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Muzzle flashes last just a few frames, but those frames can make or break a shot.
Ryan Lum didnโt just add firepower, he ๐ฐ๐ฟ๐ฎ๐ณ๐๐ฒ๐ฑ ๐ฎ ๐บ๐ผ๐บ๐ฒ๐ป๐ that feels straight out of No Time to Die. Every element, from the shape of the flash to the way light interacts with the environment, was designed to ๐๐ฒ๐น๐น ๐๐ต๐ฒ ๐ถ๐น๐น๐๐๐ถ๐ผ๐ป.
But this shot wasnโt just about adding effects, it was about removing distractions.
- A ๐ฐ๐ฎ๐บ๐ฒ๐ฟ๐ฎ๐บ๐ฎ๐ป ๐ถ๐ป ๐๐ต๐ฒ ๐ฏ๐ฎ๐ฐ๐ธ๐ด๐ฟ๐ผ๐๐ป๐ฑ? ๐๐ผ๐ป๐ฒ.
โข Missing sections of the set? ๐ฅ๐ฒ๐ฏ๐๐ถ๐น๐ ๐ณ๐ฟ๐ผ๐บ ๐๐ฐ๐ฟ๐ฎ๐๐ฐ๐ต.
โข Small body movements that didnโt quite match? ๐๐ฎ๐ป๐ฑ-๐ฎ๐ป๐ถ๐บ๐ฎ๐๐ฒ๐ฑ ๐ณ๐ผ๐ฟ ๐๐ฒ๐ฎ๐บ๐น๐ฒ๐๐ ๐ถ๐ป๐๐ฒ๐ด๐ฟ๐ฎ๐๐ถ๐ผ๐ป.
Inspired by the filmโs own muzzle flashes, Ryan ๐บ๐ฎ๐๐ฐ๐ต๐ฒ๐ฑ ๐๐ต๐ฒ๐ถ๐ฟ ๐๐ต๐ฎ๐ฝ๐ฒ, ๐๐ถ๐๐ฒ, ๐ฎ๐ป๐ฑ ๐ถ๐ป๐๐ฒ๐ป๐๐ถ๐๐, layering in light interaction, smoke, and ejecting shell casings to create something that feels completely real. And to heighten the impact? He rotoscoped Nomi, adding ๐ฒ๐ ๐๐ฟ๐ฎ ๐๐บ๐ผ๐ธ๐ฒ, ๐๐ฝ๐ฎ๐ฟ๐ธ๐, ๐ฎ๐ป๐ฑ ๐ฑ๐ฒ๐ฏ๐ฟ๐ถ๐, turning an already intense gunfight into a moment of pure cinematic energy.
This is what compositing looks like.
๐ฌ Check out Ryanโs full breakdown here: https://lnkd.in/d74UCkKd
๐ฉ Looking for someone who knows how to craft cinematic action? Ryan is available at ryandoesvfx@gmail.com.