Note: This step must be done immediately after you have completed the initial rotoscoping process but before you create the second composition for the lightsaber glows. (consider this the final step in the rotoscoping process)

Using the Time Controls palette, move back to the beginning of your footage and move forward to the first frame where you want to add a curve to the end of your saber.

Tip: It can be difficult to decide just what frames you want to add an arc to. Typically you should only need to add it to frames were the saber is fanning so much as to make the mask look polygonal (boxy). Remember this arc is just to add realism that discourages the eye from looking at this lightsaber shape of yours as an animated polygon, so there usually aren't very many frames where this technique really benefits the lightsaber shape a lot. I use it sparingly.

In the toolbox, click and hold down the Pen tool to reveal more pen tool selections and select the Add Point tool (represented by the pen symbol with a + above it).

Click the center of the line defining the far edge of the lightsaber that you want to curve to add a point.

In the toolbox, click and hold down the Pen tool to reveal more pen tool selections and select the Convert Point tool (represented by two lines forming an arrow).

Click the new point to convert into a bezier curve.

In the toolbox, click the Selection tool.

Click and drag the new point ever so slightly outward to produce a curve. You can also work with the bezier curve handles that are now on this point for more control over your curve.

Tip: You must be careful about just how much you move this new curve point. To look "accurate" (to arc the saber like the prop does in real life) the curve you make should be rather subtle. You usually need only move it out a couple pixels (depending on how close the prop appears in the shot) to get the desired curve. If you round the edge more than it should be it willl appear unrealistic. Remember the arc of the end of the saber should appear to flow between the position of the blade in the frames before and after.

Using the Time Controls palette, resume moving forward through time until you reach the next frame you want to add a curve in. (The new point we made should automatically remain centered between the two end points throughout the rest of the shot)

In the toolbox, select the Convert Point tool.

Click the point to convert into a bezier curve. (You may have to click once to activate the mask and then again to actually conver the point)

In the toolbox, click the Selection tool.

Click and drag the arc point to produce a curve.

My thinking on this subject leads me to suspect you are one of two types of people. If you're an experianced and clever type who knows his way around After Effects and/or Photoshop, I'm guessing you'll be able to make your own flashes and you were just checking this out to see how I did mine. If you're the other type and you have no idea where to even start, I'll offer you the easy way out and just give you my flare. In either case, read on to find out how to use it.

You can download my contact flash here. (to download, right click and choose Save File As...) It was made by Michael "Dorkman" Scott in Photoshop using the Axion filter.

My plan on applying contact flashes require that you already have them made up. Either you create a big 2 or 3 frame video file with your flash on it over a black background, or you're stealing mine. Either way, you've got what you need and here's how to apply your flash to your footage:

In your composition with your footage you want to add flashes to, advance to the first frame where you want a big flash.

If you haven't already, import your flash or multiple flash files by going File > Import > File...

Drag your flash file to the canvas and drop it so that it's anchor point (the circle with an X in it) is right where you want the center of the flash to be.

Set the flash's transfer mode to Add.

Note: If needed, in the switches panel, set each the flash layer's display quality to best.

Note: You might also have to change the scale of your flash to make it bigger or smaller depending on the shot. Do this, make sure your flash layer is selected and then click the point on one of the corners of your flash. Then hold down the shift key while you drag that corner in or out to shrink or enlarge the layer's scale.

When shooting your footage, use a tripod or set the camera down so it cannot move. Your shot must be stationary for this method. If possible, lock your camera's exposure and focus. Also before shooting ensure that no objects will be moving in the background behind your lightsaber. (water, plants blowing, cars, etc will render your shots unuseable).

Shoot your actor with his lightsaber. This shot will be referred to as your action plate. When the shot is finished, do not move the camera or change any of the camera settings.

Have your actor leave she shot and record empty background. This footage of just the background will be referred to as your background plate.

Capture and save each of your shots.

Open After Effects and create a new Composition (Composition > New Composition...) set to the same pixel size, time length and pixel aspect ratio as your footage you want to rotoscope.

Import both pieces of footage into the Composition by going File > Import > File...

Place your action plate into your composition and move it through time to get it how you want it.

Place your background plate under your action plate, making sure that non-moving background footage is happening under your action plate while you want the saber to be gone.

If necessary, in the switches panel, set each of the footage's display qualities to best.

In the timeline, double click on the name of your action plate so it will present itself in it's own footage window.

