Tag Archives: motion graphics

Behind the Title: Little Big Bang creative director Cynthia Beauclair

COMPANY: Little Big Bang Studios 

CAN YOU DESCRIBE YOUR COMPANY?
We are a motion graphics and animation studio based in Santa Fe and Miami. Most of our clients have been in the TV business. We do it all… from stage graphics to title sequences.

WHAT’S YOUR JOB TITLE?
Owner/Creative Director

WHAT DOES THAT ENTAIL?
As creative director it entails conceptualizing, developing ideas and collaborating with clients.
As a business owner… well, it would take more space than this article will allow.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The funny characters we meet, and reigning in some of their ideas.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Big picture stuff, hashing out the overall idea in a project and making new business connections.

WHAT’S YOUR LEAST FAVORITE?
When a client insists on going with an idea that’s already been done.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Early morning when everyone is asleep.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Something to do with science. But I really love my job, so it’s hard to imagine doing something else.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Since I can remember, I’ve always loved art; and when I discovered that I could make art that moves, I was hooked.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We’ve done lots of new, fun stuff for Santa Fe’s coolest art destination, Meow Wolf. It’s been really exciting to work on something without the restrictions of the corporate world.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
We branded and created a full motion graphics package for La Banda on Univision. The show was the brainchild of Simon Cowell and FremantleMedia, the people who produce American Idol. That was really a turning point for Little Big Bang, and we were honored to have been chosen to create the show’s look.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My Mac, any music player and the espresso machine.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook, Instagram, LinkedIn

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Can’t work without it! What I listen to depends on the deadline, indie rock on most days and drum-and-bass or punk rock for tight deadlines.

WHAT DO YOU DO TO DESTRESS FROM IT ALL?
I got on long hikes with my family, I play the drums, and wine helps a lot.

Adobe intros updates to Creative Cloud, including Team Projects

Later this year, Adobe will be offering new capabilities within its Adobe Creative Cloud video tools and services. This includes updates for VR/360, animation, motion graphics, editing, collaboration and Adobe Stock. Many of these features are powered by Adobe Sensei, the company’s artificial intelligence and machine learning framework. Adobe will preview these advancements at IBC.

The new capabilities coming later this year to Adobe Creative Cloud for video include:
• Access to motion graphics templates in Adobe Stock and through Creative Cloud Libraries, as well as usability improvements to the Essential Graphics panel in Premiere Pro, including responsive design options for preserving spatial and temporal.
• Character Animator 1.0 with changes to core and custom animation functions, such as pose-to-pose blending, new physics behaviors and visual puppet controls. Adobe Sensei will help improve lip-sync capability by accurately matching mouth shape with spoken sounds.
• Virtual reality video creation with a dedicated viewing environment in Premiere Pro. Editors can experience the deeply engaging qualities of content, review their timeline and use keyboard driven editing for trimming and markers while wearing the same VR head-mounts as their audience. In addition, audio can be determined by orientation or position and exported as ambisonics audio for VR-enabled platforms such as YouTube and Facebook. VR effects and transitions are now native and accelerated via the Mercury playback engine.
• Improved collaborative workflows with Team Projects on the Local Area Network with managed access features that allow users to lock bins and provide read-only access to others. Formerly in beta, the release of Team Projects will offer smoother workflows hosted in Creative Cloud and the ability to more easily manage versions with auto-save history.
• Flexible session organization to multi-take workflows and continuous playback while editing in Adobe Audition. Powered by Adobe Sensei, auto-ducking is added to the Essential Sound panel that automatically adjusts levels by type: dialogue, background sound or music.

Integration with Adobe Stock
Adobe Stock is now offering over 90 million assets including photos, illustrations and vectors. Customers now have access to over 4 million HD and 4K Adobe Stock video footage directly within their Creative Cloud video workflows and can now search and scrub assets in Premiere Pro.

Coming to this new release are hundreds of professionally-created motion graphics templates for Adobe Stock, available later this year. Additionally, motion graphic artists will be able to sell Motion Graphic templates for Premiere Pro through Adobe Stock. Earlier this year, Adobe added editorial and premium collections from Reuters, USA Today Sports, Stocksy and 500px.

