Using this iconic scene of Sarah Connor in 16:9 ratio for a 2160x2112 final output size. The edges would need to be heavily cropped to achieve the new composition. Each layer that would go into z depth had to be cut out, cleaned up. Basically you are recreating areas that don’t exist in original image like the hood, fender and tire behind Sarah Connor. Parallax is a technique where you use a still image cut it into pieces and layer them in z space for depth of field. For this one, bokeh, lens flares and dust helped show depth between Connor and the background and foreground. To help make the movement more dramatic a blurred Joshua tree was adding in the foreground.

For the 2nd Sarah Connor parallax this screen shot was used. With not much going on in the foreground, images from the factory scenes were found to be cut out and placed in foreground to give the proper parallax depth of field. As you can see from the original to the parallax video, the light bulb in front of her head was not in the original. The sparks falling down were painstakingly cut from various other scenes for the slo-mo look.

JOHN CONNOR PARALLAX VIDEO

John Connor’s second parallax screen shot selection worked great for the heavy cropping required. The cropping was able to frame his face nicely. Sparks were cut out from other scenes and added in for depth and slo-mo look. Some railing found from another scene helped give the scene’s depth of field in the parallax technique.

T-1000, the villain! For this one, the pulleys, chains and pipe was moved to the other side for a proper depth effect. Chains were found from other scenes, cut out and placed in the foreground. Spark particles effects and bokehs added for extra realism.

T-1000’s police scene with it’s cold blue tones was a nice contrast to the warm colors of some of the other character scene’s color tones. Bokeh and light flares worked well in a night scene. A chain link fence was added to help achieve the parallax depth of field effect.

Although it would have been great to get the entire futurist gun into the parallax, the heavy cropping wouldn’t allow. Overall the scene still worked. Some twisted metal rods from other scenes were added in foreground and ground because otherwise this would look flat in comparison on the other parallax videos it would play in rotation with. Red glows to the eyes were a must!

Another iconic T2 scene of the battleground sequence. You will notice the background in the parallax piece looks much different. Many additional layers were found, cut out and added into the composition. Rubble, skulls and twist metal rods were added to help conceal the area of his T-800’s torso that is not shown in original scene. The arm and bottom of the gun had to be recreated to achieve this shot. And of course, a red glow was added to T-800’s eyes.