In the toolbox, click the Pen tool. (If the toolbox is not visible, go Window > Tools)

Note: I will now use a lightsaber ignition shot as an example. This means that we want to have the handle with no rod, and then have the rod "come out of the handle" for us to rotoscope later. You can do this method for retractions by basically masking out the rod from the end going backwards. Once you understand the following example well, you should have no problem figuring out how to do it for retractions.

In the new window for the footage, draw a mask around your rod to define the area of footage you want to "dissapear" by clicking 4 points to make a rectangle larger than your rod and then clicking the point you first created to close the mask. Be careful about how your mask meets your lightsaber handle. You ideally want to mask out the rod but none of the handle. It can get rather tricky to be precise. Just make sure you pay extra attention to the two mask points closest to the handle.

Set Mask 1's mode to Subtract (rather than the default Add)

Click the triangle next to your footage's name in the timeline window, and then click the triangles next to Masks and then Mask 1.

Click the stopwatch next to Mask Shape. (This allows us to set keyframes for the mask we just created so it can change shape over time)

Using the Time Controls palette (Windows > Time Controls) move forward through time to a frame where you want to add a new keyframe.

In the toolbox, click the Selection tool (represented by a standard cursor arrow) and then click anywhere off of the canvas in the footage window to deselect all the currently selected points on the mask.

Click (hold) on the corner of the mask you want to move first and drag it to to the approproate place in this new frame in time and release. Do the same to the other corners of the mask so that the mask once again defines the area of the footage you want to dissapear. Make sure to pay extra ettention to where your mask meets the handle.

Continue moving through time and setting keyframes to keep your rod invisible for the frames you want it not to be seen.

Using the Time Controls palette (Windows > Time Controls) move forward through time to the last frame where you want the rod to be invisible (The frame before the first frame where you want the blade to start coming out) and adjust the mask to set a keyframe.

If you want your lightsaber to ignite quickly, move forward 5 frames or so. If you want your lightsaber to ignite a bit more slowly, move ahead about 10 instead. At this new frame in time, adjust your mask to it now encompasses only a very small part of the tip of your rod, leaving most of it revealed.

Move forward one frame and then move all your mask points off of the footage's visible canvas.

Use the Time Controls palette (Windows > Time Controls) to move back over the frames where your mask reveals the rod and make sure your rod doesn't jump to the side or anything that would make the mask's keyframing incorrect. Adjust your mask if needed, but try to keep it so that it reveals the same ammount of the rod.

With this method of ignition/retraction, unlike the prop removal method, you have practically total freedom in shot movement and background motion. You do not need to lock down your camera down to a tripod, you can shoot however you like with just one rule: Make sure that for the time when you want the saber to be on, you can fully see the top and bottom of your saber handle. It is important that you can see each end of the handle to ensure that you are able to align the blade's angle properly later.

Open After Effects and create a new Composition (Composition > New Composition...) set to the same pixel size, time length and pixel aspect ratio as your footage you want to rotoscope.

Import your footage to the Composition by going File > Import > File...

Place your footage into your composition and move it through time to get it how you want it.

If necessary, in the switches panel, set the footage's display quality to best.

Note: Like in the other ignition/retraction tutorial, I will now use a lightsaber ignition shot as an example. This means that we want to have no lightsaber coming out of the handle to start with, and then later it will extend out. Once you understand the following example well, you should have no problem figuring out how to do it for retractions.

Using the Time Controls palette (Windows > Time Controls) move forward through time to the frame where you want your lightsaber to start igniting.

Create a new solid by going Layer > New > Solid... Set the color of the solid to pure white. Now choose the size of the solid. You want the solid to be the same width (and if you should see the tip of your saber in the shot, the same length) as your imaginary lightsaber blade. An example for a medium shot might be a width of 10 and a height of 200. It depends on your shot. Create the solid and if the shape isn't right, just Undo and try again.

In the toolbox, click the pan Behind button (I don't quite get why it's named that)

Click on your new solid's anchor point (the circle with the X int he middle) and drag it to the very bottom middle edge of your solid. This makes the bottom the new point of rotation for the solid.

In the toolbox, click the Selection tool (represented by a standard cursor arrow)

Click the triangle next to Solid 1's name in the timeline window, and then click the triangle next to Transform.

Click the stopwatches for Position and Rotation. This will allow us to set keyframes for these functions so we can animate them over time.

Tip: At this point you might want to change the opacity of your solid to 50% or maybe 25%. You might find this makes helps you eyeball your positioning later.