The hybridization of VFX and motion design

Plus the rise of the small studio

By Miguel Lee

There has long been a dichotomy between motion graphics and VFX because they have traditionally serviced very different creative needs. However, with the democratization of tools and the migration of talent between these two pillars of the CG industry, a new “hybrid” field of content creators is emerging. And for motion designers like myself, this trend reflects the many exciting things taking place in our industry today, especially as content platforms increase at an incredible rate with smartphones and new LED technologies, not to mention a renaissance in the fields of VR, AR, and projection mapping, to name a few.

Miguel Lee

I’ve always likened the comparison of motion graphics and VFX to the Science Club and the Art Club we remember at school. VFX has its roots in an objective goal: to seamlessly integrate CG into the narrative or spectacle in a convincing and highly technical way. Motion graphics, on the other hand, can be highly subjective. One studio, for instance, might produce a broadcast package laden with 3D animations, whereas another studio will opt for a more minimal, graphical approach to communicating the same brand. A case can typically be made for either direction.

So where does the new “hybrid” studios fit into this analogy? Let’s call them the “Polymath Club,” given their abilities to tap into the proverbial hemispheres of the brain — the “left” representing their affinity for the tools, and the “right” driving the aesthetics and creative. With this “Polymath” mentality, CG artists are now able to generate work that was once only achievable by a large team of artists and technicians. Concurrently, it is influencing the hybridization of the CG industry at large, as VFX companies build motion design teams in-house, while motion graphics studios increasingly incorporate VFX tools into their own workflow.

As a result, we’ve seen a proliferation in the “lean-and-mean” production studio over the last few years. Their rise is the direct result of the democratization of our industry, where content creation tools have significantly evolved in terms of technology, accessibility and reliability. One such example is the dramatic increase in render power with the rise of third-party GPU renderers, such as Otoy’s Octane and Redshift, which have essentially made 3D photorealism more attainable. Cloud rendering solutions have also popped up for conventional and third-party renderers, which mitigates the need to build out expensive renderfarms — a luxury that is still privy to companies of a certain size.

Otoy’s Octane being used on one of Midnight Sherpa’s jobs.

Motion artists, too, have become far more adventurous in employing VFX-specific software like Houdini, which has simultaneously become far more accessible and egalitarian without any compromise to its capability. Maxon’s Cinema 4D, the heavily favored 3D application in motion graphics, has had a long tradition of implementing efficient software-specific workflows to bridge its ecosystem to other programs. Coding and script-based animation has also found a nice home in the Motion repertoire to create inventive and efficient ways to generate content. Even the barrier of entry for creating VR and AR content has eased quite a bit with the latest releases of both the Unity and Unreal engines.

Aside from lower overhead costs, the horizontal work structure of the “lean-and-mean” model has also cultivated truly collaborative environments where artists of trans-disciplinary backgrounds can work together in more streamlined ways than can be done in an oversized team. In many cases, these smaller studios are forced to develop workflows that more effectively reflect their team’s makeup — these systems often enjoy more success as they reflect the styles and, even, personalities of the core teams, which institute them.

The nature of being small also pushes you to innovate and develop greater efficiencies, rather than just throwing more bodies at the problem. These solutions and workflows are often baked into the core team and rolled out on future projects. Smaller studios also have a reputation for cultivating talent. Junior artists and interns are often put on a wider range of projects and into more roles out of necessity to fulfill the various needs of production, whereas they are typically relegated to a single role at larger studios and oftentimes are not afforded the opportunity to branch out. This conversely creates an incentive to hire artists with the intent of developing them over a long term.

There are downsides, of course, to being small — chief among them is how quickly they reach physical capacity at which point jobs would have to be turned down. The proliferation of small studios equals more voices in the landscape of content, which in turn directly contributes to the greater evolution of design as a whole.

Now that the playing field has been technologically equalized, the key between failure and success for many of these companies lies in whether or not they can craft a voice that is unique amongst their peers in an increasingly saturated landscape.

