That looks fine, so what we’ll do is add two effects to our pale yellow solid.ĭo Effect-Blur and Sharpen-Fast Blur, and what this will do is kind of clean up our edges a little bit and give us a little bit of a slight glow to the core. I mean, that looks okay, you know, as our core, anyway. So, okay, now that we have that done, we’ll bring our opacity back up to 100, and now that we have our opacity back at 100, what we can do here is just kind of fix this up a little bit. Okay, so now that we have the roto-scoping done and we have the mask and the solid that follows the blade, and it’s in the shape of a blade – if you just scroll through the footage, you can see that here. You just want to do that for the entire shot so that the mask follows the blade of the light saber. So you just want to pretty much just move all these points and kind of keep it lined up with the light saber here or your broomstick. So you might want to do that on this end, too, just reposition them, and you want to do that for every frame. You can kind of just hold Control again and then move all those points together. This is the most time-consuming part of the entire process.Īnother little trick here is that you can kind of hold Control while you’re – while the pencil is activated and just click and drag, and you can select points.
So now that you have all your points, what you want to do is go into your mask properties by pressing MM on the keyboard, and you want to key frame your mask path, because what you have to do is you have to follow the position of the blade, so you’re gonna have to move your points in order to follow the position of the blade. So now that we have the three points here, you can draw a line all the way down and put three more points on this end right here. They’re not quite round, and they’re not quite pointy. Typically, a good way to do this is to do like a three-point section at the tip, and you want to just click and drag just a tiny bit just to round out the edges, just a little bit, though. So, from here what you want to do is create an outline of your light saber, and you’re gonna have to do this frame by frame, so as it moves, you’re gonna have to move the points with it. Okay, so now that we have our solid, what you want to do is lower the opacity to maybe 30 percent so you can see your layer underneath and you can see your light saber underneath. They actually have a pale yellow kind of core, so choose a color around there, pale yellow, and that looks good. Now, according to the good people at ILM, the light sabers actually have – they don’t have a white core. Okay, so what you want to do first is create a new layer, a new solid, and you want to make it a pale yellow.
It might help to get a light-colored broom so you can see it while you’re doing the visual effects. So that’s the good thing about a force effects light saber, but if you can’t afford that, then you could just do what we did and get a broom.
You have your blue blade passing by the wall, and the wall will pick up some of that light, because that’s actually captured on set. So it’s gonna help with this visual effect, because if you pass it by a wall, let’s say, the wall will have that slightly tinted glow, whatever color it is, like a blue. It’s around $100.00 and $130.00 or so, but it has a blade that actually glows. So you can just get creative, or you can go to Toys-R-Us or any of those toy stores, and you can get a force effects light saber, which is actually better, because what a force effects light saber is is a toy light saber. The handle was created out of different parts that he found at places like Home Depot and things like that. Dave, our actor, he created the handle, and we just took a broomstick from Target or, you know, any one of those stores and shoved it into the handle. So right here we have our footage, and before you go out and shoot anything, what you want to do is you want to create sort of like your light saber. So we’re gonna be creating this light saber effect here, so let’s just jump right in and get started. Hi, this is Paul Del Vecchio for Videomaker magazine, and this is what we’re gonna be creating today.
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