Click anywhere inside your solid and drag it to move it so that the very bottom of your solid is at the bottom of your saber handle and centered as much as possible.

In the toolbox click the Rotation tool and then click somewhere inside the solid and drag it to rotate it. You want to rotate it so that it goes straight through the middle of the emitter end of the handle.

Note: Now you should have what looks like a lightsaber blade where it should be and then going through (on top of the handle as well. Remember we're going through the handle to help make sure the angle is correct; We'll mask off that bottom bit of the solid later. Also at that time we'll come back to making the saber "extend". For now just worry about lining up the solid as precicely and consistently as possible.

Using the Time Controls palette, move forward through time to a frame where you want to add a new keyframe. (not too many frames ahead... the more keyframes the better your animation)

Using the selection and rotation tools, move and adjust the rotation of your solid so that it once again is lined up as described beforre.

Tip: At this time you should use the Time Controls palette to move back through time over the course of your animation to ensure that the solid moves precicely with your handle on every frame between the keyframes you just set. If the solid does not move how you want it, you can set more keyframes by moving to a frame in time where your solid needs the most correction and simply update the position and rotation to make it look how it should.

Again using the Time Controls palette, continue moving forward through time, setting keyframes to update your solid as you go until you have keyframed your lightsaber over the entire duration of your clip.

Use the Time Controls palette to go back to the very first frame that your solid appears on the footage.

If you want your lightsaber to ignite rather quickly, move forward 5 frames or so. If you want your saber to turn on more slowly, move ahead about 10 frames.

Click the Pen tool and draw a mask defining the part of the solid you want to be visible. (you should only need 4 points. Have the bottom edge of your mask go right through the edge of your handle's emitter, if not overlap with it slightly. Make sure there won't be a gap between the blade and the handle)

Move back to the frame where your solid first appears.

Click the Selection tool (arrow)

In the timeline window, under Solid 1's name, click the triangle next to Masks and then the triangle next to Mask 1.

Click the stopwatch for mask shape.

Drag each of your mask's top 2 points down close to the bottom 2 so that you have only a tiny bit of your blade showing. After Effects will use this frame and the other frame 5/10 frames up to animate the lightsaber igniting.

Note: Since you have drawn and animated your mask on the solid layer, the mask should move with the solid and therefore you should not need to do any further animation of the mask.

Note: If you set the solid's opacity down to 50% or 25% earlier on, bring that back up to 100%.

Select your footage layer and go Edit > Copy

Create a new Composition (Composition > New Composition...) set to the same pixel size, time length and pixel aspect ratio as your first composition.

If it is not, position the time marker on the very first frame of this new composition. (By default it should be there already, but in case it isn't this is very important) and paste your footage into it (Edit > Paste)

In the timeline window, click the tab for Comp 1 to go back to it.

Select your footage layer and delete it.

Position the time marker to the first frame in the composition and insert a new solid by going Layer > New > Solid...

In the Solid Settings click the "Make Comp Size" button to ensure that the sollid will fill the canvas space.

Click the color swatch, set the color to pure black and click "OK". In the Solid Settings click "OK".

In the timeline wondow, select your new black solid layer and drag it so that it is below your other solid.

Select your lightsaber solid (Solid 1; The solid on top)

Apply a blur effect by going Effect > Blur & Sharpen > Fast Blur or Effect > Blur & Sharpen > Gaussian Blur.

In the Effect Controls window, give the layer a blur of 1 or 2 or maybe even 3 depending on how close or far the lightsaber is from the camera and then close the Effect Controls window. Remember, this is how blurry the core of your lightsaber will appear, so don't over or under-do it.

If you must, click the triangle next to Solid 1's name in the timeline window, and then click the triangles next to Effects and then Fast Blur or Gaussian Blur to reveal the filter settings.

Duplicate the lightsaber layer by going Edit > Duplicate

Click the name of the #2 Solid 1 layer you just made and then set it's blurriness to 10.

Note: In the end we will have 3 lightsaber aura layers with varying blur values in a 1:2:4 blur ratio, as I call it. For the example of this tutorial I am using 10, 20, 40. This set of blur values will not look ideal at all times. You will have to playa round with these numbers to find what glow works for your shot. For closer shots you might use 20, 40, 80 or 30, 60, 120 and for far away shots you might use 5, 10, 20. The point is as long as the blurs are in proportion to each other, you have to tweak them to make sure they look as good as they can for your shot.

Duplicate the layer again by going Edit > Duplicate

Click the name of the #3 Solid 1 layer you just made and then set it's blurriness to 20.

