Archive for the ‘Trapcode’ Category
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Exodus – New Film for Trapcode
By Aharon Rabinowitz
Published on Tuesday, January 15th, 2013

Trapcode has commissioned ‘Exodus,’ an animated short film to director/designer Magnus Östergren at Potemkin. The film uses Trapcode Suite with a focus on Trapcode Mir.

Mir, a plug-in for Adobe After Effects, provides the artist with a polygon mesh that can be displaced with a fractal and shaded in a number of different ways. Mir uses OpenGL so it give very fast feedback allowing you to play around and experiment, while getting instant results. You can download a trial HERE and start playing.

Magic Bullet Looks was also used for Color Correction, some look processing and film grain.

Östergren says “The film is set in space in an alternate universe. Logic and photo-realism are low priority but cool scenery and glows rule supreme”. Magnus, who also creates the soundtrack for the film, continues “I like the concept of ‘art by accident’, just letting stuff evolve, like in my music production. In Trapcode Mir I found a great tool for this method.”



UPDATE: Trapcode Suite 12.1 – Fixes and New Features
By Aharon Rabinowitz
Published on Thursday, October 25th, 2012

Hey folks – Happy Thursday! What better way to celebrate a perfectly good day of the week by giving you an awesome update to the Trapcode Suite – Now version 12.1.

This is a combination of both a maintenance update that includes bug fixes for the installer, for Form 2.0.4 and Particular 2.2.0 – And it also has a few new customer-requested features in the Particular update. We even have some new tutorials to cover the new features, as well as a new series of Particular 2 Getting Started tutorials from Harry Frank.

Anyone owning Trapcode Suite 12, Particular 2 and/or Form 2 can download the installer and get these updates and fixes for FREE! Get the Trapcode Suite installer HERE.

What’s new in Trapcode Suite 12.1:

Suite Installer Updates

  • This Suite 12.1 installer includes a fix to the issue of Form and Particular not properly installing in CS4 on Windows 32bit.
  • Installer registration fixes to Mir.

Particular 2.2.0

New Features:

  • New Default “Still” mode in Layer Emitter Sampling to be used if a still image is used as a Layer Emitter.
  • Newly Renamed Transform World controls as to differentiate them from the Emitter controls. Useful for writing expressions unique to this control.
  • There is a new “Lights Unique Seeds” control in Emission Extras to allow unique random seeds for each light emitter in scenes with multiple lights emitting particles.Random Seed needs to be set to 65536 or higher for this to work.
  • Unique Light Seeds also affects Streaklet random seed so that different lights get different Streaklet appearance.
  • A new “Particle Amount” feature under Rending allows you to quickly change the amount of particles shown for previewing when Particles/sec is keyframed.
  • The maximum visible particles has been raised to 20million.
  • New Layer Emitter mode RGB-XYZ Velocity that allows particles to get their velocity from the RGB of the Layer Emitter.
  • The “Affect position” control in Turbulence in the Physics controls now goes into negative numbers for a greater range of control.

Bug Fixes:

  • Fixed a bug with Layer Grid Emitter, properly kills particles if alpha is zero so it can be used with Aux (modes Particle Birth Time and Still).

Form 2.0.4

  • Fixed a bug that made Form crash on Mac when Time Remapped using two consecutive keyframes with the same value.

New Tutorials:

Free Presets

  • Ok – they aren’t all new, but there’s a ton (hundreds!) of FREE Trapcode Particular presets on our free site for sharing presets and templates – Red Giant People.


Trapcode Suite 12 is Here!
By Red Giant Team
Published on Tuesday, July 31st, 2012

Introducing Trapcode Suite 12 - the industry standard for broadcast and 3D design.

Get Trapcode Suite 12 HERE.

In short, here’s what’s new in Trapcode Suite 12 (see below for detailed info):

1. Trapcode Mir – Brand New Motion Design Tool

2. Guru Presets- 105 Particular/Shine from MoGraph artist David Vinson included in the installer package.

3. Maintenance Updates for: Lux, Echospace, Particular, & Form

1. Trapcode Mir: Create 3D motion design at OpenGL speed

Get Trapcode Mir HERE.

