• Red Room Blog
Page 1 of 4212345...Last »

 

Organic Particles with Trapcode Form
By Aharon Rabinowitz
Published on Friday, August 15th, 2014

Recently, the team at MK12, an awesome design and filmmaking collective, created a beautiful piece for Semi-Permanent’s 2014′s Sydney conference. Some of my favorite motion graphics work has been done by MK12, so it’s no surprise how awesome this piece looks and feels.

Most amazingly, this work was not done with CGI particles – it was all practical. The awesome folks at The Art of the Title did a really great breakdown of the work, and provided an invaluable Behind the Scenes video that shows how chalk and high speed filming was used to create the effects seen in the video. You should absolutely watch it, as it’s a great reminder that CGI is not the end-all for great visuals.

Don’t get me wrong – I love VFX, but have to admit, there’s something about the uncontrolled and chaotic nature of practical effects that CGI has yet to truly replace.

That said we caught a tweet that mentioned that an animator names Claude Autret was inspired to attempt recreating some of the effects in After Effects. We were curious to see the results, so we followed the link.

While the results are quite different from MK12′s practical work, Claude does a great job of creating a beautiful organic CGI effect. Always inspired when I see our customers pushing our software to it’s limits to create something awesome, I reached out to Claude and asked him to tell us a little bit about himself and how he achieved the effect.

I’m a 26 years old french graphic designer living in Rennes, and have been a freelancer mainly in motion design for about two years now. I discovered motion design a bit by accident when I was working in an agency, and since then I’ve been learning as much as possible, until I finally felt I was able to work in that field. I love to experiment with plugins that extend the possibilities of After Effects like Trapcode ones.

A few weeks ago, I found some interesting effects while playing with Trapcode Form, but had no practical use for them at the time. Then I saw MK12’s titles for Semi-Permanent on Art of the Title, and thought those ultra slow-motion explosions of chalk were the perfect way to test the realism and the control I could achieve on this kind of effects.

So I’m basically using a letter (or a letter converted to a shape, to use only the outside stroke) as a layer map for Form, with really small particles, and then animate the displacement and dispersion so it explodes towards the camera.  I used 3 lights around the form, and shadowlets only, as global shading was too strong for this project.


One of the tricks that makes it look good is using a high aperture on the camera, so everything closer than the letter gets blurry and creates that powder effect.

You can control the variations with the complexity, octave multiplier and so on. Adding just a little bit of flow also brings some life to it.

I then duplicated the layer map and made it 3D, tweaked the visibility of Form so the particles appear “through” the letter, and used Form as an alpha inverted map, so it doesn’t overlay over the letter. I had used a pretty large ( 960x960px ) composition for the explosions, so I could scale it down and have even smaller details and particles. Each exploding letter was finally rendered as a .mov with rgb+alpha. I’ve seen a lot of people asking about render time, well it took about half an hour for each letter on my not-so-powerful laptop, so it’s reasonable for almost 20 millions particles !

Then it’s just a basic 3D comp with lots of tweaks and color corrections, and a small camera move.

There’s also a part where particles are seen from the side, but that is way easier so I’ll just leave the small video breakdown here:

Thanks to MK12 for the inspiration, Trapcode for the awesome plugin, and Aharon for asking me to write this.

Claude, you are very welcome. I really enjoyed your breakdown, and I know many other users will too.

FREE PROJECT FILES:

Best of all – Claude has provided us with an After Effects project file which you can get HERE on Red Giant People, our free website for sharing presets and templates.

LINKS:

 

Free Trial: Take a Second Shot with BulletProof
By Aharon Rabinowitz
Published on Thursday, August 14th, 2014

Hey folks – A little more than a year ago, thousands of you downloaded and installed Red Giant BulletProof 1.0, our stand-alone application for backup and review of your footage on set. At the time, BulletProof only supported a handful of cameras and codecs. Since then we’ve expanded  to include MXF and AVCHD support and have added new features that make the workflow much faster.

Because so much has changed, we’d like to give you the chance to try BulletProof again. To make that possible, we are refreshing BulletProof with version 1.2.1 so that you can install a free, fully functional 30-day trial – even if you have installed a previous trial version that has expired.

You can get the update HERE or use Red Giant Link to update.

As always, if you have any problems, our support team is here for you.

