Return-Path: Received: from moutng.kundenserver.de ([212.227.17.8] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4946923 for AE-List@media-motion.tv; Fri, 11 Jan 2013 07:49:12 +0100 Received: from oxbaltgw02.schlund.de (oxbaltgw02.schlund.de [172.19.246.8]) by mrelayeu.kundenserver.de (node=mreu2) with ESMTP (Nemesis) id 0LlrOO-1TKDkn3pia-00ZYA2; Fri, 11 Jan 2013 07:54:17 +0100 Date: Fri, 11 Jan 2013 07:54:17 +0100 (CET) From: "mylenium@mylenium.de" Reply-To: "mylenium@mylenium.de" To: After Effects Mail List Message-ID: <1000104154.1099918.1357887257396.JavaMail.open-xchange@email.1und1.de> In-Reply-To: References: Subject: Re: [AE] Real life lens flares MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_1099917_1446930777.1357887257342" X-Priority: 3 Importance: Medium X-Mailer: Open-Xchange Mailer v6.20.7-Rev4 X-Provags-ID: V02:K0:fcMdXEwc1ix/ni/zXSV3MbCeMYsJ2NsNSU/b5wQOSPV v5e8iGsD6mogyrzv1iFGCNSWd6c5EYyM/Oknu5Q0GK1eTTMSae 19LZUn5sn8CvWwgSdQTn1KdrlUeyivgQEcQQLpYOhT9lkQ4tIO SVX8Rae16zB4MGNxyTTfC8MHr0QVJ0AP/jTnWRVTJfQYvWtlzR AJnWDRrVAR3Woc5XN8F2lAVsVVsBpoKYdpe7ipj5KZX/nZRdS8 NFFsBqN4vbqXL7PHACDNUQxRNGVRhs8almb09iuykMBV2jmTcD 3c6CDgokWCHdDq9uGP0YgL6d1rrMitbxOJdLNhWWwqWwYx/95j ooBKx5TP57MJ3Sxv9jqfWXQ5HH+eAKAuz8vlOdESOnDtDEIES7 FkUhLpvs8UODNaO3qRrcJjKc1+Ee37AusQ= ------=_Part_1099917_1446930777.1357887257342 MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Agree. On any given film the number of artificial flares easily outnumbers = the real ones and you can always tell the difference. No matter what, somebody = has yet to produce a plug-in that produces "real" flares and then you'd still h= ave to have someone who actulally understands the subtleties of the process and= has the restraint to not overdo when creating the actual effects. Oh, wait, tha= t sounds like me !? *lol* Mylenium [Pour Myl=C3=A8ne, ange sur terre] ----------------------------------------- www.mylenium.de Stephen van Vuuren hat am 11. Januar 2013 um 07:36 geschrieben: >=20 > > Abrams' flares were real. >=20 >=20 >=20 > And to clarify =E2=80=93 the crazy flash light and mirror rigs they use = for the > =E2=80=9Creal=E2=80=9D (I still say unreal) flares on live action were a = minority due to the > hundreds (if not thousands) of CGI flares created in both Star Trek and S= uper > 8. >=20 >=20 >=20 > stephen van vuuren >=20 > 336.202.4777 >=20 >=20 >=20 > http://www.insaturnsrings.com/ >=20 > http://www.sv2dcp.com/ >=20 > http://www.sv2studios.com/ >=20 >=20 >=20 > A film is =E2=80=93 or should be =E2=80=93 more like music than like fic= tion. It should be a > progression of moods and feelings. The theme, what=E2=80=99s behind the e= motion, the > meaning, all that comes later. >=20 > =E2=80=93Stanley Kubrick >=20 ------=_Part_1099917_1446930777.1357887257342 MIME-Version: 1.0 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable =20 =20 =20 =20
Agree. On any given film the number of artificial flares easily outnumbe= rs the real ones and you can always tell the difference. No matter what, so= mebody has yet to produce a plug-in that produces "real" flares and= then you'd still have to have someone who actulally understands the su= btleties of the process and has the restraint to not overdo when creating t= he actual effects. Oh, wait, that sounds like me !? *lol*
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Mylenium
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[Pour Mylène, ange sur terre]
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www.mylenium.de
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Stephen van Vuuren <stephen@sv2studios.com> hat am 11. Janu= ar 2013 um 07:36 geschrieben:
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> Abram= s' flares were real.

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And to clarify =E2= =80=93 the crazy flash light and mirror rigs they use for the =E2=80=9Creal= =E2=80=9D (I still say unreal) flares on live action were a minority due to= the hundreds (if not thousands) of CGI flares created in both Star Trek an= d Super 8.

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stephen va= n vuuren

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336.202.4777

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http://www.insaturnsrings.com/<= /strong>

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http://www.sv2dcp.com/

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http://www.sv2= studios.com/

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A film is =E2= =80=93 or should be =E2=80=93 more like music than like fiction. It should = be a progression of moods and feelings. The theme, what=E2=80=99s behind th= e emotion, the meaning, all that comes later.

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=E2=80=93S= tanley Kubrick

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