARE PROJECTDESIGN PROCESS

TO BEGIN WITH, I DOWNLOADED ALL THE REQUIRED FILES AND UPLOADED THEM INTO THE COMPOSITION AREA IN ADOBE AFTER EFFECTS. THIS WILL ALL MY TO MANIPULATE EACH OF THE FOOTAGES, AND THUS CREATE THE FLARE SCENE.

AFTER BLENDING ALL THE FOOTAGES TOGETHER, I FEATHERED EACH OF THE LAYERS TO MAKE TO OVERALL SCENE APPEAR SEAMLESS AND POLISHED. ADDITIONALLY, I ADDED A MASK TO THE FLARE AND SPARK LAYER SO WHEN I PLACE ONE OF THE LAYERS OF THE OTHER, IT WOULDN’T LEAVE A FADED WHITE BACKGROUND.

HERE, I DUPLICATED THE SPARKS LAYER AND ROTATED IT SO THAT IT REFLECTED THE FIRST SPARK LAYER, THUS MAKING THE OVERALL FLARE LOOK ‘WHOLE’.

AFTER PUTTING ALL THE LAYERS TOGETHER, I BEGIN MOTION TRACKING. TO DO THIS, I FIRST HAD TO CREATE A NULL LAYER, AND THIS IS WHERE ALL THE DATA WILL BE STORED. I SIMPLY CLICKED A SPECIFIC POINT IN THE FOOTAGE (OR LAYER) THAT WOULD NOT BE BLOCKED OR GO OFF SCREEN.

THIS WORKS BEST MAXIMUM CONTRAST BETWEEN THE COLOURS. A BOX, WHICH POPPED UP IN THE CENTRE OF THE SCREEN, ALLOWED ME TO CHOOSE WHICH POINTS TO TRACK. ONCE THE FOOTAGE HAS BEEN PLAYED, AND AFTER EFFECTS HAS TRACKED THE AREA, I SENT EVERYTHING TO THE NULL LAYER - THIS IS TO PREVENT FROM RESTARTING EVERYTHING.