How To Setup Your Camera To Capture Perfect Star Trails
Have you been looking at amazing star trail images and wondering how these images were created or what the set up would have been to make these kinds of images? It is not so complicated or difficult as you think it might be. In this article, we will look at how to set up your camera to capture perfect star trails.
If you are someone who is interested in photographing the night sky, then you may have at some point wanted to try shooting star trails as these can contribute to some brilliant and compelling images. Here are some basic requirements before you get into setting up your camera for star trails.
Look for a location that is free from light pollution, which means, going very far from the city lights. You need to also keep the moon away from the sky as it can wash out most of the stars in the sky, but if you are looking for little ambient light to illuminate the landscape, a quarter moon is fine, but out of the frame that you are composing. Keep an eye on the weather and make sure that you go out to shoot on a day when the skies are clear.
Here Is The Gear Required To Set Up The Camera For Shooting Star Trails:
Now that you know what gear is required for shooting star trails, here are the settings or how to set up the camera for perfect star trails.
Camera Setup And Settings For Perfect Star Trails:
The settings below are for shooting multiple shots and then later combining the images while post-processing.
Here are some very useful links that will help you choose the correct shutter speed for the camera and lens that you use.
You now have the camera settings right for perfect star shots and so let us look into the other important setups for star trail photography because star trail photography can be done as a combination of multiple shots or as a single very long exposure shot.
How to Shoot For Combination Of Multiple Images For Star Trails:
Note: If your exposure time is 20 seconds and you need 100 shots, you will need to set the shutter speed to 20s and set the intervalometer to take 100 shots continuously at an interval of less than 1 second (maybe 30ms) to avoid breaks between trails.
Once you have done the set up above, just release the shutter and the camera should take the set number of shots for you. Once you are done with the shoot, you will need to get home and use a post-processing application to combine the images to get your star trail photograph.
If you are looking to set up your camera for a single exposure star trail photograph, then follow the setup and settings below. Be warned that exposing the sensor for a longer period of time can heat up the sensor leaving hot pixels on your images and the image quality will deteriorate.
Camera Setup And Settings For Single Long Exposure Star Trails:
Post Processing Star Trail Images:
Once you have your images done, do some basic adjustments to your images and use your favourite application to stack/combine the images. I normally use Adobe Lightroom for basic adjustments and use Adobe Photoshop to combine/stack the images to get the star trails. If you think it is very time consuming do it in photoshop or if you do not have photoshop, you can make use of other free applications like StarStax and they are available for Windows and Mac.
For Circular Star Trails (Locate The Polaris or Southern Cross):
If you are a beginner and find it difficult to locate these stars in the night sky, use an app to locate The Polaris for the North Celestial Pole and the Sigma Octantis for the South Celestial Pole. It is very handy and easy. These apps can accurately show you the location of the stars at any time or tell you at what time the stars rise and set.
Some Really Good Apps Are:
If you would like to achieve results like these without spending a fortune on gear, then you might like to check out Milky Way Mastery by the folks over at Expert Photography. Well worth a look
In it you'll learn…
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March 23, 2019 at 10:01AM
The Canon USA store has restocked the refurbished Canon EF 600mm f/4L IS II USM. Act quickly if you’re interested!
Use the coupon code FRIEND15 at checkout to see the discounted price. There are still tons of other refurbished deals at Canon, you can see them here.
Canon EF 600mm f/4L IS II USM $7819 (Reg $9499)
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March 23, 2019 at 08:49AM
The post How to Create Simulated Light Leaks Using Lightroom appeared first on Digital Photography School. It was authored by Adam Welch.
Recently, we discussed how easy (and cool) it can be to reproduce the basic looks of vintage film stocks with our digital photographs. Sure, this style is not for everyone, but it’s undeniable that the “film look” has made a resurgence in recent years. There’s an especially organic feel to a photograph that has muted tones and funky contrasts which carries an inherent interest that makes people look twice. To go a step further, if you truly want to push the envelope of your digital vintage film simulations, you can go as far as to introduce something which is generally considered to be the sworn enemy of photographers everywhere: light leaks. I know, I know…the horror, right?
Light leaks are less of a problem in digital photography and seldom occur. Still, it can happen. Unwanted light rays can weasel their way into your photos through damaged camera bodies or poor lens fitment in digital and analog cameras alike.