Duplicate the layer once again by going Edit > Duplicate

Click the name of the #4 Solid 1 layer you just made and then set it's blurriness to 40.

In the timeline window, click the tab for Comp 2 to go over to it.

"Nest" your lightsaber composition (Comp 1) into Comp 2 by clicking the Comp 1 name in the Project window and dragging it to the center of the Composition window. (The composition should snap to the center of the composition window, ensuring that it is lined up with your footage)

If necessary, in the switches panel, set the display quality of the nested Comp 2 to best.

Set the transfer mode of the lightsaber layer (the nested Comp 2) to screen mode by going Layer > Transfer Mode > Screen

Tip: If you want to add a nice roundness to your lightsaber corners/tips, now is the time to apply a median filter. Make sure your nested lightsaber composition (comp 2) is still selected and go Effect > Image Control > Median and apply a median radius of 1 or 2 or maybe 3 depending how large your lightsaber is in frame.

Go Effect > Adjust > Color Balance

In the Effect Controls window, first click the Preserve Luminosity checkbox and then give the lightsaber color by punching up the Midtone and Highlight Balance for the color you want.

Note: Colors other than red green and blue can be created by punching up the midtones and highlights of more than one color. Purple = Red + Blue, Yellow = Green + Red and Cyan = Green + Blue.

Note: This effect requires After Effects version 5.5 Production Bundle or higher. The standard version of After Effects does not have the Wiggler tool, which is needed here. However, if you don't have that, you're not out of luck; You can download my pre-made "flicker layer" below on this panel. Skip to the second set of instructions on this panel to download it and find out how to properly use it.

Note: This little extra does not need to be added onto fighting shots since the sabers are moving so much you'd never notice it.

This process begins after you have done all the steps for rotoscoping and making the glow. In other words, once you'r all finished, do this.

In your project, go into the composition that holds all your lightsaber elements (the core and glow layers over a black background)

Position the time marker to the first frame in the composition and insert a new solid by going Layer > New > Solid...

In the Solid Settings click the "Make Comp Size" button to ensure that the solid will fill the canvas space.

Click the color swatch, set the color to pure white and click "OK". In the Solid Settings click "OK".

Set your new solid's transfer mode to Color Dodge, or if you're using After Effects 6.0 or higher, Classic Color Dodge.

Make sure that the time marker is still on the first frame of the composition and then click the triangle next to the name of the solid you just created, and then the triangle next to Transform.

Click the stopwatch for Opacity and then turn the opacity down to 0%.

Use the time controls or just drag the time marker to the last frame of your composition and then click the checkbox to the left of Opacity to set a keyframe there.

Holding down shift, click the other keyframe you made (at the beginning of the composition) so that they are both selected.

Reveal The Wiggler by going Window > The Wiggler.

The only settings in The Wigler you should have to change are the requency and magnitude. I think a frequency of 15 or 20 wiggles per second usually looks best. Depending on how obvious you want your flicker to appear, choose your magnitude with a higher number meaning a more prominent flicker. You typically should not have to exceed a magnitude of 15 for your flicker to be noticeable.

Hit the Apply button and The Wiggler will generate keyframes for opacity on your solid.

Tip: You're done! At this time you should take a look at your flicker using the RAM preview. If you don't like how it looks, simply Undo, change The Wiggler settings and apply again.

If you do not have After Effects Production Bundle or if you're just lazy, you can download my pre-made "flicker layer" right here. (to save it to your computer, right click on the link and choose Save File As...) Here's what to do with it:

This process begins after you have done all the steps for rotoscoping and making the glow. In other words, once you'r all finished, do this.

In your project, go into the composition that holds all your lightsaber elements (the core and glow layers over a black background)

If you haven't already, import the flicker layer by going File > Import > File...

Position the time marker to the first frame in the composition and drag the flicker layer to the center of the composition window. It should snap to the center.

If your composition is larger than 720x480, rescale the flicker layer to be large enough to cover your whole canvas.

Set the flicker layer's transfer mode to Color Dodge, or if you're using After Effects 6.0 or higher, Classic Color Dodge.

Change the opacity of the layer down to a lower number (start with 25% maybe) and RAM preview it. Keep adjusting the opacity and previewing it until you get just the right prominence in the flicker. (I had to exaggerate the intensity of the flicker in this video a lot because the subtle ammount of flickering you need is mostly lost in the compressed video clip. Simply toning down the opacity of the layer seems to work about as well though.)