The core of Trapcode Mir is simple and powerful: A mesh object that’s made of polygons, shaped by fractal noise, and textured and illuminated in a 3D environment.   Mir uses the OpenGL rendering (hardware acceleration) so feedback and rendering is FAST!

Please download a Trial Version to test with your machine before purchase to see if your system performs well with Trapcode Mir.

Trapcode Mir is a powerful and fun plug-in that can do a lot. So to help you get started using Mir, Harry Frank has created 17 Mir Presets -  found in the AE Effects and Presets Panel. They’ll be installed with Mir and Trapcode Suite 12.

2. Guru Presets Now Included:

Don’t forget, David Vinson’s Shine and Particular Preset installers will be included in the installer package. They have their own separate installers (found in the “extras” folder) and serial codes (that will be sent to you with your order of Trapcode Suite 12).

3.  Bug Fixes:

  • Form and Particular  – fixes the issue of CS6 not updating sprite textures, layer emitters, and layer maps correctly when editing an input layer.
  • Lux 1.3.0 -  adds dither for 8 and 16 bit  (smoother gradients Lighting)
  • Echospace – fixes a bug with Layer Delay.


  • Trapcode Suite: $899
  • Trapcode Mir: $99
  • Trapcode Suite 12 Upgrade: $99
  • Trapcode Suite 12 Special Upgrade: $499 (Existing Customer Special. If you own Particular v2, or any four Trapcode products get the entire suite for only $499)
  • Trapcode Suite Academic: $499
Just bought Trapcode Suite 11? No worries! As a part of our Red Pledge Guarantee, customers who bought Trapcode suite 11 in the last 30 days, get a free upgrade. A coupon code will be emailed to you shortly.


Adobe CS6 Updates Are Here!
By Andrew Cheyne
Published on Monday, May 7th, 2012
Hey folks – as promised, we are ready day-one with CS6 compatibility for all of our products. If you own our current CS5.5 compatible products, your updates to CS6 are FREE.

To get your free CS6-compatible installers, please download them HERE.

For Magic Bullet Suite 11 users, you can alternatively use Red Giant Link to grab the latest installers. Depending on how you have notifications set up, Link will automatically update you when the release is available; just follow the on-screen instructions for updating. If Link isn’t set up to automatically grab updates, launch Link from your Applications Folder on a Mac (Applications > Red Giant Link) or from your Program Files on Windows (Program Files > Red Giant Link).

What are you getting?
  • Red Giant has been participating in Adobe’s CS6 beta programs to ensure all of our products work properly in the new host applications. This means that ALL of Red Giant’s products have been tested for quality inside of After Effects CS6, Premiere Pro CS6, and Photoshop CS6, where applicable.
  • To ensure full compatibility with CS6, please ensure you’re using the products included in this latest release. We did find bugs! And we fixed them!
  • The Magic Bullet, Trapcode, Effects, and Keying Suite installers have all been updated to support CS6 applications as targets for installing our products. This means you install once and your Red Giant products end up in the proper spot from the start – no copying of files required once the installer has run.
Known Issues
  • We are continuing to work with Adobe with a couple of issues that popped up very late in their beta process in both Trapcode Particular and Trapcode Form: The Orthographic Camera in After Effects CS6 is not working properly with Particular and Form.
  • Also in Trapcode Form: Form runs into ram preview issues if the Camera layer is not the same length as the composition. To prevent these issues, make sure the Camera layer extends from the beginning of the timeline, even if the Form layer begins somewhat later.
  • In Knoll Light Factory in OSX: When you have GPU rendering turned on, it causes artifacts in preview renders. This does not affect output renders.
  • For Magic Bullet QuickLooks: You need to click the “Apply Look” button twice in Premiere Pro CS6 in order to launch the Looks Builder.
  • And, in Toonit: Toonit sometimes causes crashes in Premiere Pro CS6 on OSX. We’re still working on the exact steps that cause this behaviour; it’s intermittent and hard to nail down (we’re also working on a fix!).
What next?