However, when shooting with film the incidence of light leaks skyrocket. Causes range from accidental openings of the camera back to damaged film canisters and general mishandling of the film either before or during processing.
Why make an intentional mistake?
Now, you might be wondering ‘why, oh why, might we want to simulate light leaks in our digital photographs if they are so loathed and avoided in general photography?’ The answer to that lies in the very nature of light leaks themselves; they add uniqueness.
While technically flawed, light leaks can impart a vibe of beautiful realism to a photograph. Because the chances of light leaks increase with the age of a film, it makes perfect sense to learn how to introduce them alongside your digital vintage film simulations in Adobe Lightroom Classic CC.
Don’t get me wrong; light leaks are not practical or even warranted for every one of your vintage film simulations. That said, a judicially placed light leak on the right photo can boost it’s aesthetic appeal tremendously. What’s more, being able to create digital light leaks at will is a handy skill to have in your mental post-processing tool kit.
How to make a Light Leak
The cause of light leaks is the intrusion of light of various intensities interacting with the film. To reproduce this effect digitally in Lightroom we’ll make use of some cleverly simple local adjustments. The graduated and radial filters are the primary local adjustment tools we’ll use for our light leak simulations.
We’ll also use the local adjustment brush – but not in the way you might think. I’ll show you what I mean in just a second.
To get started, we’ll use a photo I have already processed using some of my vintage film presets. It has a faded vibe and a mellow tone. This should work well with our light leak simulations. It’s always a good practice to add your light leaks AFTER you have completed processing your photo.
1. Deciding where to place your light leaks
There are no rules when it comes to creating your light leak simulations but if you’re going for realism remember that your light leaks should look as if they are – well – caused by light leaking onto the film.
Consider where the light might be intruding from when determining where they appear. Is there a crack in the camera housing? Was there a pinhole in the film canister? Perhaps the dark slide accidentally slid back just a tiny bit in the film holder?
For our particular example, we’ll be going for a sort of “first frame” light leak. This simulates a 35mm frame having been exposed to light on one of the first sections of the film while being loaded into the camera. Virtually all 35mm cameras wind the film from the spool to the spindle from left to right, so the light leak will always appear at the right side of the frame. So, that’s exactly where we’re going to put our digital light leak simulation.
2. The Graduated Filter
We’ll use a single graduated filter to produce the light leak. Create the filter and make it wide enough to rotate easily.
It doesn’t matter where it is created on the photo because we will re-position it after we’ve added the adjustments.
For most photos, the core effect is caused but the Exposure and Whites sliders. Begin by increasing the Exposure slider considerably until you lose detail in the highlight areas of the image.
Depending on the overall brightness of your photo even +100 exposure increase might not be adequate. If this is the case, make use of the Whites slider to increase the intensity of the leak. We can always dial back the brightness after the next step.
3. Placing and feathering the Graduated Filter
Now it’s time to re-position the graduated filter and compress it to the appropriate feathering.
Grab the center point and pull the filter to the right of the photo. A good rule of thumb is to place the far edge of the filter even with the edge of the frame.
Next, click and drag the left side of the filter to reduce the feathering. This is when the light leak will begin to really look like a light leak.
The feathering is important in reproducing the circumstances of the particular light leak effect you’re after.
In our case, the light would have interacted with our film up to the point where it was shielded by the film canister. Modern 35mm canisters feature felt lining on the mouth of the canister where the film enters. This will produce a very slight feathering effect in the light leak. So we will reflect this minute amount of feathering with our simulation.
4. Adding fine adjustments
With our light leak placed we can now go to work applying some fine adjustments. Anything is possible! Adjust the intensity of the leak by increasing or decreasing the Exposure and Whites sliders or amplify the color (or take it away) using the Saturation slider. You can even add in custom colors using the color swatch selector. For our example, we’ll add in some yellow.
What a beautiful mistake we’ve made! But we’re not finished yet.
5. The Adjustment Brush
You’ll recall earlier I mentioned we would use the adjustment brush tool but not actually to create the leaks. Instead, we will make use of the Adjustment Brush to ERASE areas of our light leaks. That way, we can selectively control how they appear with more precision.
In our example, we’ll dial back the light in the area of the sky to make it flow more naturally with the rest of the adjustment.
Now that we’ve placed our primary light leak let’s kick things up a notch by adding in some additional ones. Remember that less is usually more when it comes to light leaks. But since we’re having fun, let’s pretend our camera was having a terrible day.
