20 Second Quicktip - Scan Line Effects with Universe Holomatrix
In Holomatrix, start with a preset, and then disable individual effects, as a fast way to create TV scan line treatments, without the need to overlay separate scan line graphics.
Use the Distortion Presets, the ones with a with a plus sign, to add to your existing effects, whilst honouring the current settingsTIP: Drag the Effects Scale slider to adjust multiple scan line settings simultaneously
TIP: Save this custom treatment as a preset, which works across multiple hosts (Incl. AVID, Resolve, Premiere After Effects, FCP X)
|Simon Walker||May 28 2021||00:20||109|
20 Second Quicktip - Dynamic Flares in Magic Bullet Looks
The Anamorphic Flare tool in Magic Bullet Looks dynamically changes intensity by matching the brightness of highlights in the shot, without using keyframes.
Adjust the Threshold and Boost to customize the treatment, and increase the Threshold Softness to customize the flare color. Add to the effect by combining it with the Haze/Flare tool in Looks.
TIP: the flare color defaults to blue, typically used in movies. Increase the Threshold Softness to customize the flare color, which introduces softness into the boundaries of the Threshold region, softening the overall flare effect naturally.
TIP: Use Reflection to add a secondary flare, positioned as an inversion of the first.
Download project file: https://www.dropbox.com/s/wl5wx8gv35dfez0/Dynamic%20Flares%20in%20Looks.zip?dl=0
Image credit: https://stock.adobe.com/uk/video/cu-little-kid-boy-wearing-cardboard-astronaut-helmet-launching-a-toy-rocket-from-a-spaceport-through-planets-4k-uhd-60-fps-slow-mo/199920329?prev_url=detail
|Simon Walker||May 28 2021||00:20||128|
20 Second Quicktip - Create smooth curves with high speed emitters in Particular
When using fast-moving emitters in Particular, you may have noticed angular, rather than smooth lines, especially when creating light streaks. This is because Particular is calculating particles frame-by-frame.
Use the Emitter Position Subframe control, to smooth out particle interpolation in-between frames, to generate much smoother streaks and lines.
Download project file here: http://bit.ly/Position-Subframe
|Simon Walker||May 28 2021||00:20||108|
How to Adjust the Dynamic Place Tool to Avoid Object Intersections
Learn how to adjust the Dynamic Place tool to avoid object intersections in Cinema 4D S24.
In this Quick Tip, Jonas Pilz shows how to adjust the Dynamic Place tool’s Scale parameter to avoid object intersections in Cinema 4D.
Recorded in Cinema 4D S24.
|Jonas Pilz||May 27 2021||01:20||190|
Swordfish “Talos” - Model a Procedural Crystal - Main Body
In this tutorial we will construct a Single Crystal using a procedural workflow. This will allow us to generate an infinite variety of different crystals just by changing a few parameters. We will do this using a single Cylinder primitive, MoGraph, Volumes, and a few Fields.
|Athanasios Pozantzis||May 26 2021||08:56||174|
Swordfish “Talos” - Procedural Crystal - Corner Curvature & Cracks
Using the Crystal we generated in the previous video, we will add a procedural Vertex map, with Curvature information of our model, just in case we need it to make fine adjustments to the model later on, and we will also add some procedural cracks, again by utilizing Volumes & MoGraph, and the addition of the Cloth generator.
|Athanasios Pozantzis||May 26 2021||08:23||69|
Swordfish “Talos” - Procedural Crystal Variations Using MoGraph
Now that our Crystal setup is complete, in this video, we will learn how to use a MoGraph Cloner to create variations, and then, after we make them editable, we will place them on a surface in order to create a structure with multiple crystals on it.
|Athanasios Pozantzis||May 26 2021||12:28||76|
Everything you need to know about Certifications
In this short video, we will get an overview of Maxon’s new User and Trainer Certification Programs. Why it was created, what purpose does it serve, how to take it, and passing scores are some of the topics we will cover.
|Athanasios Pozantzis||May 25 2021||03:36||190|
VFX SIDE QUEST | Sub-Zero Ice Blade Effect
Awaken your inner cryomancer by learning how to harness Sub-Zero’s ice powers in this latest episode of VFX Side Quest!
In six action-packed minutes, Hashi a.k.a. Action Movie Dad will show you how to turn a 3D model into an ice crystal sculpture using Trapcode Form and Chromatic Displacement.
|Red Giant||May 20 2021||06:36||685|
How to Temporarily Switch to Another Tool using Sticky Keys
Learn how to temporarily switch to another tool using sticky keys in Cinema 4D.
