Tag Archives: Red Giant

COVID-19: How our industry is stepping up

We’ve been using this space to talk about how companies are discounting products, raising money and introducing technology to help with remote workflows, as well as highlighting how pros are personally pitching in.

Here are the latest updates, followed by what we’ve gathered to date:

Adobe
Adobe has made a $4.5 million commitment to trusted organizations that are providing vital assistance to those most in need.

• Adobe is joining forces with other tech leaders in the Bay Area to support the COVID-19 Coronavirus Regional Response Fund of the Silicon Valley Community Foundation, a trusted foundation that serves a network of local nonprofits. Adobe’s $1 million donation will help provide low-income people in Santa Clara County through The Santa Clara County Homelessness Prevention System Financial Assistance Program  with immediate financial assistance to help pay rent or meet other basic needs. Additionally, Adobe is donating $250,000 to the Valley Medical Center Foundation to purchase life-saving ventilators for Bay Area hospitals.
• Adobe has donated $1 million to the COVID-19 Fund of the International Federation of Red Cross and Red Crescent Societies, the recognized global leader in providing rapid disaster relief and basic human and medical services. Adobe’s support will help aid vulnerable communities impacted by COVID-19 around the world. This is in addition to the $250,000 the company is donating to Direct Relief as a part of Adobe’s #HonorHeroes campaign.
• To support the community in India, Adobe is donating $1 million towards the American India Foundation (AIF) and the Akshaya Patra Foundation. The donation will help AIF source much-needed ventilators for hospitals, while the grant for Akshaya Patra will provide approximately 5 million meals to impacted families.

Harbor
Harbor is releasing Inspiration in Isolation, a new talk series that features filmmakers in candid conversation about their creative process during this unprecedented time and beyond. The web series aims to reveal the ideas and rituals that contribute to their creative process. The premiere episode features celebrated cinematographer Bradford Young and senior colorist Joe Gawler. The two, who are collaborators and friends, talk community, family, adapting to change and much more.

The full-length episodes will be released on Harbor’s new platform, HarborPresents, with additional content on Harbor’s social media (@HarborPictureCo).

HPA
The HPA has formed the HPA Industry Recovery Task Force, which will focus on sustainably resuming production and post services, with the aim of understanding how to enable content creation in an evolving world impacted by the pandemic.

The task force’s key objectives are:
• To serve as a forum for collaboration, communication and thought leadership regarding how to resume global production and post production in a sustainable fashion.
• To understand and influence evolving technical requirements, such as the impact of remote collaboration, work from home and other workflows that have been highlighted by the current crisis.
• To provide up-to-date information and access to emerging health and safety guidelines that will be issued by various governments, municipalities, unions, guilds, industry organizations and content creators.
• To provide collaborative support and guidance to those impacted by the crisis.

Genelec
Genelec is donating a percentage of every sale of its new Raw loudspeaker range to the Audio Engineering Society (AES) for the remainder of this year. Additionally, Genelec will fund 10 one-year AES memberships for those whose lives have been impacted by the COVID-19 crisis. A longtime sustaining member of AES, Genelec is making the donation to help sustain the society’s cash flow, which has been significantly affected by the coronavirus situation.

OWC
OWC has expanded its safety protocols, as they continue to operate as an essential business in Illinois. They have expanded their already strong standard operating practice in terms of cleanliness with additional surface disinfection actions, as well as both gloves and masks being used by their warehouse and build teams. Even before recent events, manufacturing teams used gloves to prevent fingerprinting units during build, but those gloves have new importance now. In addition, OWC has both MERV air filters in place and a UV air purifier, which combined are considered to be 99.999% effective in killing/capturing all airborne bacteria and viruses.

Red

For a limited time, existing DSMC2 and Red Ranger Helium and Gemini customers can purchase a Red Extended Warranty at a discounted price. Existing customers who are into their second year of warranty can pay the standard pricing they would receive within their first year instead of the markup price. For example, instead of paying $1,740 (the 20% markup), a DSMC2 Gemini owner who is in within the second year of warranty can purchase an Extended Warranty for $1,450.

This promotion has been extended to June 30. Adding the Red Extended Warranty not only increases the warranty coverage period but also provides benefits such as priority repair, expedited shipping, and premium technical support directly from Red. Customers also have access to the Red Rapid Replacement Program. Extended Warranty is also transferable to new owners if completing a Transfer of Ownership with Red.

DejaSoft
DejaSoft has extended its offering of giving editors 50% off all their DejaEdit licenses — it now goes through the end of June. In addition, the company will help users implement DejaEdit in the best way possible to suit their workflow. DejaEdit allows editors to share media files and timelines automatically and securely with remote co-workers around the world, without having to be online continuously. It helps editors working on Avid Nexis, Media Composer and EditShare workflows across studios, production companies and post facilities ensure that media files, bins and timelines are kept up to date across multiple remote edit stations.

Assimilate
Assimilate is offering all of its products — including Scratch 9.2, Scratch VR 9.2, PlayPro 9.2, Scratch Web and the recently released Live Looks and Live Assist — for free through October 31. Users can register for free licenses. Online tutorials are here and free access to Lowepost online Scratch training is here.

