Adobe gratiously invited me to speak at their IBC 2019 booth about visual effects compositing in After Effects — something I’ve been doing againts all advice for many (many!) years. You can watch the entire talk here:
There are nine plug-ins in the suite. You can learn about all of them at Red Giant’ but here I’ll focus on the five I created tutorials for.
Supercomp is possibly the most ambitious effect Red Giant has ever created. It’s a complete compositing engine that runs in a panel in After Effects. It makes realistic, integrated composites easier and more intuitive to create, thanks to its unique render engine that understands how layers need to interact in a VFX composite. Light Wraps react to every layer below them, glows wrap around the layers in front of them. Everything is gamma-managed and works in 32-bit linear light, and grain is handled automatically.
This is basically every trick I’ve learned in my 24 years (sweet lord) of visual effects work, packed up in a gorgeous user interface and a lightning-fast GPU render engine.
Set aside a brisk 52 minutes to watch my tutorial:
King Pin Tracker
Corner pinning is an essential part of any VFX workflow, but the tools in After Effects are missing some important features. Years ago I helped design Red Giant’s Corner Pin effect to allow more flexible corner pinning, with “from” pins, perspective transforms, and tons of professional control. King Pin Tracker builds on this foundation and adds amazing new render quality and a blazing-fast, super-accurate planar tracker.
Spot Clone Tracker
Spot Clone Tracker is like a clone brush for video. It has its own amazing tracker built-in, making it super easy to remove small and large blemishes, or even entire objects, from your video. Lighting and texture are matched automatically, with tons of control.
This is another one that I’ve been dreaming about forever. Why is it so hard to make a beautiful glow that glows like a glow should? We dug deep into the physics of light and created a glow that is gorgeous and realistic, but also offers a ton of artistic control.
A displacement effect with a beautiful prismatic light-refraction look. Easy to use, blazing fast, tons of control. Detecting a theme here?
The Making of Tank
The way I made TANK is a little crazy. I made it entirely in Adobe After Effects, with equal parts animation elbow grease and nerdy expressions madness. This video is part behind-the-scenes, part After Effects tutorial, and part therapy session.
A complete list of all the tools I used to make TANK is available at Red Giant's blog:
Want to try making 3D vector graphics in After Effects? No? Well, if you change your mind, I packaged up the basic working of my TANK vector graphics rig into an After Effects template that you can download for free from the Prolost Store.
This is something different than my usual tutorials. Instead of demonstrating the features of the new Magic Bullet Suite 13, I simply sat down and graded a short sequence of shots. The result is a fast-moving unrehearsed color session in which you see me explore and experiment, using the new Colorista IV panel in Adobe Premiere Pro.
And if you're inspired to buy Magic Bullet or anything else from Red Giant (like Trapcode or PluralEyes), there's no better day than tomorrow. For one day only, everything at Red Giant will be 40% off in our Year End Sale.
There's so much new in Magic Bullet Suite 13 that I made like a zillion tutorials.
The essential walkthroughs are all in my announcement post. These tutorials get a little more specific.
Guided Color Correction in Magic Bullet Colorista IV
There's no better example of Red Giant's commitment to make great color accessible to all video editors than the new Guided Color Correction feature in Colorista IV. The tool walks you through a step-by-step process of balancing out a shot. You get great results easily, and you stay in control the whole time.
My Color Grading Pipeline
Reduce noise and compression artifacts first. Then basic color balancing, followed by creative color grading. Then, as a final step, re-introduce grain or texture as desired. That's my pipeline on almost every shot I color correct, and this walks you through the process, using Magic Bullet Denoiser III, Colorista IV, and the all-new Renoiser film grain emulation tool.
Saving Look Presets in Magic Bullet Looks
With Magic Bullet Looks 4, we updated the way you save your own Looks. It's now so easy that you should very much not need this tutorial.
And Tool Presets Too
I heard you like presets with your presets. Each individual Tool in Magic Bullet Looks now has presets, and this video shows how you access them and save your own.
Working With Log Footage
Log is more than big and heavy and wood, it's also the best way to shoot video for the maximum dynamic range, short of raw. All the tools in Magic Bullet Suite 13 support log, and this video shows you how.
Highlights and Highlight Recovery in Colorista IV
When should you use the Highlights control in Colorista IV, and when should you use Highlight Recovery? The answer is now.
More to Come
But that's it for now! You can find more Stu-torials here.