In this Quick Tip, Jonas Pilz shows how to temporarily switch to another tool using sticky keys in Cinema 4D. You will also learn how to use the sticky keys workflow with multiple key shortcuts.
Recorded in Cinema 4D S24.
|Jonas Pilz||May 20 2021||01:41||160|
20 Second Quicktip - Instant organic 3D kaleidoscope designs in Trapcode Form
Create organic kaleidoscope particle designs in 3D space using the Fluids and Kaleidospace functions in Trapcode Form. Start off with a Fluid Vortex preset, and then set the Kaleidospace Mirror Mode to Horizontal & Vertical. Experiment with color gradients, mirroring, rotation and custom sprites to refine your designs.
|Simon Walker||May 17 2021||00:20||87|
20 Second Quicktip - Opacity Curves in Trapcode Form
Use the Opacity Curves in Form to create clearer wireframes when working with dense 3D models.
The curves allow you to control particle opacity in all three axes, reducing visual clutter, by limiting the visibility of particles further away from the camera, enabling the viewer to concentrate on specific areas of the model.
TIP: This technique is especially useful when using Add blend modes with particles. It ensures that the particles don’t appear visually clumsy when the model rotates.
TIP: Use the pen tool to adjust the bezier curves for custom visibility.
TIP: Use the Opacity Curve Offset to easily move the opacity curve along specific XYZ axes in the model.
Download project file: http://bit.ly/Opacity-Curves-in-Form
|Simon Walker||May 17 2021||00:20||93|
20 Second Quicktip - Automatic Lens flare tracking without keyframes in Universe Knoll Light Factory
Automatically animate the position of lens flares, using the location layer function in Universe Knoll Light Factory EZ, and also in the full version of Knoll Light Factory in VFX Suite.
Use a luma key to isolate the bright element you want to track, and then point the Location Layer parameter at the luma key layer.
This automatically animates the position of the lens flare, without needing keyframes.
TIP: Set the Obscuration Layer parameter to the luma key source to more accurately replicate lens flares being obscured by objects in the scene. Note: use the Inverse Alpha setting to control the brightness of the flare.
Download project file here: http://bit.ly/KLF-EZ-tracking
|Simon Walker||May 17 2021||00:20||90|
20 Second Quicktip - Simulate low data rate cellular video with Universe Glitch
Use the compression setting in Glitch to simulate the aliasing and macroblocking associated with compressed video footage.
Set small and large glitches to zero, and use a low value for Compression. This is useful for creating the look of low data rate cellular video.
Tip: when using glitches, click the Compression Last checkbox to compress the glitches so that they look a lot less defined and mix in with the footage.
Tip: use this technique in all Universe hosts, including Premiere Pro, After Effects, Media Composer and Resolve.
|Simon Walker||May 17 2021||00:20||95|
20 Second Quicktip - Using Layer Maps in Form
Controlling particles with layer maps in Trapcode Form is fast way to set up custom animations, especially if you combine this with the 3D OBJ capabilities in Form.
Animated parameters from layers, such as opacity, color, luminosity and displacement, are easily mapped to particles, giving you powerful control with short setup-times.
|Simon Walker||May 17 2021||00:20||89|
20 Second Quicktip - Pinning Tools in Magic Bullet Looks
You can work more efficiently in Magic Bullet Looks, by combining custom tools with presets.
Once you’ve set up a tool, Right click on it and select “Pin”.
Looks will automatically include the pinned tool when auditioning and applying presets, accurately combining your custom settings with the creative looks.
TIP: Pinning LUT tools to the end of the Looks tool chain is the accurate method of processing, and allows you to correctly preview presets on Log and low contrast footage.
|Simon Walker||May 17 2021||00:20||79|
20 Second Quicktip - Steam effects in Trapcode Particular
To easily create fast rendering steam effects in Trapcode Particular, use the Cloudlet particle at a large size, with the Opacity Over Life fading up and down, and the overall opacity at a low setting.
For added realism, use the Fluid Physics Model, to simulate how smoke swirls and evolves in real life
TIP: Use the GPU acceleration in Particular to speed up processing, and to get real-time particle playback in the Designer
Download project file: http://bit.ly/Particular-Steam
|Simon Walker||May 17 2021||00:20||116|
20 Second Quicktip - Film Burn effects using Red Giant Universe
The Fractal Background effect in Universe can be used as a fast way of creating film burn effects.
Set the Blend Mode to Overlay, at around 40%, using a color map that suits the image. Animation is automatically generated by the built-in fractal, without needing keyframes.
