Subsequently, prior knowledge of the noise level was introduced in the regularization to achieve a meaningful approximation of the exact value. A method to estimate the noise level of radiation intensity was developed, experimental results showed that the signal-to-noise ratio ( SNR) of radiation intensity can be successfully inferred when the SNR is greater than 20 dB. The effects of the number of detection lines, optical thickness and measurement errors on the reconstruction results were discussed in details. The inverse radiative transfer problem of reconstructing distributions of temperature and soot volume fraction from the knowledge of flame radiation intensity was transformed into a minimization optimization problem and a meta-heuristic algorithm was used to solve the problem. In this numerical study, radiation intensity of muzzle flash received by the high-speed Complementary Metal-Oxide-Semiconductor (CMOS) camera was simulated based on the line-of-sight method in the direct radiative transfer problem. I see way too many badly done muzzle flash effects on YouTube to not want to do this basic Visual Effects 101 tutorial.It is quite a challenge to obtain the temperature and species concentration fields of muzzle flash at high noise level. And this video will show you how :) Compositing the layers for a realistic muzzle flash It is really not hard to add a few layers onto your scene to create great looking gun fire. Of course, these are not hard set rules so experiment if something doesn’t seem to fit right – to me, that is always the most fun part anyways :) To create this effect, you will have to composite a number of layers. The first thing I add is the actual muzzle flash effect. I really love the Action Esssentials 2 package from VideoCopilot and for $99 for the 720p version, I highly recommend it. However, you can also find free action stock footage just by searching on google :) It’s filled with pre keyed stock footage and I use it almost daily. Here’s a useful link to free stock footage from detonation films.Īnyways, take and position a muzzle flash element on top of your base footage. Next, add another solid colour layer to simulate the light emitting from the muzzle flash. Set it to a colour that is very similar to the muzzle flash and change the blend mode to additive. Just putting a solid layer over everything does look pretty crappy. If there was a real muzzle flash in the scene, only the elements facing the front of the gun would be lit. Once you’re done, your shot should look something like this: We can simulate this by applying some masks and cutting out only the areas that would directly be hit by the light. It’s not bad, but I personally find that using a simple overlay layer to simulate the muzzle flash light sits very unnaturally on top of our footage rather than in the scene. We can make this look a lot more natural with a technique I described in my After Effects – Natural Lighting VFX Using Mattes tutorial: by creating a matte layer. You can create matte layers in most compositing software packages, but I will talk here in terms of After Effects to keep things simple.ĭuplicate the base footage layer and drag it above the light layer. Add a saturation effect and bring the saturation down to 0 so you end up with black and white footage. Then, add a brightness/contrast adjustment and increase the contrast. The idea is that the bright areas of this matte layer will essentially define the opacity of our light layer. Where the matte is brighter, the light layer will be more opaque, where the matte is darker, the light layer is more transparent.įinally, add a blur effect to soften the matte a little bit. Now go to the ‘track matte’ option for your light layer and set it to ‘luma’. This tells After Effects that the opacity for this layer is defined by the brightness of the layer directly above, which is our matte layer. And voila, the light from the muzzle flash sits a lot more natural in the scene. I know, I know, it’s not ‘realistic’, but the whole point of the matte is simply to glue the light and the footage together and make the light be dependent on what’s in the scene.
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