Smoke is your enemy when dealing with multiple shots and be wary of comments about adding additional barrel smoke to guns.With regards to finessing relighting, exposure, size and flares, it's either Less is More or Go Fucking Crazy - it's rare you'll find some nice in between point with regards to getting feedback.Always show them in context, within a cut, at full speed because of point 1.They never look real because they're fucking strange.I'm going to share some tips I have for muzzle flash work - these don't necessarily act as feedback to your shot but they might help put your mind at ease :) It helps sure, but it goes no where near far enough to make you successful in your endeavours. It's good to know how to make something real but that's the vfx equivalent of a writer understanding correct grammar and having a thesaurus handy. But, as advice to people who are aiming to work within the industry, it's extremely limited and could lead you down the wrong path. Starting with what is Real is often helpful to us, but what is Real and what is Diegetic are very different things.Ĭorridor Crew make videos to sell views, and their opinions in this example aren't necessarily wrong - particularly if you're trying to make a muzzle flash that's 100% realistic to fit into your iphone-shot viral video where realism is essential. There's a huge intersection and discussion around the difference between realism and formalism in film and I think it's worth vfx artists keeping this in mind. Lighting in films is rarely realistic, instead its cinematic and formalist. It ignores the importance of storytelling and visual impact, both of which are incredibly important elements of visual effects. I know a lot of movies and shows do the big flashes like this but subtlety really is key to good muzzle flashes imo
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