Now we shift into a more imaginary area, albeit one with a few roots in our own world. How do you create the look of pure energy used for the blasters and lightsabers in Star Wars or the phasers and photon torpedoes in Star Trek (whose distinctions are familiar to me as an ex-Lucas employee). These are now visual clichés, yet they tap into an area of visual effects that seems to come up regularly.
The key seems to be that even these imaginary weapons of pure energy contain recognizable resemblances to phenomena from our own world: high-powered lasers and high-voltage electrical arcs, for example. The other key is that 32 bit per channel compositing makes the play of the superbright forces in a scene more natural, provided you know how to set them up.
The final key is really to take these effects beyond the tried and true, but that involves art direction concerns that are mostly beyond the scope of this book. The basic look is relatively simple: a hot white core surrounded by a luminescent glow.
Disclaimer: Although the author of this book and the guy who shot the footage used in this section both ex-Lucas employees who worked on Star Wars movies (in Matt's case) and related projects (in Mark's case), this bears no relationship to the "official" method for creating a lightsaber at ILM, which will never be publicly divulged by any soul, living or otherwise.
A couple of effects in the Render category of the Effects menu automatically create an element with a core and a surrounding glow. For your basic blaster or lightsaber effect, you might be tempted to reach for Beam. And why not, especially now that you can supercharge the look of Beam by working in 32 bpc?
True, a canned effect such as this surrenders artistic control for convenience, but it lays the groundwork necessary for what this section is all about by providing an element with built-in thresholding (albeit in 8 bitI'll review why that doesn't particularly matter in a moment). Other than the shape, it's customizable, as follows:
Figure 14.11. If you're still unconvinced about the power of 32 bit per channel HDR mode, check out how good this effect looks even though it's based on a simple (cheesy, really) 8 bit per channel Beam effect, with a Color Profile Converter to make it linear (optional) and, most essentially, Levels set to push the threshold areas into overbright land. (Source footage courtesy markandmatty.com.)
With Length in Beam set to less than 100%, you can animate the beam traveling between the Starting and Ending Points using the Time setting: this is designed as a quick way to animate a blaster shot, or power-up of the saber in this case.
What happens next is what gives it the cool factor, and just offhand there are several available options:
Figure 14.12. All kinds of trippy sci-fi looks can result from blending the type of "high energy" elements described in this section via HDR compositing.
Section I. Working Foundations
The 7.0 Workflow
Selections: The Key to Compositing
Optimizing Your Projects
Section II. Effects Compositing Essentials
Rotoscoping and Paint
Effective Motion Tracking
Film, HDR, and 32 Bit Compositing
Section III. Creative Explorations
Working with Light
Climate: Air, Water, Smoke, Clouds
Pyrotechnics: Fire, Explosions, Energy Phenomena
Learning to See