Main Image: Audi – Photorealism is more achievable in a streamlined production pipeline.


Miguel Lee is partner/creative director at LA’s Midnight Sherpa, a boutique creative studio for brands and entertainment.

Liron Ashkenazi-Eldar joins The Artery as design director  

Creative studio The Artery has brought on Liron Ashkenazi-Eldar as lead design director. In her new role, she will spearhead the formation of a department that will focus on design and branding. Ashkenazi-Eldar and team are also developing in-house design capabilities to support the company’s VFX, experiential and VR/AR content, as well as website development, including providing motion graphics, print and social campaigns.

“While we’ve been well established for many years in the areas of production and VFX, our design team can now bring a new dimension to our company,” says Ashkenazi-Eldar, who is based in The Artery’s NYC office. “We are seeking brand clients with strong identities so that we can offer them exciting, new and even weird creative solutions that are not part of the traditional branding process. We will be taking a completely new approach to branding — providing imagery that is more emotional and more personal, instead of just following an existing protocol. Our goal is to provide a highly immersive experience for our new brand clients.”

Originally from Israel, the 27-year-old Ashkenazi-Eldar is a recent graduate of New York’s School of Visual Arts with a BFA degree in Design. She is the winner of a 2017 ADC Silver Cube Award from The One Club, in the category 2017 Design: Typography, for her contributions to a project titled Asa Wife Zine. She led the Creative Team that submitted the project via the School of Visual Arts.

 

Nutmeg adds Broadway Video’s former design group

New York City-based Nutmeg, a creative marketing and post production house, has acquired Broadway Video’s design team formerly known as FAC5. Under the Nutmeg brand, they are now known as NTMG Design.

The team of four — executive creative producer Doug LeBow, executive creative director Fred Salkind, creative director David Rogers and art director Karolina Dawson — is an Emmy, Telly and PromaxBDA award-winning creative collective working on design across multiple media platforms. Existing clients that could benefit from the new services include broadcast networks, cable channels and brands.

With services that include main titles and show packaging, experiential and event design, promotions and image campaigns, the group has worked with a variety of clients on a wide range of projects, including Nickelodeon HALO Awards; Nickelodeon Kids’ Choice Awards; The Emmys for Don Mischer Productions; Indy 500 100th Anniversary for ESPN; HBO’s Rock and Roll Hall of Fame Induction Ceremony for Line-by-Line Productions; Thursday Night Football and Sunday Night Football tune-in promo packaging for CBS Sports; AT&T Concert Series for iHeart Media; The Great Human Race for National Geographic Channel; The Peabody Awards for Den of Thieves and others.

“Nutmeg has always embraced growth,” says Nutmeg executive producer Laura Vick. “As our clients and the marketplace shift to engage end users, the addition of a full-service design team allows us to offer all aspects of content creation under one roof. We can now assist at the inception of an idea to help create complete visual experiences — show opens, trade shows, corporate interiors or digital billboards.”

“We look at these new design capabilities as both a new frontier unto itself, and as yet another component of what we’re already doing — telling compelling stories,” says Nutmeg executive creative director Dave Rogan. “Nothing at Nutmeg is created in a vacuum, so these new areas of design crossing over into an interactive web environment, for example, is natural.”

The new NTMG Design team will be working within Nutmeg’s midtown location. Their suite contains five workstations supported by a 10-box renderfarm, Maxon Cinema 4D, Adobe After Effects, one seat of Flame, Assimilate Scratch access for color and an insert stage for practical shooting. It is further supported by 28TBs of Infortrend storage. 

While acknowledging tools are important, executive creative director Fred Salkind says, “Sometimes when I’m asked what we work with, I say Scotch tape and scissors, because it’s the idea that puts the tools to work, not the other way around.”

Main Photo by Eljay Aguillo. L-R: Fred Salkind, David Rogers, Doug LeBow and Karolina Dawson.

Review: Maxon Cinema 4D Studio Release 18

By Brady Betzel

Each year I get to test out some of the latest and greatest software and hardware releases our industry has to offer. One of my favorites — and most challenging — is Maxon’s Cinema 4D. I say challenging because while I love Cinema 4D, I don’t use it every day. So, in order to test it thoroughly, I watched tutorials on Cineversity to brush up on what I forgot and what’s new. Even though I don’t use it every day, I do love it.

