Join Nick Harauz for an in-depth discussion in this video Applying Rays, part of Sapphire for Video Editors.
- [Instructor] Continuing on our journey with the Sapphire lighting category, we're going to take a look at Sapphire rays. Here in my chapter three two sequence, which you can find in your chapter three exercise folder, I'm going to add or apply an S underscore rays effect under the Sapphire lighting category to my clip in the timeline and then press shift five immediately to bring up the Sapphire rays in effect controls. You can see that a majority of the rays are shooting out from the building and what I'd like you to do, or to encourage, is for you to first of all load a preset.
This will just give you a sense for what you can potentially do with rays and then in some cases, you might find some things into the category, such as Alien Storm. If I viewed it on another sample, this is a sample of a more brighter image, you can see that the effect changes it quite a bit. Let me just jump back to preview on source, and rather than use the default setting, this was shot close to sunset, so I'm going to scroll down and here I see the one radiance set of rays and then another one, an expression set, which I really like.
I'm going to double click it to load it into Premier Pro. Now, rays actually have a position point, a center XY position, and if you select s_rays, the name of it under effect controls, you'll be able to see a crosshair and drag these rays. However, the XY happens to be offscreen, I can tell because of the negative value. So, I'm going to go here in my program, monitor where it says fit, I'm actually going to go down to 10%, I'm going to drag this crosshair just above the window to pretend like the rays are where the sun is coming from, so I'm just going to go ahead and fit that onto the screen and start to manipulate some of the parameters.
I always like to start with a brighter reference and then just pull back at the end on the effect. So, I'm going to brighten this up just a little bit to 12. I would also encourage you to bring down the quality here just so that we can get the most maximum performance here when dealing with rays. One thing that we can also play with is the ray length is actually set to one, but if we wanted that to be a little bit less, I can of course set that to .5 and that will make a difference into the appearance of the rays.
Let's go to rays color first of all and just change the overall color to something a bit more dramatic, kind of closer to an orange red. And then if we want some color differentiation start to play with the length of the rays on the individual red, green, and blue channels. I'm going to add two to my green, followed by three to the blue, and you can see now some differences in the base color here. Also just start to play around with these values, even bring them down to zero, just to see the dramatic effect that will happen if you minimized one of the colors.
Just keep in mind, if I lowered now the green value, I'm getting some cool color differentiation here across our rays. On top of this, just to note, there is actually a way of changing the type of rays that you have. This is set to light, but you can actually produce darker rays, which are going to look at the darker values in your image to create the rays across the image. Not so necessary in this particular example, so I'm going to stick to the light rays. And other familiar values if you followed in the last exercise are things such as threshold, so keep in mind if you control, scrub this value, you could effect more luminance values.
I'm going to go back to about .4, just so it's a lot less dramatic and we can adjust that after. Now, there was one thing that was actually added to the rays when we selected the preset, and that was a little bit of atmosphere. You can see this kind of cloud smokiness appearing through the rays. If I reset one of these values in terms of amplitude is usually set to zero. Let me press control Z or command C on a Mac to undo that just to show you how it looks when that was changed from the preset that we selected. Keep in mind you can adjust things like frequency to add more of this type of atmosphere, I usually prefer, in terms of the frequency for very small values, .3, and then you can also play with the amount of detail of how this atmosphere appears.
I like to of course go up on these effects just to see what they are first and then pull back to make a nicer effect. Going to bring down the detail value to about .2 in this case. Another cool thing here is that we can use the source, the source meaning our clip on video one, and use its chrominance values to effect the way the rays will appear, and as I drag this value more up, just notice how the chroma source in particular areas of the shot do effect the way that the rays look.
In some cases might even integrate this a little bit better. I am going to now bring down the brightness of these rays, setting up the value of 12 maybe to a value of four so it's just a little bit more subtle there in our clip and I might play with the ray's length in particular and bring that down to a value of .3, seeing that the effects of the red, green, and blue will still have an effect there across your rays. Another thing that you might want to introduce is a bit of shimmer. And to really see the impact of the shimmer, I'm going to play with the X speed, I'm also going to play with the shimmer amplitude and frequency so you can see how it effects your rays.
Now, the higher of course the speed values on a particular axis, the more these rays are going to move or even have that sort of flickering effect creating some interesting looks across your clips. So, there you have it, another part of Sapphire's lighting collection. Next up we're going to take a look at light leaks.
- Getting started with Sapphire
- Essential parameters
- Working with presets
- Adding transitions
- Creating photo-realistic lens flares
- Adding backgrounds and textures
- Building custom effects
- Working with Mocha