6. Adding extra light leaks with the Radial Filter
Our next light leak will simulate an intrusion at one of the ends of our film canister. Leaks of this type generally manifest themselves at the edges of the film around the sprocket holes. Depending on the severity, the leak bleeds down towards the midline of the film. We’ll pull off this effect using the radial filter tool with the same slider adjustments we used earlier. Again, create the filter anywhere you please in the beginning and then re-position.
Drag the center point of the filter to the top edge of the photo being careful to leave the point itself within reach for easier re-positioning. Once you roughly position the filter, pull the bottom of it downward (or upward depending on position) until it reaches the desired location.
Since this type of leak usually occurs very close to the film, they will exhibit more clearly defined edges which means we’ll use less feathering of the filter.
Of course, this is entirely a judgment call so feel free to adjust the feathering to suit your taste. Add in more radial filters to complete the effect by right-clicking the center point and selecting ‘Duplicate.’
Congratulations! We’re finished making our light leak simulations and we did it all right inside of Lightroom Classic CC using a few simple tools that anyone can use.
But wait, there’s more….
Saving your light leaks as Local Adjustment Presets
As you’ve seen, most light leaks are incredibly easy to make once you understand the basic concepts involved with the effect. Still, it’s a good idea to save yourself some time by saving your favorite light leak simulations as Local Adjustment Presets. That way, you don’t need to create each one anew every time you’re feeling like adding in a leak or two.
Saving your light leaks as presets is as simple as a couple of mouse clicks.
First, select the control point of the filter you wish to save as a preset. Once the filter is active, click the ‘Custom’ drop-down arrow at the top of the filter adjustment section.
Next, select ‘Save Current Settings as New Preset’ from the bottom of the menu.
It’s a good idea to name your preset something that will help you know exactly what effect it produces. In our case, I’ll name this one “Tina”.
We’ll go with “35mm Canister Leak-Yellow”.
Your new light leak preset will then be available from the local adjustment presets list.
Final thoughts on Leaking Light…
When you think about it, introducing simulated light leaks to your photos is a very funny thing to do. We are purposefully introducing problems to a photograph. With that being said, sometimes beauty can in fact lie within the very flaws we might otherwise avoid. Depending on the type of photograph and the final aesthetic you’re going for, adding in some judicious light leak simulations to your digital photographs can go a long way to enhance their “vintage feel”.
Have you tried your hand at simulating your own light leaks? Feel free to share your work in the comments!
And if you want to learn more about how to add a vintage film look to your photos be sure to check out my other article The Basics of Simulating Vintage Film in Lightroom.
The post How to Create Simulated Light Leaks Using Lightroom appeared first on Digital Photography School. It was authored by Adam Welch.
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March 23, 2019 at 08:03AM
DPReview TV: Leica Q2 first impressions review
This week Chris and Jordan take the new Leica Q2 for a spin, and while most of us in the Northern Hemisphere are welcoming spring, they head even farther north than usual to visit ice castles. Because #Canada.
Get new episodes of DPReview TV every week by subscribing to our YouTube channel!
Sample gallery from this week's episode
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March 23, 2019 at 08:01AM
Why You Need ND Filters When Shooting Video
You have probably noticed we are talking more and more about video here on Light Stalking. The reason for that is simple. For the average photographer, the convergence between still and motion imaging is now pretty much complete.
With the flip of a dial or press of a button, we can change from shooting a 25mp still to shooting 4K video and get stunning results from each. However, there are some considerations when shooting video when compared to shooting stills.
One of the most important is shutter speed. It perhaps has an even greater impact on the visual look of video than it does with stills. The simple fact is, that for most video footage we need a fairly slow shutter speed, and that means using ND or Neutral Density filters. Today we are going to explain why.
How Video Works – 180 Degree Rule.
Much of the way we shoot video these days is still based on the way cinematographers have shot films over the last century. Films are generally shot at 24 fps, frames per second. This is fast enough that the eye cannot see any perceptible change between each frame.
However, this is only half the story. As in still photography, the faster the shutter speed, the more the motion is frozen. In film or video, we need to maintain a certain amount of motion blur in order to blend each individual frame into the next. In order to achieve this we use the 180 degree rule.