If you have any difficulty, please contact our amazing support team at:


Are you Ready for CS6? We Are.
By Aharon Rabinowitz
Published on Tuesday, April 24th, 2012

Hey folks – yesterday Adobe announced CS6, and committed to a release within 30 days. So now you’re thinking, “I’d love to get on board, but what about my plug-ins? I can’t MoGraph without Trapcode! I can’t cut without Magic Bullet!”

Well, if you’re ready to jump on CS6, I’ve got good news. 3 pieces of good news, actually:

  1. Red Giant Products will be CS6 compatible on the day of the CS6 launch.
  2. All current CS5 & CS5.5 compatible products will be updated to CS6.
  3. All CS6 updates will be FREE for existing users (so if you already own the product, or want to buy it now, you’re covered).

Yeah, we got your back.

Learn more about how we’re here for you by checking out our unmatched Red Pledge.


New Presets at Red Giant People
By Aharon Rabinowitz
Published on Wednesday, February 8th, 2012

Hey folks – there’s a ton of great new FREE presets at Red Giant People. Check them out:


New Tutorial on Creating an 80′s Retro Show Open
By Aharon Rabinowitz
Published on Monday, January 30th, 2012

A few weeks ago, I posted a project, inspired by some recent space animation from Trapcode Creator Peder Norrby. It started to have a real 80′s vibe so I went full on cheesy sci-fi. Here’s the result:

Red Giant TV Episode 69 – Cosmodius: Creating a Retro Sci-fi Logo Animation

In this episode of Red Giant TV, Aharon Rabinowitz walks you through the process of creating a Retro Sci-Fi logo. In addition to creating the logo, he’ll show you how to age the video to make it look like it came out of the early 80′s.

Watch the tutorial HERE.


Mark Your Calendar for Red Giant TV Live
By Aharon Rabinowitz
Published on Tuesday, January 10th, 2012

Red Giant TV Live – Episode 9: Get Seriously Fractalled Up

Have you ever wondered about the difference between Octave Multiplier and Octave Scale? Complexity and F Scale? Trapcode Form and Particular have some complex controls over the fractal fields. On January 17, In episode 9 of RGTV Live, Harry Frank will demystify these controls and show you how to use them in your design.

Mark your calendar! Event details are here:


New Tutorial from Seth Worley on Creating a Comic Book-Style Title Sequence
By Aharon Rabinowitz
Published on Tuesday, January 3rd, 2012

Red Giant TV Episode #68: First Issue Credits – Comic Book Title Sequence

Get ready to open a can of awesome, because in this Episode of Red Giant TV, Seth Worley shows you how to create an awesome 2.5D comic book-style title/credit sequence. Ka-Pow!
Watch it HERE.


Beat This…
By Sarah Wise
Published on Tuesday, December 20th, 2011

Beats Antique, out of Oakland CA, are not your average experimental world fusion and electronic music group. If there were such a thing. They have described their music as an electro, xfunctional, acoustic, hip-hop, melodramatic, down tempo-freakness, world, gypsy, funk, vulcan, get down off your butt, sound. I’m serious – check out their interview with KVRX 91.7FM Austin:

YouTube Preview Image

The trio got together in 2007 in San Francisco to combine the artistic talents of David Satori (guitar, sax, viola, and percussion), Sidecar Tommy Cappel (keys, toy piano, drums, and percussion), and Zoë Jakes (belly dancer, composer, and arranger). All three are from a performance arts background and have a very visual approach to music.

Their latest music video, ‘Revival’, was directed by Ivan Landau who was also responsible for post production and VFX. Using both Magic Bullet Suite and Trapcode Software, Ivan’s video is an intricately woven visual tapestry that is a masterful example of how the two software tools can work in unison.

Landau has said it was ‘amazing, watching ‘Revival’ materialize from subconscious to screen’, so we asked him to tell us a bit more about this enthralling piece of work.

How did the video come about?