 

Help Bring Red Giant to SXSW
By Aharon Rabinowitz
Published on Wednesday, August 13th, 2014

Hey folks – for the last few years, the team at Red Giant has been making short films and taking you behind the scenes of our work. We love sharing all of the cool stuff we (sometimes painfully) learn in the process, but we also love talking to other filmmakers to hear about what they do and what inspires them.

With that in mind, we’d love to come out to SXSW, meet our fellow filmmakers in person, and give a session (maybe even 2) on filmmaking – but we need your help.

Seth and I have submitted 2 sessions on filmmaking, and, if you think they are worthy of bringing to SXSW and the indie-film community at large, help us by voting for one or both:

#1: Jurassic Park and the Art of Imperfection

The secret to standing out in the amateur world, according to Webby Award winning filmmaker Seth Worley, is pretending that you don’t know you’re amateur.

Worley posits that the best directors can take their limitations and flaws and use them to make their movies better. Pulling insights from his favorite movies like “Jurassic Park”, “Jaws”, and “Back To The Future”, and drawing from his own experiences and addiction to problem-solving, he details the constant but necessary fight between ambition and pragmatism, dreaming elaborately while working within your means, and what we can learn from this movies about expecting — and embracing — imperfection. All in the name of making cool stuff. (VOTE NOW)

#2: Blood, Sweat, and Flares: VFX for Independent Film

In this presentation, filmmakers Seth Worley and Aharon Rabinowitz (of Red Giant Films) will walk you through their process for creating VFX-rich short films. They will present solutions for creating Hollywood-quality visual effects on a tight budget, show examples of their work, and break down how the challenges were approached and solved. They’ll also talk about what did not work, and some of the pitfalls they’ve learned to avoid. In addition they will discuss how good planning and design at the front of the filmmaking process, as well as good finishing techniques at the end, are both crucial for a high-quality end result. (VOTE NOW)

BTW – You can give a “thumbs up” or “thumbs down” only once for each session – but that means you can vote for one or both.

Don’t forget – there are a lot of very talented filmmakers who are also submitting great ideas for talks. Take a look and see what everyone has to offer, and if you still think ours our worthy, give us a thumbs up on the SXSW site.

 

Primatte Keyer 5.1 Adds Support for Premiere Pro, FCPX and More
By Aharon Rabinowitz
Published on Tuesday, August 12th, 2014

Primatte Keyer 5.1

Hey folks- For a long time, you’ve been lighting up our customer service lines asking us to bring Primatte Keyer to more host applications. We didn’t want to disappoint anyone in case we couldn’t delver, so while we’ve been telling you that we were looking into it, our product team has secretly been making it happen, in the background. We’re proud to announce that as of today, Primatte Keyer now includes support for After Effects, Premiere Pro, Final Cut Pro and Motion. Best of all, this is a FREE update for existing users of Primatte Keyer 5.

  • You can get the free update HERE.
  • Buy Primatte Keyer HERE.

About Primatte Keyer

Primatte Keyer 5 is the industry’s most popular tool for fast, automatic chroma-keying. Primatte makes it easy to remove a green-screen or blue-screen background, often with the touch of a single button. But while Primatte has only been available to After Effects users, Primatte Keyer 5.1 opens up our powerful chroma keying tools editors.

Primatte Keyer runs on Windows and Mac and now includes support for:

  • After Effects: CC (2014), CC, CS6, CS5.5, CS5
  • Premiere Pro: CC (2014), CC, CS6
  • Final Cut  Pro X: 10.0.9 and later
  • Motion: 5.0.4 and later

Pricing and Availability:

  • New: $499 – Buy it now
  • Upgrade: $99 – Upgrade now
  • Existing users of Primatte Keyer 5: FREE – Download your Free Update
    As a part of our Red Pledge (“One price for all hosts.”), this is a FREE update for existing users of Primatte Keyer 5.

As always, if you have any questions or problems, our support team is here for you.

 

PREVIEW: Red Giant Universe 1.2
By Aharon Rabinowitz
Published on Wednesday, August 6th, 2014

Hey folks – we recently release Red Giant Universe, and then quickly followed it up with Universe 1.1 – and a whole bunch of new tools. We are constantly working to add new tools to the library of effects and presets in Universe, and we wanted to give you a sneak peak of what is coming next. Here’s a video showing you something we are working on for Universe 1.2:

Like all of the effects in Universe – Glitch and Glitch Transition will work in After Effects, Premiere Pro, FCPX and more.