Put simply, the 180 degree rule states that your shutter speed should be twice that of your frame rate. If you are shooting your video at 24fps then your shutter speed should be 1/48th or a second. If you are at 30fps then your shutter should be 1/60th. Not all camera’s will be able to exactly double each frame rate but you should aim for the nearest option. In the case of 24 fps you will probably find 1/50th is the closest shutter speed.
If you go for a higher shutter speed, you will find that your video footage becomes less fluid looking. A classic example of deliberately using a high shutter speed is in the opening sequences of Saving Private Ryan. Here, the staccato looking footage is meant to make you feel uneasy and as if you are in the battle.
I am sure you have noticed by now the main problem with the 180 degree rule. The relatively slow shutter speeds needed for smooth footage can be problematic in bright light or when trying to obtain a shallow depth of field. This is where we need the neutral density filters.
What Are ND Filters?
As photographers, many of us may already own neutral density filters. We use them in stills to get the ultra slow shutter speeds needed for ethereal looking water or clouds in landscapes. They might also be used when shooting flash outdoors to get our shutter speed low enough for the flash to synchronise.
Put simply they are darkened glass or acrylic filters, placed over our lenses to reduce the amount of light reaching the sensor. They are graded by stop numbers, cutting out 1, 2 or 3 stops of light. There are also much more dense filters that cut 6, 10 or even more stops of light.
There are two ways of rating the density of filters, optical density, and ND Factor. Optical density starts at 0.3 for a 1 stop reduction in light 0.6 for two stops and so on. ND factor starts at ND2 for one stop reduction, ND4 for 2 stops etc.
As videographers, we need to have a selection of ND filters in order to obtain the precise shutter speed we need. Although we can, of course, use aperture to get the shutter speed down, we don’t want to go beyond the diffraction limits of our sensors. In the brightest light, often even the lens' smallest aperture may not lower the shutter speed sufficiently.
This can become even more problematic if we shoot LOG footage. To obtain the low contrast curves in LOG, cameras often boost the ISO. For example, my Fuji X-T2 has a base ISO of 200 but if shooting LOG, that ISO becomes 800, adding 3 extra stops to my exposure. With this in mind, what ND filters should you get?
Best ND Filters For Video
There are two basic systems of filters, the screw in types and the square filter systems such as Lee. If you are using multiple different lenses with different filter threads, then you have two options.
The first is to invest in a set of ND filters to fit your largest lens and buy stop down rings to fit to your smaller lenses. The second is to invest in a square filter system.
A square system although more expensive makes it easier to adapt to all lenses and is also easier when stacking neutral density filters.
There is one last option, variable neutral density filters. These allow you to turn an outer ring like on a polariser. As you do so, the filter gets incrementally darker or lighter. Variable NDs can reduce the light to your sensor anywhere from 2 stops to 8 stops. However, they are not without problems.
Variable NDs can exhibit bigger color shifts and more banding, especially on wider angled lenses. They are also significantly more expensive, especially if you aim for a good quality model. They can, however, be used with most square filter systems with the use of an adapter ring. This gives you more options if you want to shoot with other filters such as graduated NDs
If you are serious about the quality of your footage then a set of ND filters are a must. Most dedicated video camcorders have them built in, however, very few stills cameras incorporate them.
Given the incredible video quality that some still cameras are capable of now, it's not a great leap of the imagination to suggest that future models may well include ND filters. However for now, as a videographer using a DSLR or Mirrorless system, an ND system is something you are going to need to get silky smooth cinematic video.
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March 23, 2019 at 07:00AM
Auschwitz Memorial Reminds Visitors to Not Use Railroad Tracks for Instagram Poses
Situational awareness and social media involving photography and video rarely accompany one another.
But it’s not hard to see why some are so skeptical about others knowing how to act when out in public when you have places like Auschwitz going out of their way to remind people that visit the former concentration camp aren’t the place to do inappropriate yet common on Instagram poses such as walking on train tracks.
The same train tracks that ferried thousands of people to their deaths in one of history’s most brutal genocides.
The official Twitter account for Auschwitz posted, “There are better places to learn how to walk on a balance beam than the site which symbolises deportation of hundreds of thousands to their deaths.”
The BBC quotes one response to the Tweet, from someone named Francesca, who writes, “This is a very necessary post, our picture taking habits are completely out of control. I may be visiting in the summer. I will make sure I am aware of your photography policy. Thank you for the essential work you continue to do. Without our historical memory we are nothing.”
Moran Blythe said, “I don't understand why people use Auschwitz as a photo op or how they take cheerful selfies at a site that saw the murder of thousands of innocent people.”
