Recently, I saw an awesome video from Claude Autret creating a beautiful 3D paint splatter effect with Trapcode Particular.
I reached out to him, and asked if he could share his paint mixing secrets. Claude was kind enough to oblige and to share the project file (download link below). Claude had this to say:
I wanted to work on my Trapcode skills, as I’m mostly using Form and haven’t yet mastered Particular. My idea was to try some organic effects with auxiliary particles, having lots of them so they merge together. My first try was this:
Then I found some inspiration on projects using the glass effect on fractal noise to make some kind of liquids. Combining it with Particular seemed like a good Idea so I got started.
I tried to be as tidy as possible for this project, so all comps are using the same base layers. Everything is done in AE as I didn’t want to have extra files hanging around, you can see my “2015” background & emitter is just a stack of mattes to get those nice stains. So it’s really easy to change the colors or even the text from which particles are emitted.
I’m using two Particular layers, one for the liquid itself, and another one without aux particles, to get those drops floating around, bringing some depth.
Here you can see the 3 systems: Pink ones are the main particles, Blue ones are the aux system retaining velocity with some turbulence, and Yellow is the second particular layer for the drops.
The layer emitter has a ramp mask revealing the stains, so I could offset the explosion between the letters ( my first project was using one comp per letter to get more control, but this seems more than enough ). Then the magic trick is the physics time factor: you can get that sweet slow-motion effect, super smooth, without time remapping, just by turning the time factor down a lot. You can just turn it all the way to zero and you have a nice frozen scene you can revolve around.
Once everything is in place and pre-comped, camera linked to the main comp, I just added some color correction and a tuned glass effect to get that liquid look.
I’m using a duplicate comp for the shadows, and a masked solid to cheat some sort of rotoscopy on parts that didn’t fit. As everything uses the same layers, it’s all synced. Shadows from the rest of my objects come from a parallel light lined up, and are using my partciles’ fake ones as alpha matte so they don’t overlap.
The rest is just part of the design I had in mind, blueprint style with 3d lines. As usually I use Form to add more depth to the scene, a lot of color correction, rgb split and so on to composite everything, and a nice Lens Flare from Universe to add some life. I also use a masked Fast Blur layer to fake the camera aperture I could not use ( because of the glass effect applied afterwards).
It renders in about half an hour on my workstation, but if you have an older computer you might struggle a bit and could reduce the number of particles, get rid of the shadows and shut down the adjustments layers.
Thank you Claude!
PROJECT FILE: You can download the FREE project file at Red Giant People – or if you have any trouble, you can try this link as well.
Visit Claude’s site at: http://jissse.com/