IMPORTANT: While Universe 1.2 won’t be ready for a little bit, you can still sign up for Red Giant Universe free membership, right now, and get over 30 FREE effects.

Join now!

 

NEW: PluralEyes 3.5, Shooter Suite 12.5 and More
By Aharon Rabinowitz
Published on Tuesday, July 29th, 2014

Hey folks – today we are releasing an update to our Shooter Suite, which includes new versions of PluralEyes 3.5 and Instant 4K (previously Instant HD).  New to the suite is Magic Bullet Denoiser II, our video noise reduction tool. Also included is the recently updated BulletProof 1.2, as well as Frames and LUT Buddy.

GET SHOOTER SUITE 12.5 NOW.

PluralEyes 3.5 adds support for more media formats, speed improvements, better sync accuracy and other highly-requested enhancements. Here’s the complete list:

  • AVCHD playback (that’s new for Windows) and for support spanned clips (that’s new for both Windows and OS X)
  • Supported media types for Replace Audio now greatly expanded
  • Lots of algorithm improvements result in faster and more accurate syncs.
  • Automatic correction for sync drift (Over time in long videos, sound and video can stop matching up perfectly- this will fix that)

Also new to Shooter Suite 12.5 is Instant 4K, an update to Red Giant Instant HD, which includes speed optimization (up to 3-4X) and new presets geared towards higher resolution formats. We’ve also added Denoiser II, our powerful video noise reduction tool, giving shooters a powerful tool for improving the quality of the video they shoot.

This all comes on the heel of BulletProof 1.2 – a recent, free update for owners of the Shooter Suite and BulletProof. Red Giant BulletProof is the Shooter Suite’s stand-alone application for reliable on-set backup and review of footage. The free update includes support for AVCHD and Canon MXF, opening it up to a world of new, popular cameras. BulletProof 1.2 also includes a new file reference mode to help drastically speed up the process. And, with the release of PluralEyes 3.5, comes BulletProof/PluralEyes integration, making it easy for BulletProof to hand off files to the popular audio/video sync app.

All-in-all, this release of Red Giant Shooter Suite delivers more integration, greater camera/format support, and fantastic workflow, speed and accuracy improvements, making it easy to bring your footage from set to post with confidence.

PRICING

  • Shooter Suite 12.5 is available now for $399. Existing users of Shooter Suite 12 are eligible for a $99 Upgrade. GET IT NOW.
  • All Shooter Suite upgrade options can be seen HERE.
  • PluralEyes 3.5 is available now for $199. Existing users of PluralEyes qualify for a $79 upgrade. GET IT NOW.
  • Instant 4K is available now for $99. Existing users of Instant HD are eligible for an update to Instant 4K for $29. GET IT NOW.

FREE UPGRADE: If you bought Shooter Suite, PluralEyes or Instant 4K from (NAB DATE)  on, then you are eligible for a free upgrade. We will be sending you a coupon via email. Stay tuned.

Fully Functional trial versions of all of our software can be found HERE. (All of these tools are installed with the Shooter Suite product installer).

As always, if you have any questions or problems, our support team is here for you.

 

SOFTWARE UPDATE: Color Suite 11.1.4 – Bug fixes
By Aharon Rabinowitz
Published on Monday, July 28th, 2014

Hey folks – We’ve just released a maintenance update for Magic Bullet Looks 2.5, which includes bug fixes and enhancements.

Magic Bullet Looks 2.5.3
  • Magic Bullet Looks 2.5.3 solves an issue on Windows where Adobe Premiere Pro CC 2014 would periodically hang when using Looks.
  • Fixed an issue with the Tool Icon with the LUT Tool
  • The LUT tool has been added to Subject and Post tool categories.
  • Improved LUT Tool performance in Sony Vegas.
  • Fixed an issue displaying Overbrights incorrectly in Magic Bullet Looks.

You can get the update through the latest Color Suite 11.1.4 download HERE or use Red Giant Link to update.

IMPORTANT: In case you missed it, we recently fixed many other outstanding issues in Magic Bullet Looks, in a previous update (Color Suite V11.1.3). Those updates are also included in today’s update. READ MORE.

As always, if you have any questions or problems, our support team is here for you.