Back in 2014, Breanna Mitchell took an unfortunate selfie at the memorial that depicted her smiling. The photo went viral and caused a firestorm of controversy with Mitchell even receiving death threats in the wake of the photo’s release.
The general theme of these incidents is that there are moments when people need to chill out with the likes, follows, and need to be twee.
Be aware of where you are and where you are taking photos as well as how you are presenting yourself in that situation.
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March 22, 2019 at 09:26PM
Political Mailer’s Use of Photo Falls Under Fair Use
A Montana judge has ruled against a photographer who sued the Republican Party for using her photograph on a political mailer.
In a ruling that declared the photo’s placement on the mailer “fair use,” the Montana judge shocked many photographers who don’t exactly think that what the RNC’s use of Erika Peterman’s photo of Rob Quist constitutes fair use. Sure, no money was made off of the photo, but it was still used without her consent.
And, to be clear, it isn’t like the political mailer made any serious changes to Peterman’s photo aside from that addition of the text: “For Montana conservatives, liberal Rob Quist can’t hit the right note.”
Interestingly, Peterman shot the photo of Quist was commissioned by the Montana Democratic Party which hired her to cover a political rally according to PetaPixel.
Judge Dana L. Christensen said that this text was enough of a change to qualify for fair use.
The judge’s ruling reads in part: “The mailer uses Quist’s musicianship to criticize his candidacy, subverting the purpose and function of the Work…With the addition of the treble clefs and text throughout, the mailer attempts to create an association between Quist’s musical background and liberal political views. …Quist is isolated on stage, lights shining down, conveying a sense of stark emptiness and suggesting that there is no connection between the musician and the unseen audience. In this context, the image takes on a new meaning.”
Another consideration highlighted by PetaPixel is that the mailer’s use of the photo doesn’t impact its future ability to earn money. Additionally, Christensen argued that Peterman received enough compensation when she was paid $500 to photograph the event.
Christensen continues in her ruling: “Peterman received the entirety of her $500 fee to photograph the Mansfield Metcalf Dinner …With Peterman’s permission and pursuant to an agreement that Peterman would receive no additional fee for their use of the Work, the Quist Campaign and the MDP made the Work available for download on Facebook without including any photographer attribution or copyright information. …It is unclear how the Work could conceivably have any future commercial value to Peterman. The Work has no recognizable value outside of Quist’s congressional campaign, and that value has been fully realized by Peterman.”
In a response published by DPReview and PDN, Peterman says, “I think equating political criticism to transformative use is pretty far-reaching…This decision gives any political party (or PAC) the freedom to use artistic or creative photos of political candidates for political criticism under the auspices of fair use. This impacts me greatly because I do a lot of political photography and work hard to create compelling, creative photos for the candidates I work with. And, like any photographer or artist, I also want to share my work. However, if I know that my photos can be used for ‘political criticism’ without my permission, it creates a major dilemma for me.”
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March 22, 2019 at 09:02PM
Harvard sued over allegedly profiting from 1850s images of American slaves
Harvard University has been sued over its licensing of daguerreotypes believed to be the first images of American slaves. The lawsuit was filed by Tamara Lanier, who says she is the direct descendant of Renty, the man featured alongside his daughter, Delia, in the daguerreotypes. The suit was filed on March 20 in the Middlesex County Superior Court.
The daguerreotypes were commissioned in 1850 by Harvard professor Louis Agassiz, a Swiss-born Harvard professor who sought the images in support of polygenism, a flawed theory that human races have different origins. The commissioned images were taken by J.T. Zealy in Columbia, South Carolina. A total of 11 slaves were photographed, including Renty and Delia, who were stripped naked and imaged from multiple angles.
The images were apparently lost for years before turning up in the Harvard University Peabody Museum of Archaeology and Ethnology's attic in 1976. Since their discovery, according to the lawsuit, Harvard has used the images of Renty for profit, including as the cover image for the book From Site to Sight: Anthropology, Photography and the Power of Imagery, which was published by the Peabody Museum and sold by Harvard.
According to the lawsuit, Lanier had repeatedly reached out to Harvard over the images, but the university failed to address her concerns. Lanier reportedly provided Harvard officials with proof that she is one of Renty's descendants but was unable to get a response. The lawsuit seeks to have Harvard turn over the images to Lanier's family and to pay an unspecified amount in damages.