“Revival” started as a little dream.  It was a basic story of an epic journey to restore life to a world in decay.  It was a world made of snow and paper cutouts.  It was abstract, beautiful and weird.  I thought of Beats Antique and Leighton Kelly immediately.  Zoe Jakes, David Satori and Tommy Cappel of Beats Antique are artists that I have watched for many years.  I always admired their visual style and amazing live show.  They are a band who put equal emphasis on the visual as well as the musical aspects of their performance.  I approached them with the idea and they were immediately on board.

You talk about the project being a collaborative dream, were you familiar with Leighton Kelly’s work before?

This really was a collaborative dream.  Leighton Kelly is one of my favorite artists.  He captures profound emotion with subtle strokes.  I have known him for several years and, after perusing through his blog (, I was totally inspired to collaborate with him.  The initial dream I had actually had Leighton’s illustrations in it.  I was a little nervous that if Leighton couldn’t do the drawings then the video couldn’t happen.  There was a lot trust between everyone making this video (namely Beats Antique, Leighton Kelly and Austin Rhodes, my cinematographer).  Everyone contributed.  It was a surprisingly smooth collaboration considering we were very rarely all in the same place.  The band was on tour for most of the project and, with the exception of our initial brainstorming session, Leighton was in India and Bali with a sketchpad, a small scanner and sporadic internet access.

How long did Revival take to produce, concept to completion?

The entire production, from subconscious to completion probably took about four months.  It’s hard to gauge exactly how much time was spent in actual production and post because I was usually working on it after hours, weekends and while other jobs were rendering.  At some point, for reasons beyond rationale, I decided I would just do all the post production myself.  I had a pretty clear vision of what I wanted it to look like and when I started experimenting with the shots I just couldn’t stop.

What was your favorite part, or particular sequence of the production?

My favorite parts of the video are the illustrated snowscapes and the dance sequence.  The illustrated environments were rewarding for me because it was like recreating the dream I had, except better.  Once Leighton started handing off his illustrations with these little details like spats and bow ties on the deer, I knew we were on to something.  The final dance sequence was amazing to work on because it was a total experiment.  Zoe designed the costumes and choreographed the sequence for the three main dancers (herself, Kami Liddle and Auberon Shull).  We basically could just hit record and they would nail it on queue.  I experimented with a lot of different looks for that sequence (macro photography and lazers!) and decided that stop-motion paper was the most appropriate.  I wanted it to look a little rough and out of control, beautiful and tactile.  Austin and I spent some long nights crumpling paper.

What do you like about using Trapcode?

I’m blown away by what people are doing with Trapcode.  I easily impress myself when I just make a little snow or floating dust particles with Particular or throw some Shine on some otherwise drab elements.  I had experimented with using organic elements for the snow, and while there is some of that in there, it never looked exactly like i wanted it to.  Particular is so dialable you can always get the look you want.  plus, how else could you make thousands of little fish explode from someone’s head? (that didn’t make the cut).

Do you have a favorite aspect to using Magic Bullet Suite?

I really do love Looks.  It almost feels like cheating.  It provides such good baselines that can be endlessly dialed.  I’ve actually learned a lot about color by inspecting and tweaking the Looks settings.

Were any of the Red Giant tutorials helpful?

I used to be a bit of a tutorial junky.  I’m getting better, usually not more than one a week at this point.  I’m basically self-taught so online tutorials have helped me tremendously.  I can’t even count how many of Aharon’s tutorials I’ve watched.  I’ve probably watched all the Red Giant tutorials.  I love how some of the Red Giant tutorials include the projects files.  Being your own teacher can form some bad or at least inefficient habits, so opening up clean project files has enlightened me to some better techniques.

We love the intricate blend of Leighton Kelly’s work and if you’re familiar with the band you should spot some of their signature imagery used in Revival.

Ivan Landau is well known and admired for his work as VFX Editor on feature films such as Sin City, Aeon Flux, Harry Potter and the Goblet of Fire and Blade Runner (Final Cut version). And we’re hoping ‘Revival’ is just this start of him turning his talents to music videos.



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