 

SOFTWARE UPDATE: PluralEyes 3.3.7 – Bug Fixes
By Aharon Rabinowitz
Published on Wednesday, July 23rd, 2014

Hey folks – Recently Apple released an update to FCPX (version 10.1.2). At that time, PluralEyes 3 was not compatible. However, with today’s release of  PluralEyes 3.3.7 and Shooter Suite 12.4.3, PluralEyes 3 is now compatible with FCPX 10.1.2. You can now safely download FCPX 10.1.2 for use with PluralEyes 3.

In addition, this update also includes bug fixes for some issues users reported when using PluralEyes with Premiere Pro and FCPX.

HOW TO UPDATE PLURALEYES:

You can get the update HERE (in the latest Shooter Suite product installer) or use Red Giant Link to update. Also, if you run PluralEyes, you may get a notification, at start-up, that there is an update. You can download the update directly through that, as well.

 

SNL’s Adam Epstein & The Cutting Edge Tour
By Aharon Rabinowitz
Published on Thursday, July 17th, 2014

For the last 5 years, Adam Epstein has been editing for the SNL film unit – a team that has just a couple of days to make something that looks as polished and as real as the material they are often parodying. Adam describes himself as an editor who’s “been working professionally on promos, commercials, TV and film for longer than is healthy for my lower back,” and it shows in his work (“it” being his editing chops, not his lower back pain).

Adam is going out on the road to share his editing knowledge in the Cutting Edge Tour, and we’re proud to sponsor him. We also want to save you a few bucks too. Use discount code CETRED at checkout and get $10 off. REGISTER NOW.

On the Cutting Edge Tour, Adam will break down some of the techniques and theories that he uses, and he’ll share with you the experience that he’s gained working in a fast-paced broadcast environment. Some of those techniques involve the use of Red Giant tools so, naturally, we asked Adam to talk about how he uses our stuff in his stuff:

The post-production process at the SNL Film Unit requires tools that mirror what we do — they have to be fast and they have to be flexible. Red Giant’s products help us to more fully execute pieces that span a wide variety of styles and tones, while being lightweight and optimized to a level that they don’t get in the way of our unchanging weekly deadlines.

With the ultra-compressed nature of the SNL Film Unit post-production timeline, the more polished the look and feel we can give a piece from the get-go, the more we can focus on the most important aspect of the job: Is this piece working? Is it funny? Tools from Red Giant often save us from not having to take the time to explain that “yes, we’re going to eventually get rid of that greenscreen.” “Don’t worry, the color is going to eventually be what the piece needs.” This lets us be more free creatively, even if that freedom is often spent in search of a perfect fart sound effect. Or two.

We’re working on a piece that feels like a cop show from the ‘70s? Oh, hello there 3d Stroke and Magic Bullet Misfire.

Jaime Fox is jumping to camera in front of a green screen where we’ll be compositing a large explosion behind him? Nice to see you Keying Suite and Light Wrap!

The agents from “The Beygency” need a little bit more of a Tony Scott-esque color tone to really sell how serious they are about never disrespecting the Queen B? Mojo, get up there on that adjustment layer next to your responsible older brother Colorista! I’m sorry we’re only going to use you at about 20% opacity, but that’s not your fault — sometimes you just come on a bit too strong.

When it comes to making sure the pieces we shoot in a day and cut in another never look that way, Red Giant products are a favorite tool in the Film Unit’s arsenal. A great set of plugins will never make the piece for you — but they will help to make it better.

Save $10 on your registration when you use discount code CETRED at checkout.

Register NOW at www.CuttingEdgeTour.com

 

Vote for a new Transition in Universe Labs!
By Aharon Rabinowitz
Published on Tuesday, July 15th, 2014

Hey folks – when we launched Red Giant Universe, we asked you to take part in helping us decide what to make next. Through Universe Labs, we offered you 2 options: Compound Blur or Edge Glow. You voted for Compound Blur, and we delivered that effect with Universe 1.1.

Now, as we make our way towards Universe 1.2, we’ve opened up voting once again – this time with 2 new transitions on the table:

  • 3D Toss Transition
  • Exposure Blur Transition

Learn more about and see them in motion at our Universe Labs page. And don’t forget to vote!

If you are not yet a member of Universe, and you want to take part in the vote (and get lots of free stuff too) become a free member RIGHT HERE.

 

Page 1 of 4212345...Last »

 

 

Downloads

Join

Subscribe to our newletter and special offers.