I’ve reviewed Cinema 4D Release 15 through R18. I started using the product when I was studying at California Lutheran University in Thousand Oaks, California, which coincidentally is about 10 minutes from Maxon’s Newbury Park office.

Voronoi Fracture

Each version update has been packed full of remarkable additions and updates. From the grass generator in R15, addition of the Reflectance channel in R16, lens distortion tools in R17 to the multitude of updates in R18 — Cinema 4D keeps on cranking out the hits. I say multitude because there are a ton of updates packed into the latest Cinema 4D Release 18 update. You can check out a complete list of them as well as comparisons between Cinema 4D Studio, Visualize, Broadcast, Prime, BodyPaint 3D and Lite Release 18 versions on the Maxon site.

For this review, I’m going to touch on three of what I think are the most compelling updates in Release 18: the new Voronoi Fracture, Thin Film Shader and the Push Apart Effector. Yes, I know there are a bazillion other great updates to Cinema 4D R18 — such as Weight Painting, new Knife Tools, Inverse Ambient Occlusion, the ability to save cache files externally and many more — but I’m going to stick to the features that I think stand out.

Keep in mind that I am using Cinema 4D Studio R18 for this review, so if you don’t have Studio, some of the features might not be available in your version. For instance, I am going to touch on some of the MoGraph toolset updates, and those are only inside the Studio and Broadcast versions. Finally, while you should use a super powerful workstation to get the smoothest and most robust experience when using Cinema 4D R18, I am using a tablet that uses a quad core Intel i7 3.1GHz processor, 8GB of RAM and an Intel Iris graphics 6100 GPU. Definitely on the lower end of processing power for this app, but it works and I have to credit Maxon for making it work so well.

Voronoi Fracture
If, like me, you’ve never heard of the term Voronoi, check out the first paragraph of this Wiki page. A very simple way to imagine a Voronoi diagram is a bunch of cell-like polygons that are all connected (there’s a much more intricate and deeply mathematical definition, but I can barely understand it, and it’s really beyond the scope of this review). In Cinema 4D Studio R18, the Voronoi Fracture object allows us to easily, and I mean really easily, procedurally break apart objects like MoGraph text, or any other object, without the need for external third-party plug-ins such as Nitro4D’s Thrausi.

Voronoi Fracture

To apply Voronoi Fracture in as few steps as possible, you apply the Voronoi Fracture located in the MoGraph menu to your object, adjust parameters under the Sources menu (like distribution type or point amount) add effectors to cause dispersion, keyframe values and render. With a little practice you can explode your raytraced MoGraph text in no time. The best part is your object will not look fractured until animated, which in the past took some work so this is a great update.

Thin Film Shader
Things that are hard to recreate in a photorealistic way are transparent objects, such as glass bottles, windows and bubbles. In Cinema 4D R18, Maxon has added the new Thin Film Shader, which can add the film-like quality that you see on bubbles or soap. It’s an incredible addition to Cinema 4D, furthering the idea that Maxon is concentrating on adding features that improve efficiency for people like me who want to use Cinema 4D, but sometimes don’t because making a material like Thin Film will take a long time.

To apply the Thin Film to your object, find the Reflectance channel of your material that you want to add the Thin Film property to add a new Beckmann or GGX layer, lower the Specular Strength of this layer to zero, under Layer Color choose Texture > Effects > Thin Film. From there, if you want to see the Thin Film as a true layer of film you need to change your composite setting to Add on your layer; you should then see it properly. You can get some advanced tips from the great tutorials over at Cineversity and from Andy Needham (Twitter: @imcalledandy) on lynda.com. One tip I learned from Andy is to change the Index of Refraction to get some different looks, which can be found under the Shader properties.

