Glowing Eyes Tutorial – recreate the Blade Runner Replicant eye effect in Camera MDEpicEpisodeS1E02

Hello in the Media Division… today we
show you how to recreate the glowing eyes effect from The Blade Runner movie
as a practical effect… so, exactly like they did in the original We are going to do so with frugal equipment as well as with more sophisticated setups we explain the basics as well as tricks and advanced techniques for even better
results let’s do it hey and welcome to the media division
today it’s all about making eyes glow and you might say like well there’s a
million tutorials out there to show how to do it… you know, After Effects
rotoscope the eyes and put an effect on, whatever But it’s not what we’re going
to do here. What we’re gonna do, is we’re gonna do a practical effect – that means
we are gonna create this effect in reality and just film it off… so it is
real. I want to go on a little excursion through the history of film making, and there’s been a lot of movies that make eyes glow and just what serves the story it was more of the top or less
of the top and they used a variety of different techniques… most of them were
post processing techniques like for example in “Stargate” or here in “Dune”
where they just colored frame by frame every eye of every actor in the movie…
and that must have been a job that I don’t want to do. Anyhow there are
effects that are well done and there are effects they’re not so well done, some
are voluntarily funny, and some are involuntarily funny. Anyhow… there is one movie that really sticked out for me, and that was
Blade Runner. Blade Runner has this very subtle effect of having faintly glowing
eyes on the actor and it’s just beautiful It gives the story so much more meaning without doing it right in your face… and I
always wanted to know how they did that effect and of course there’s a lot of
interviews out there with crew members and with Ridley Scott himself who
actually explains how it works but there’s nothing better than to
actually do it yourself and that is exactly what we’re gonna do we’re gonna
recreate Ridley Scott’s effect just like they did in Blade Runner and it is not
as complicated as you might think and it doesn’t incorporate a lot of gear
so you can do it on the cheap if you want to So let’s get right into it and
we’re going to start with what you’re gonna need and what your setup gonna be
I’m gonna have one simple solution and One more professional one. One thing I want to tell you in advance what you’re going to need… and that’s a two-way mirror so it’s a mirror that reflects about 50% of the light and that lets 50% of the light
through this is something I got out of a teleprompter of mine… and you will see later – I broke this one and this is my replacement – but even the broken one works quite nicely there are cheaper alternatives out there but maybe you already have this on you and if not you will have to buy a little see-through mirror some people already tried with just using a glass chart and that seems to work as well just not as good so, it’s up to you. maybe you just try it with ordinary glass first. So, what you’re gonna need
is the weapon of your choice you’re gonna need a see-through mirror
or glass chart but better a mirror a light source and something to block out
light for example books with a black inlay instead of tripods you can just
use a table and put your camera there put a book there to use it as a mount on
holder for the chart that you put in a 45 degree angle and
put a light source in a 45 degree angle with it and block that light source from
your talent you could for example just use an ordinary desk lamp for this but
it is important that the light source itself is not in the direct line of
sight of your talent just turn it away from view but make
sure that it still reflects in your see-through mirror and now comes the most important part if you take the line of sight of your talent the light source
and your lens – the center of your lens – have to be in exactly in one line Ridley Scott in his description talks about a 45-degree positioning between the light
the camera and this mirror but it doesn’t really have to be that way
you’re quite free where you’re gonna place that light as long as you’re gonna
position the mirror in a way that the light always reflects right into the
camera of course that is true even if you would angle it in the room actually, the light doesn’t have to be on the side of the mirror it could be also on top or
of course below it – I’m trying not to break this again Of course some good gear makes it much easier just put something with rods together on a tripod and take
your camera of choice I take the magnificent EVA1 and use a bit longer
lens it works better than the wide ones now put up some attachments that will
help you to fixate the mirror like I do right here do a bit of a 45° angle. Now, put something around that will block out the light that you shine in from the
side otherwise you will get reflections in the back and therefore in the lens.
Now we’re gonna attach the exact same desk light that I used before it’s good
to have a dimmer on that so you can really give it the right dosage that you
need and again just like in the example we
had before it is very important that the retina of your talent the light and the
lens are lined up so it can reflect back on the sensor if you are planning to
film in very bright conditions it might make sense to take a light that has a
little bit more punch like this for example an aperture light that has a
Frenzel you can focus it on the eye but you can see that it’s quite bright in
the mirror and it will cause a lot of spill here you can see the amount of
spill and it can be very hard to build that into your grade so this is more
something for longer lenses where your talents it’s further from the light
source of course if your light source has blinds you’re very welcome to use
those to reduce the light right to the eye line of your talent it is good to
try a setup yourself and just put a monitor on a long leash sit while your
talents gonna sit and then you get a very good idea on how exactly the mirror
has to stand, where exactly the talent has to sit within the frame to
have BOTH eyes lit and not just one like in this case and you can see that if
you’re in the right position both eyes will glow in a very nice and intense way
without too much spill ruining the rest of your picture you can’t change the eye color in camera by using gels on your light but of course you could just do
that in post as well To keep your light on the rig has the vast advantage that you can use the whole set up as something handheld, the lights position
and angle towards the mirror always stays the same so all you need to do, is to get the right angle to your talent that makes it much much easier Now that our setup is fine, we are going
to have a little fun with this… So, we start with getting a little bit of a
Blade Runner noire lighting backlight mainly, and create a bit of
atmosphere… a nice touch for this is a bit of haze I use an atmospheric spray… but don’t kill yourself with it you know again you can use your monitor on the
leash to make sure that you’re in the exact right position and your
retinas are reflecting I’ve changed a little bit about the whole temperature of the light to make it a bit more golden and a projection in the face
which reminds me a bit of Tyrells office and again check right you can see
exactly where the effect works and where it doesn’t, where you walk out of it and
where you walk into it when you’re happy with your lighting it’s time to shoot and I’m gonna do so with cinema DNG which gives me the ultimate possibility
to grade and we’re gonna do so in Resolve and throw in a couple of effects, a couple of LUTs and make it nice and contrasty and black, like noire deserves after we done that we export it and I took a screen from the original
Blade Runner and this is Tyrells office and I’m just gonna throw that in
After Effects on the timeline And now I’m gonna put my footage on top of that and we didn’t shoot green-screen or anything and we actually want to see the
atmosphere that I shot so I’m just gonna use different settings in transparency
to just create an overlay effect that is good enough for a
production like this which is just a try out as you can see here I think that
works quite well and here you’re gonna see the final mix and I think it’s quite convincing So, I hope you found that useful if you
have any question or need some further advice when you want to benefit from our
experience doing this, you can always give me the question in the comments and
if you like this please like it and subscribe I always appreciate any support from you guys and if you don’t subscribe I’m gonna get very very angry I’m just kidding see you next time… bye


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