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Import the image into a new document and erase out the edges to blend smoothly into a black background. Open up the light stream image into Photoshop, adjust the Levels, Curves and Hue/Saturation to darken out the background and brighten up the light streams. HereвЂ™s my example weвЂ™ll be working with in this article. Experiment with various camera settings and movement techniques to record a collection of images to choose from.ДЄfter a few attempts youвЂ™ll have a good selection of images to work with. With torch in hand and camera active, wave your arms around like a mad-man/mad-woman until the shutter closes.

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Setup your camera on a tripod or sturdily rest on a hard surface, in manual mode set the camera to a high Aperture F value to increase the depth of field, and lengthen the shutter speed to around 20 to 30 seconds.

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Torch wise, any household light emitting device will do, but feel free to experiment with various styles of torches, bulb, LED etc.ДЇind yourself a large space, close all curtains and turn out the lights making the area as dark as possible. Ideally an SLR type camera would be the better option, as an extremely long exposure time and small aperture setting are required. To begin, youвЂ™d need a couple of items, namely a digital camera some kind of torch.

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If you would prefer to skip straight to the digital techniques, download the ready-made resources from the Six Free High-Res Glowing Light Stream Images post and head on down the page! In this article weвЂ™ll be starting from scratch, working away from the computer to gather together the resources which weвЂ™ll be manipulating later.

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The clip of your Twitch text looks great.My previous How to Create Intense Light Streaks in Photoshop article turned out to become the most popular tutorial here on Blog.SpoonGraphics, so it seems to be quite a hot topic! It makes sense, therefore to take another look at the intense light effects area of design and experiment with a range of techniques to produce our own vibrant artwork. But I sure would like to know how to get the most out of the standard RPF camera/channels import.ДЄnd thanks for taking time away from your Tinker Toys to share your knowledge. I will be upgrading my MAX2AE plugin for more control. However, 3D Channel Extract plugin in AE only allows you to import 8 (and the Background RGB doesn't appear to do squat). Also, on extracting the channel data in AE. I would love to see a VCP tutorial on this. I believe the scaling issue is due to not using the same same focal length in AE as in the 3D app. AE uses the upper left corner of the comp as the 0, 0 point instead of the center as in 3D apps. I remember seeing a tutorial somewhere that said the problem is the 2 different coordinate systems. Then, I add a solid with 3D switch on and it is out of position. Yeah, I'm running into the same problem as Golemek.ДЄfter rendering the RPF sequence in Max, I import to AE and extract the camera data. This is obviously a shot for the Twitch promo video that should be online soon. Cinema 4D has some very nice methods of integration and there is also a helpful plug-in for 3DMax called MAX2AE.ДЄnother concept weвЂ™ll cover in the future is rendering multiple passes from your 3D application to give you more control over compositing things like shadows and reflections. There are many ways to integrate your 3D program and After Effects but this method is great to know. Of course the camera data is locked to the rendered 3D animation so I canвЂ™t make changes to the camera, but I can easily place layers and particles into the scene with the ease and speed of After Effects. So now I can add 3D layers and elements and they will adhere to the same camera movements right inside of After Effects. By simply right-clicking the layer and choosing вЂњKeyframe Assistant-> RPF Camera ImportвЂќ, this instantly creates a new camera with the same coordinates and animation as my 3D max camera. This is the information needed to recreate my 3Dmax Camera in After Effects.ДЄfter importing the sequence into a new AE comp, I can extract the data into a usable 3D camera. Instead I rendered the shot plainly but I saved my animation in a special format called RPF and made sure to include the Z Depth information. While working on this title graphic, I wanted to add some smoke and particles but I didnвЂ™t want to keep rendering to see what my particles would like in 3D max. Some things are easier to control in a 3D application and some things are better suited for compositing in After Effects.

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