Push Apart Effector

Push Apart Effector
The new Push Apart Effector is a simple but super-powerful addition to Cinema 4D. The easiest way to describe the Push Apart Effector is to imagine a bunch of objects in an array or using a Cloner where all of your objects are touching — the Push Apart Effector helps to push them away from each other. To decrease the intersection of your clones, you can dial-in the specific radius of your objects (like a sphere) and then tell Cinema 4D R18 how many times you want it to look through the scene by specifying iterations. The more iterations the less chance your objects will intersect, but the more time it will take to compute.

Summing Up
I love Maxon’s continual development of Cinema 4D in Release 18. I specifically love that while they are adding new features, like Weight Painting and Update Knife Tools, they are also helping to improve efficiency for people like me who love to work in Cinema 4D but sometimes skip it because of the steep learning curve and technical know-how you need in order to operate it. You should not fear though, I cannot emphasize how much you can learn at Cineversity, Lynda.com, and on YouTube from an expert like Sean Frangella. Whether you are new to the world of Cinema 4D, mildly experienced like me, or an expert you can always learn something new.

Something I love about Maxon’s licensing for education is that if you go to a qualified school, you can get a free Cinema 4D license. Instructors can get access to Cineversity to use the tutorials in their curriculum as well as project files to use. It’s an amazing resource.

Thin Film Render

If you are an Adobe After Effects user, don’t forget that you automatically get a free version of Cinema 4D bundled with After Effects — Cinema 4D Lite. Even though you have to have After Effects open to use the Cinema 4D Lite, it is still a great way to dip your toes into the 3D world, and maybe even bring your projects back into After Effects to do some compositing.

Cinema 4D Studio R18’s pricing breaks down like this: Commercial Pricing/Annual License Pricing/Upgrade R17 to R18 pricing — Cinema 4D Studio Release 18: $3,695/$650 /$995; Cinema 4D Visualize Release 18: $2,295/$500/$795; Cinema 4D Broadcast Release 18: $1,695/$400 /$795; Cinema 4D Prime Release 18: $995/$250/$395.

Another interesting option is Maxon’s short-term licensing in three- or six-month chunks for the Studio version ($600/$1,100) and 75 percent of the fees you pay for a short-term license can be applied to your purchase of a full license later. Keep in mind, when using such a powerful and robust software like Cinema 4D you are making an investment that will payoff with concentrated effort in learning the software. With a few hours of training from some of the top trainers — like Tim Clapham on www.helloluxx.com, Greyscalegorilla.com and Motionworks.com — you will be off and running in 3D land.

For everyday Cinema 4D creations and inspiration, check out @beeple_crap on Instagram. He produces amazing work all the time.

In this review, I tested some of the new updates to Cinema 4D Studio R18 with sample projects from Andy Needham’s Lynda.com class Cinema 4D R18: New Features and Joren Kandel’s awesome website, which offers tons of free content to play with while learning the new tools.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Reel FX hires Chad Mosley as senior designer

Chad Moseley has joined Reel FX as senior designer. Moseley brings with him nearly a decade of experience in motion graphics and design, spanning television, advertising and broadcast promos.

He comes to Reel FX, which has offices in Dallas and Santa Monica, from Starz Entertainment, where he spent two years as a broadcast designer, concepting and executing promotions for original programming on series such as Outlander, Da Vinci’s Demons and Flesh and Bone, including teasers, spots and graphics packages. His work for brands such as Enterprise, Nestle, Purina and Busch Gardens has earned him a Gold American Advertising Award (AAA), a Gold Addy Award and an AAF Best of Digital Award.

Texas native Moseley studied graphic design and 3D animation in Denver. He developed his career at a Texas news channel, handling the video and graphics for the channel’s website. While there he learned post production. He then worked as a video editor/animator at Denver-based ORCC, later relocating to St. Louis to take a position as senior motion graphics/VFX artist at 90 Degrees West. While there, he contributed to post projects from concept through completion for national brands including Anheuser Busch, Enterprise and UPS, among others. An opportunity as an in-house broadcast designer at Starz Entertainment led Moseley back to Denver in 2014, before once again returning to Dallas once again to join the Reel FX team.

