All language subtitles for 08_Adding_flares_into_our_shot_and_conforming_them_to_a_lens

in this lesson

we're gonna continue working on our flares

so I just finished these two trackers

the wing flare actually

stopped existing about halfway through the copper

closer towards the end

can see that the flare has disappeared from that area

instead we have this much wider flare

and the other flare we tracked

or I tracked was this blue gun

because I wanna add a little bit of a flare to this

because we're gonna have this glow uh bright

so let's begin by adding in a flare

alright so I'm gonna drop in a flare

and this is what the default flare looks like

so we can uh

I prefer actually adding flares in using a merge

so I can see them outside of the original

so I'm gonna grab our flare

and merge this alongside or into our main comp

so here is what the default flare looks like

not too interesting

it's just a ring

uh with some gray around it

now of course

we can come in here and begin modifying it

but really I like to create flares

starting with one of these presets

because they're pretty good for creating a nice

flaring system

so I'm gonna begin with the multi penta

and so this is gonna come in and configure our flair to

uh this sort of default

so let's look at our base here

and let's connect our position of our

wing into this flare

so I'm gonna hold control and

left click and drag from one animation

um panel to the other

and that will connect in our position

so let's call this our wing flare

here we go okay great

now from here we can begin modifying it

now flares take on the characteristics of the lens

as well as the characteristics of the light that are

bouncing around inside of them

so right now our multi penta is a red flare

so we could come in here and change our ring

and inner color to white to give it a white flare

because uh the light that we're reflecting

or that's bouncing off of this is white light

so let's take a look here

let's see 5.26 5.33 5.38

so the light is actually a little bluer than red

so let's actually give it a slight blue cast

and that's gonna bounce nicely off of our red ship

so we'll do that for the inner ring color

and the outer ring color

I wanna give this a little bit of fall off towards

the center cause I like that kind of a look

and let's go in and change our

ring colour to this blue as well

okay nice and we can come in

and change the shape or the characteristics of our lens

so let's go to the multi and

oh excuse me

let's go to the flare

and let's go to our shape

and let's maybe give this a seven

uh seven sided pentagon shape here

we can see that

and let's actually lower our inner color just a little

bit to give it that nice soft fall off that happens

uh because of spherical uh aberration or the um

we'll talk about that in the Boca lesson

so we can either darken this down by

decreasing the brightness or

modifying the mix inside of our merge here and

lens flares are incredibly complex

systems and they're incredibly complex um

effects so we're not gonna be able to go in

and create them very quickly

we're gonna have to layer these on and

I'm not gonna be able to go through the entire

layering process

in this lesson or even in this course

so while we'll be able to add in some flares

I'm gonna keep them very subtle

so we do not call too much attention to them

now under the multi tablets

actually decrease the brightness a little more

so we have some more variation

between these different flares

and we can go to the flare

and maybe increase the offset a little bit

pushing it away from our source

we can see here

and the tracker is of course

very important for the flare so that the

uh flare moves

and rotates based on

the position of that hotspot

now we could even come in and

modify the brightness based off of that hotspot

and we could animate this of course

but again that's getting a little bit too deep

or deeper than I would like to go for this

one thing that's important is that we

add in the chroma spread and the chroma shift

as you can see here

we can spread out or change the color channels

of our um flares

and so we wanna give it a just a little bit of a spread

so that the exterior is red

and we wanna give it a shift so that the color channels

split off of each other just ever so slightly

and again the multi penta will give us a nice default

but we can always come in and

modify those default values

okay those are looking pretty good for the wing flare

so now let's work on the gun flare

so I'm gonna add

another flare

and this is gonna be

important because we need to match our flares together

for example

one flare if it has Seven Corners

both flares needs to have Seven Corners

because Iris is not going to change shape

or our aperture is not going to change shape

it's always gonna have the same number of

corners or edges

so we have to be careful to make sure our flares

stay somewhat consistent

but do not exactly copy each other

so I'm gonna drop in another merge node and let us

track or add the blue gun tracker into this one

the hold control

position that

so now this flare is going to be going

off this position

and for the second flare

which is our

uh blue flare

I would like to give this again

a blue cast

um I'm gonna make it a little bit larger

actually quite a bit larger

and quite a bit softer as well

uh just to match the light

profile that this is coming out of

so it's coming out of a very large area

and it's gonna be a very diffuse light

so it's gonna have a lot of glow

uh so let's go up to our size here

and let's increase our radius

for this flare quite a bit

can see here that taking shape

uh now these flares are doughnuts

so we could increase this center one as well

and that's gonna grow the edge out to give it um

a slightly higher or a more defined edge

um it's a little bit too many elements for me

so let's go to multi

and let's lower the repeat down to maybe fourteen

uh maybe even lower

maybe down to 12

and if we want

we can come in

and change the seeds of this flare so that they do not

uh create exactly the same characteristics

uh so I'm just gonna change that seed

I believe we have

I thought we had another seed out here

but I must have been thinking of something different

so now by changing that seed we're gonna have again

a slightly different character for these lenses

and just as we have before

I'm gonna lower this mix down

I don't want this to be a

uh overpowering effect

I want this to be just a very subtle

uh sort of ghost shapes shifting

uh in our scene alright

so let's take a look at these two okay

this is looking actually pretty good so again

the thing with flares is

if you're going to make them stand out

you're gonna

need to invest an incredible amount of time into them

because the mechanics and the physics of lens flares

are incredibly complex and really

can only be solved by

um mathematical algorithms

which is why you'll find so many flare plugins

for so many applications

they're just too complex to manually create

the flare system here inside of nuke is good

for what it does

um it does not

do some of the higher order

uh defamations and changes of a flare

it will let us get some lens flares in a pinch

but again if we want a

really great lens flare that we're gonna

have our people focus on

our audience focus on

we're gonna want to invest more time

or into some sort of plug in

just wind this

you can see here the flares

uh just like everything else

slows down our scene a little bit

but the flares

add just a little bit of that nice movement

I think this flare

our wing flare

is a little bit too strong still

I wanna go in here and let us

turn down this mix

just a little bit further

because again

I want this to be an incredibly

subtle effect okay great

so I'm just gonna let this RAM preview or uh

let this preview into memory for

a few minutes or

a few frames

and then we can take a look at our current results

so just gonna rewind this

and pause the video while this processes

alright so we've got a few frames here

so we'll just play through them

and you can see how the lens flares just adds again

that another

layer of that light interaction that we're missing uh

or that is not strong enough in some instances

so again it's

it's just giving us more

layers of realism that we can then uh

appreciate while still focusing on the primary subject

okay great now

I should note that lens flares are one of

the only things we're gonna talk about an ad that

are actually very specific to the image

for everything else we've created so far

and most of the stuff we're gonna create later

can actually be applied to any image

so you could uh

gather these up into a group or gizmo

and apply them to

literally any photograph

any footage

any render and they will all come out exactly the same

or they will

add these effects almost

agnostically to what the image looks like however

lens flares are of course

based off of the light in the frame

and the movement of that light

in the frame

so you're gonna have to go in and

manually create those

whenever you wanna

add them to that footage

but everything else

can be applied

to almost anything

so now that we've talked about lens flares

let's go into the next lesson

and talk about diffraction

and the airy disc