![]() This is the sort of brightly coloured flares sought by people who paint the inside of lens barrels with fluorescent paint. Like a lot of lens effects, that sort of glow can reflect from the inside of the lens barrel, creating an image that’s flipped horizontally and vertically from the light source which motivated it. Simulating them is a simple matter of blurring and recompositing. Totally accurate flare in post is difficult because no camera has enough dynamic range to let us pick out the very brightest parts of every possible frame and add glow to them, but subtle veiling is really just a large glow, and less sensitive to being precisely located over its motivating light source. We’ll derive the glow from elements of the image itself. ![]() The thing is, when we’re trying to make something made on a Canon kit lens look like it was shot with classic Cookes, we’re not after the rings and dots of a Photoshop lens flare. So popular was the technique that some visual effects sequences still look like they’d been shot with several wildly different lenses all in the same frame the undersea visual effects for 1990s submarine sci-fi SeaQuest DSV were effectively a lot of glowing lights in the dark. Computers have been attempting lens flare effects since the mid-90s, and by the time Knoll Light Factory emerged, it was possible to create things that looked reasonably realistic. On the subject of flare, glow and veiling effects are effectively variations on lens flare. The high contrast branches against sky will show some of the things we're going to do Variations on a theme People like clever lenses because they are almost infinitely subtle and exquisitely nuanced, but happily so are pixels.Īll of the images in this section are based on this HD crop of a photo by Pexels user Josh Hild. Real lenses cause glow and flare, diffusion, an impressive catalogue of geometric distortions, vignetting and various kinds of blur with or without chromatic aberration, and that’s if they’re clean. If our “creative” turns out to be the quality control analyst’s “fuzzy,” there’s an undo key. There are good reasons that post is the actually best place to pretend we’ve paid lots of money for creative lenses. Many of those things we’ve already discussed in relation to titles are already lens effects, though treating the whole production in the same way feels a lot riskier. As we discovered last time, however, there are ways to do similar things to pictures without needing to don protective clothing. When something in a movie needs to look old, someone from the art department dumps bleach all over it then rubs the edges with a cheese grater (or something). Given that vintage glass is not only holding its value but getting more expensive, digitally recreating some of that classic look digitally is a sound option.
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