Shipping + Handling adds Luca Giannettoni as CD of motion design/animation

Luca Giannettoni has recently joined Venice, California-based visual effects house Shipping + Handling as creative director. He has been tasked with growing its motion design and animation business.

Shipping + Handling is a creative content studio — working in broadcast, TV, Web and mobile —that offers creative finishing services such as VFX, design, motion graphics and animation. S+H has offices in LA and New York.

“S+H is expanding and we are stoked to have Giannettoni join our team here in Venice,” says executive producer Scott Friske.

While at companies such as Elastic, Oishii Creative and Yu+Co, among others, Giannettoni worked on commercials, broadcast and main titles for brands such as T-Mobile, Toyota, Coke, Hyundai, Goodyear, McDonald’s and ESPN. Giannettoni is a native from Verona, Italy, where he worked in design and fashion prior to coming to Los Angeles.

Review: Red Giant’s Trapcode Suite 13, Part 1

By Brady Betzel

Have you ever watched a commercial on YouTube and thought, how in the world do these companies have the budget for the VFX and motion graphics work featured? Well, many don’t, but they do have access to talented artists with access to affordable tools that bring pricey looks. Most motion graphics creators have a toolbox full of goodies that help them build great-looking products. Whether it’s preset transitions, graphic overlays or plugins — there are ways to incorporate high-production value without the million-dollar price tag.

Particular

One of those tools that many Adobe After Effects motion graphics artists have in their toolbox is Red Giant’s Trapcode Suite, which is currently in version 13. While it isn’t cheap, if you are focused on that style of motion graphics, it can definitely pay for itself after just a few jobs. Inside the suite are magical plug-ins like the famous Trapcode Particular, Trapcode Form, Trapcode Mir, Trapcode Tao, Trapcode Shine, Trapcode Lux, Trapcode 3D Stroke, Trapcode Echospace, Trapcode Starglow, Trapcode Sound Keys and Trapcode Horizon. Holy cow, that is a lot.

The complete Trapcode Suite 13 works with After Effects (CS6 through CC 2015 officially, including the latest 2015.3 update, just make sure to download the update installer from Red Giant since it might not appear in your Red Giant Link updater), as well as a couple like Shine, 3D Stroke and Starglow that will also work in Adobe Premiere (the same version compatibility as After Effects). A good resource to get your feet wet is on the Red Giant tutorial page where you can find a lot of info and in-depth tutorials from the likes of the master Harry Frank (@graymachine) and Chad Perkins (@chad_perkins).

That being said, if you have no idea what the Trapcode Suite entails, buckle up. It is one of the most useful but intricate plug-ins you will see with a $999 price tag to match ($199 if you are upgrading). Of course, you can pick and choose the product you want, such as Shine for $99 or even Particular for $399, but the entire suite is worth the investment.

Particular

Particular

As an editor, I spend the majority of my time inside of a nonlinear editor like Adobe Premiere or Avid Media Composer/Symphony — probably 80 percent if I had to estimate, the other 20 percent is divided between color correction solutions and VFX/graphics packages like After Effects, Blackmagic Resolve, and others. Because I don’t get a lot of time to play around creatively, I really need to know the suite I am working in and be as efficient as possible. For instance, products like Mocha Pro, Keylight in After Effects and Red Giant’s Trapcode Suite 13 are enhancers that help me be as efficient as I can be as an editor without sacrificing quality for time.

In the latest Trapcode Suite 13 update, Trapcode Particular 2.5 seems to have been updated the most while Trapcode Tao is a new addition to the suite, and the rest were given modest enhancements as well. I will try to touch on each of the products so this will be a two-part review.

Particular
Trapcode Particular is one of the plug-ins that most After Effects nerds/aficionados/experts have encountered. If you have been a little wary and intimidated of Particular because of its complexity, now is the time to dive into using Red Giant’s incredible particle building system. In the 2.5 update, Red Giant added the Effects Builder, which seems to resemble the Magic Bullet Looks builder a little, and I love that. Like I said earlier I don’t typically have eight hours to creatively throw darts at a particle system in hopes of creating a solar system fly-through.