Add an instance Universe Misfire to further enhance the effect.
TIP: change the Animation Speed to vary the intensity of the effect
TIP: this effect works identically in After Effects, AVID, Premiere Pro and Resolve host applications
Download project file here: http://bit.ly/Film-Burn
|Simon Walker||May 17 2021||00:20||77|
20 Second Quicktip - Sharing Red Giant Universe Custom Presets
You can save custom presets in Red Giant Universe, which are automatically shared across all the supported host applications on your system, which helps make your workflow more efficient.
These presets are located within the documents folder on your computer, and are easily distributed with the rest of your team, across both Windows and Mac operating systems.
This is especially useful for Adobe / AVID / Resolve workflows, and helps avoid having to render out large amounts of treated clips, reducing storage use.
|Simon Walker||May 17 2021||00:20||73|
20 Second Quicktip - Retro film looks with Magic Bullet Mojo II
Although Magic Bullet Mojo II can instantly give your footage the sophisticated colour grade of a modern Hollywood movie, you can easily use the built-in controls to quickly create alternative retro film looks.
With the Mojo slider set to zero, change the contrast, saturation and film fading with the Punch It, Bleach It and Fade It sliders.
TIP: use the Cool/Warm tool to change between hi-tech and desert wasteland looks
Mojo II is GPU accelerated for fast playback, and works with a wide range of hosts, bot in standalone version, and as a tool in Magic Bullet Looks.
|Simon Walker||May 17 2021||00:20||81|
20 Second Quicktip - Trapcode Shine Fractal Noise Effects
Add texture and drama to Trapcode Shine light rays with the built-in Fractal Noise effect.
The Evolution Speed property automatically animates fractal noise, without keyframes.
You can create the illusion of drifting fog by adjusting the X Speed parameter, which is especially useful when combining Trapcode Lux and Shine to mimic hand-held flashlight effects.
Download project file: http://bit.ly/2MCP9tY
|Simon Walker||May 17 2021||00:20||88|
20 Second Quicktip - Experimenting with Text Effects on Footage
As well as enhancing titles and text, Ecto can be applied to clips with alpha channels to quickly create interesting animated edge effects, automatically driven by an adjustable fractal field.
A tip for fine-tuning the silhouette, is to use the Preserve Luma and Tint Strength controls.
Tip: Ecto has a built-in UnMult feature, which allows you to create an alpha channel for any image or video shot on a black or white background. Unmult will detect the black (or white) areas of the layer and turn them into a transparent alpha channel.
|Simon Walker||May 17 2021||00:20||84|
20 Second Quicktip - Skin Tone Adjustment in Magic Bullet Cosmo II
Even if you don’t use it for skin smoothing, Magic Bullet Cosmo II has powerful controls for quickly balancing skin tones.
Not every shot needs skin smoothing, but more often than not you’ll need to adjust for lighting conditions.
With Skin Smoothing set to zero, use the Skin Yellow/Pink control to easily adjust for the lighting in the shot.
Then use the Skin Color Unify slider to control how much variance of color you want across the entire skin tone.
Cosmo II is compatible with the following hosts: After Effects, Premiere Pro, Final Cut Pro X , Motion, Vegas Pro, Davinci Resolve, EDIUS & HitFilm Pro.
|Simon Walker||May 17 2021||00:20||76|
20 Second Quicktip - Trapcode GPU Mode
Switch to GPU mode in Trapcode Particular & Form to increase performance.
Rule of thumb for faster processing in Particular: for large numbers of particles, render on the CPU; for particle sprites render on the GPU.
Shadowlets, depth of field, motion blur, blend modes and depth/z sorting also tend to render faster on the GPU.
The optimal custom sprite resolution for Particular and Form is 500x500 pixels.This balances speed of rendering and visual fidelity on screen (less edge aliasing), as smaller particle types process more quickly than larger ones.
Best practice for working with graphics card acceleration in Trapcode Particular and Form, is to choose either CPU or GPU, and render out of AE at the same setting. This works for both Windows and Mac OS.
|Simon Walker||May 17 2021||00:20||94|
20 Second Quicktip - LUT Processing in Colorista IV
Look Up Tables should be happen at the end of the colour pipeline.
This method allows you to protect highlights and retain colour integrity throughout the colour correction process, also know as Grading Under the LUT.
The LUTs work with all the other controls in Colorista IV. This is a quick way of combining your own colour adjustments with the Look Up Table.
You can also import third-party LUTS into Colorista IV.
|Simon Walker||May 17 2021||00:20||84|