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March 22, 2019 at 01:57PM
The Problem Isn’t the Photo Contest, It’s Us
Eye-rolls, shrugs, and barbs greeted the $120,000 Grand Prize winner of Dubai’s HIPA Photography Prize. Malaysian photographer Edwin Ong’s photo of a partially blind Vietnamese woman carrying her baby was derided for representing yet another “poverty porn” contest winner before it was suggested that the image was staged by photographer Ab Rashid.
Ong defended his claim that the image was not staged to the Malaysian daily The Star, saying, “In this trip to Vietnam, we (the photographers) went to the rice field and there was a mother (who had her children with her) that passed by. We never told her to stand up or sit down.”
The circumstances that led to the photo are largely irrelevant. HIPA has no restriction in their contest rules that would prohibit staging, nor does the contest adhere to any photojournalistic ethics despite a jury selection throughout the years that has a bias towards photojournalists.
Yet we feel duped, and not necessarily because the image may or may not have been directed. We feel duped because Ong took the image with a gaggle of other photographers of a young, impoverished mother in a way that feels creepily reminiscent of a mid-20th-century all-male camera club hiring a female model.
We feel outraged because “poverty porn” is a reliable trope for winning photo contests – even one with the theme of “Hope” where no hope is to be found. A glimpse at the previous winners of HIPA certainly supports this claim despite having a rotating jury of some of the world’s best photographers who are supplementing their meager photo-related income with judging.
We feel disgusted because the subject is a brown woman. Never mind that Ong is brown because brown and black people are fully capable of committing the sin of exploiting their own just like white people.
We feel repugnance at a contest culture that often rewards unethical behavior, and allows contest organizers to build their business on the scam of contest entry fees. Never mind that this particular contest offers a total prize package of $450,000. The $150,000 Grand Prize is too big for this photo, for this photographer. He ought to share it.
But it’s hypocritical to impugn contest culture while simultaneously consuming most of our photography diet through a game-ified app on a 4-inch screen that algorithmically encourages and rewards “likes.” We’re sometimes more concerned with vertically scrolling as fast as possible to catch up with our feed than actually view photography.
We are competitive creatures living in a world where contest promoters and apps prey upon our vanity and search for validation. The same people who decry contests use platforms like Twitter and Facebook to build their own followings while chasing retweets and likes of their own.
Contests are problematic. The celebration of suffering is amoral. Large monetary prizes cause some people to act unethically. But contest popularity is merely a symptom of the Information Age optimized for the id. Of course, we should strive as a community for ethical standards, but it’s inaccurate to lay blame solely on Ong for taking and submitting the picture when the entire ecosystem is suspect.
Hopefully some of the online discussion in the wake of the contest will cause photographers, juries and contest organizers to reconsider “poverty porn” in contest culture. And perhaps HIPA can consider some ethical guidelines for future incarnations. And if nothing else, maybe the increased awareness of the world’s richest photo contest will attract a whole new wave of photographers doing important, long-term work thereby rendering discussion of poverty tourism moot.
About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.
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March 22, 2019 at 01:44PM
This is How Photorealistic Video Game Engines Are Now
The asset library Quixel has released this new 2.5-minute cinematic short film. Titled “Rebirth,” it’s an eye-opening look at how photorealistic real-time rendering in video game engines is now.
To prepare for the project, Quixel spent a month in cold and wet locations in Iceland, scanning all kinds of objects found in the natural environment using. The team returned with over 1,000 scans that captured the details of the landscape.
Using the scans — a part of Quixel’s Megascans library — a team of three artists at Quixel created the 1:45 cinematic film in real-time using the power of the Unreal Engine 4 game engine.
“The high fidelity of the physically-based scans delivers results that are remarkably photorealistic,” Unreal Engine writes.
Here are some still frames from the short film:
Part of the realism was due to the use of a physical camera rig that allowed the creators to “film” in virtual reality.
“With UE 4.21 at the heart of the real-time pipeline, Quixel’s artists were able to iterate on the go, eliminating the need for previsualization or post-production,” Unreal says. “The team also built a physical camera rig that was able to capture movements in-engine using virtual reality, adding an enhanced dimension of realism to the short. All post-processing and color grading was completed directly within Unreal.”
The result of all this work and technology is a real-time film that rivals the photorealism of offline renders.
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March 22, 2019 at 01:29PM