Luckily, the new Effect Builder allows you to easily create your particle system and be emitting (or exploding) in minutes. While it isn’t “easy,” per se, to create a particle system like those featured on Trapcode creator Peder Norrby’s (@trapcode_lab) website, the Effects Builder, along with some tutorial watching (mixed with some patience and love) will send you down a Trapcode rabbit hole that will allow you to create some of the most stunning artwork I’ve seen created in After Effects. Don’t give up if you find it overwhelming, because this is one of those plug-ins that will make you money if you can grasp it. One thing I did notice was the Effects Builder interface was tiny and did not scale with the resolution I was using on my system (2560×1440), but After Effects appeared fine.

If you are an experienced user of Trapcode Particular you should be happier with the updated graphing system that lets you set size and opacity over the life of your particle by directly drawing points on your graph, smoothing, deleting and even randomizing. I really loved using this graph. I immediately saw results that mimic using color curves against an RGB Parade and Waveform on a color scope. Particular has also bumped its particle count up from 20 to 30 million, which will matter to someone creating fireworks back plates for the Fourth of July, I’m sure.

Shine

Shine

Shine
Second on my Trapcode Suite 13 hit list is Trapcode Shine, which might not be the most obviously glamorous update to many people, but still has its merits. The largest update is the ability to attach Shine to After Effects light sources easily. Before you would have to do some fancy footwork that most editors don’t have the time or interest in doing, but as long as your light is named “Shine,” with proper spelling and capitalization, your light now controls the light rays produced by the Shine plug-in.

One thing that most After Effects users know to be a staple is the use of Fractal Noise. Whether you are trying to replicate light rays with realistic and organic effects or a fancy text reveal where you use a Fractal Noise mask as your transition, Fractal Noise is a must use effect. Trapcode Shine has Fractal Noise built into the plug-in now, including the use of 3D fractal noise to create a type of parallax within your light ray work. Simply, parallax is the way the foreground moves in relation to the background. Think of a camera on a slider as it moves from left to right your foreground might stay in relatively same position while the background moves much more — this is your parallax.

One thing that you will always use when applying Fractal Noise is animating the Evolution to add realism. Plus, adding the script “*time” to multiply the evolution factor is an easy way to move the fractal noise along its path. Shine has an “Evolution Speed” under the Fractal Noise heading that allows you to easily adjust the evolution without any scripting (I love this!). Being able to quickly add fractal noise into your light rays really improves my efficiency when a client asks for “that fancy text with those light rays poking through,” but wants to pay exactly zero dollars and zero cents.

Lux and Starglow
Trapcode Lux and Starglow are some other light-focused plug-ins that can add that subtle or dramatic detail to your work setting you apart from the rest of the general motion graphics population. Lux is a fast and easy way to add volumetric drama to point and spotlights. Much like the other plug-inStarglows, you need to apply Lux to a new solid, adjust the specific parameters for the spot or point lights in your composition and, my favorite part, tell Lux if you want to apply to lights named anything, “Lux,” “Front” or “Back.”

Simply, instead of just seeing the emanating light from an After Effects light source, you will now see the physical light source when Lux is added. Lux really shows its power when you need to add a light source to something like an after burner on a jet or the tip of a comet-like fireball. Adding physical light points so easily really opened up my way of thinking. It’s a relatively small feature, but it’s similar to knowing how to do something, but also knowing it takes four hours to accomplish it, so because of diminishing returns you just move along. Now I can do that same thing in little to no time and add that finishing touch easily. This makes me more money and makes the client more confident.

Trapcode Starglow is a small-yet-powerful plug-in that gives life-like glow to bright objects. Think of the star or cross-hatch streaks that can appear on stars or street lights in TV shows and movies. Included in all of the Trapcode Suite are presets, and Starglow is no different with 49 presets, each containing various ray length, color, ray direction and more — all of which are the starting points I like to use when figuring out just what type of Starglow I want to go with.

So far, I’ve covered four of 11 plug-ins contained in the Trapcode Suite 13, all of which are amazing and full of ideas that will undoubtedly elevate your work to a higher level. Something I have noticed over the last few years is a lot of amazing work that comes from those using After Effects; most of it, though, has the scent of a preset and/or tutorial that someone watched, duplicated and exported for their display. One tip that will overstep that ordinary look is to double- and triple-stack effects (in particular the same effect) to add varying levels of depth, color and detail that you couldn’t get with just one instance of a plug-in.

In Part 2 of my Red Giant Trapcode Suite 13 Review, I will tackle the rest of this behemoth plug-in set: Trapcode Form, Trapcode Mir, Trapcode Tao, Trapcode 3D Stroke, Trapcode Echospace, Trapcode Sound Keys, and Trapcode Horizon.

Brady Betzel is an online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com, and follow him on Twitter @allbetzroff. Earlier this year, Brady was nominated for an Emmy for his work on Disney’s Unforgettable Christmas Celebration.

Postal grows staff with Uvphactory’s Damijan Saccio, Gene Nazarov

By Randi Altman

Industry vet and Uvphactory co-founder Damijan Saccio has joined New York City’s Postal as executive producer. Postal, Humble’s sister shop for design and VFX, also brought on creative director Gene Nazarov. He too arrives from motion design and visual effects studio UVPhactory, which Saccio co-founded in 2000.

I first met Saccio about 14 years ago. I remember talking to him about animation and how his role as a teacher at a variety of colleges in the New York area helped him find young talent trained on Softimage his studio’s software of choice at the time — while Saccio continues using Softimage, he did add Maya and Cinema 4D to his toolbox.

Saccio and I have kept in touch through the years — he has helped make me smarter about animation, motion graphics and stereo — so when I heard the news about his move, I decided to reach out.

This is a big move. Any hesitation at all about going from owning your own shop to working for someone else?
Yes, indeed, it was a big change. I’ve been my own boss for about 16 years now and it’s definitely going to be a bit of a change from having my own company. But I would always joke that I had the strictest boss, so I guess this new gig can only be an improvement. But, seriously, I’ve been very fortunate in finding the fine team at Humble. It turns out that the owners and head of new business all have a lot in common with me. We immediately got along and have the same goals. The best thing was that they had strengths I had been looking for and I have strength they had been looking for. It sounds like a soundbite, but if really seems like it’s a perfect match.

Does this allow you to focus more on the creative and less on the day to day?
Yeah, there’s definitely less of the “I need to make sure we order more toilet paper for the studio,” or “I need to re-wire that janky Ethernet connection,” and more about coordinating the delivering of nine versions of a set of soft drink spots on time and make sure all the crazy amount of awesome effects we’re adding are completely seamless.

What do you think you can accomplish at Postal that you might not have been able to do at Uvphactory?
Well, I think it’s mostly a question of scale. We will continue to be able to do a lot of cool artistic and experiential projects we were known for, but now we’ll be able to do more larger scale and higher-end projects that I think will really make people’s heads turn!

Humble has some amazing directors in their roster, and I look forward to helping them realize the height of their visions, in addition to doing some amazing new things that will really help define Postal as the design and creativity cauldron that it now is.

You brought some of your guys with you to Postal? Why was that important?
Well, my team is my family, and really it’s all about the individuals that make a team so good, so of course I wanted to make sure that our core crew was going to have an opportunity to really shine at this new location.

The guys at Postal are extraordinarily talented and we’re excited to work together to make cool new things. I’m all about taking people from myriad backgrounds and putting them together in one room.  I think this new mix is going to create some really cool stuff.

What tools do you use?
We’ll use whatever it takes to realize the visions of our creatives, but the usual tools that consistently get used are Maya/Softimage with Vray/Redshift, Nuke/After Effects, Flame and Final Cut Pro.  There are a lot of other bells and whistles we employ, but these are the ones that are consistently used.

What are you working on now?
Well, you know how it is, I can’t really talk about any of the things we’re in progress on, but suffice it to say there’s some super funky soft drink spots about to come out, and we’ve just started on some pretty hilarious bits for a St Patrick’s Day promo. There are a number of other commercials we’re starting on as well but I have to wait a bit longer before I can talk about those!

Main Image: Damijan Saccio and Gene Nazarov.