B&H
B&H is partnering with suppliers to donate gear to the teams at Mount Sinai and other NYC hospitals to help health care professionals and first responders stay in touch with their loved ones. Some much-needed items are chargers, power sources, battery packs and mobile accessories. B&H is supporting the Mayor’s Fund to Advance New York City and Direct Relief.

FXhome
FXhome last month turned the attention of its “Pay What You Want” initiative to direct proceeds to help fight Covid-19. This month, in an effort to teach the community new skills, and inspire them with new ideas to help them reinvent themselves, FXhome has today launched a new, entirely free Master Class series designed to teach everything from basic editing, to creating flashy title sequences, to editing audio and of course, learning basic VFX and compositing.

Nugen Audio 
Nugen Audio has a new “Staying Home, Staying Creative” initiative aimed at promoting collaboration and creativity in a time of social distancing. Included are a variety of videos, interviews and articles that will inspire new artistic approaches for post production workflows. The company is also providing temporary replacement licenses for any users who do not have access to their in-office workstations.

Already available on the Staying Creative web page is a special interview with audio post production specialist Keith Alexander. Building from his specialty in remote recording and sound design for broadcast, film and gaming, Alexander shares some helpful tips on how to work efficiently in a home-based setting and how to manage audio cleanup and broadcast-audio editing projects from home. There’s also an article focused on three ways to improve lo-fi drum recording in a less-than-ideal space.

Nugen is also offering temporary two-month licenses for current iLok customers, along with one additional Challenge Response license code authorization. The company has also reduced the prices of all products in its web store.

Tovusound 
Tovusound has extended its 20% discount until the end of the month and has added some new special offers.

The Spot Edward Ultimate Suite expansion, regularly $149, is now $79 with coupon. It adds the Spot creature footstep and movement instrument to the Edward footstep, cloth and props designer. Customers also get free WAV files with the purchase of all Edward instruments and expansions and with all Tovusound bundles. Anyone who purchased one of the applicable products after April 1 also has free access to the WAV files.

Tovusound will continue to donate an additional 10% of the sales price to the CleanOceanProject.org. Customers may claim their discounts by entering STAYHOME in the “apply coupon” field at checkout. All offers end on April 30.

 

Previous Updates

Object Matrix and Cinesys-Oceana
Object Matrix and Cinesys-Oceana are hosting a series of informal online Beer Roundtable events in the coming months. The series will discuss the various challenges with implementing hybrid technology for continuity, remote working and self-serve access to archive content.You can register for the next Beer Roundtable here. The sessions will be open, fun and relaxed. Participants are asked to grab themselves a drink and simply raise their glass when they wish to ask a question.

During the first session, Cinesys-Oceana CTO Brent Angle and Object Matrix CEO Jonathan Morgan will introduce what they believe to be the mandatory elements of the ultimate hybrid technology stack. This will be followed by a roundtable discussion hosted by Harry Skopas, director M&E solutions architecture and technical sales at Cinesys-Oceana, with guest appearances from the media and sports technology communities.

MZed
MZed, an online platform for master classes in filmmaking, photography and visual storytelling, is donating 20% of all sales to the Los Angeles Food Bank throughout April. For every new MZed Pro membership, $60 is donated, equating to 240 meals to feed hungry children, seniors and families. MZed serves the creative community, a large portion of which lives in the LA area and is being hit hard by the lockdown due to the coronavirus. MZed hopes to help play a role in keeping high-risk members of the community fed during a time of extreme uncertainty.

MZed has also launched a “Get One, Gift One” initiative. When someone purchases an MZed Pro membership, that person will not only be supporting the LA Food Bank but will instantly receive a Pro membership to give to someone else. MZed will email details upon purchase.

MZed offers hundreds of hours of training courses covering everything from photography and filmmaking to audio and lighting in courses like “The Art of Storytelling” with Alex Buono and Philip Bloom’s Cinematic Masterclass.

NAB Show
NAB Show’s new digital experience, NAB Show Express, will take place May 13-14. The platform is free and offers 24-hour access to three educational channels, on-demand content and a Solutions Marketplace featuring exhibitor product information, announcements and demos. Registration for the event will open on April 20 at NABShowExpress.com. Each channel will feature eight hours of content streamed daily and available on-demand to accommodate the global NAB Show audience. NAB Show Express will also offer NAB Show’s signature podcast, exploring relevant themes and featuring prominent speakers.

Additionally, NAB Show Express will feature three stand-alone training and executive leadership events for which separate registrations will be available soon. These include:
• Executive Leadership Summit (May 11), produced in partnership with Variety
• Cybersecurity & Content Protection Summit (May 12), produced in partnership with Content Delivery & Security Association (CDSA) and Media & Entertainment Services Alliance (MESA) – registration fees apply
• Post | Production World Online (May 17-19), produced in partnership with Future Media Conferences (FMC) – registration fees apply.

Atto 
Atto Technology is supporting content producers who face new workflow and performance challenges by making Atto Disk Benchmark for macOS more widely available and by updating Atto 360 tuning, monitoring and analytics software. Atto 360 for macOS and Linux have been updated for enhanced stability and include an additional tuning profile. The current Windows release already includes these updates. The software is free and can be downloaded directly from Atto.

Sigma
Sigma has launched a charitable giving initiative in partnership with authorized Sigma lens dealers nationwide. From now until June 30, 2020, 5% of all Sigma lens sales made through participating dealers will be donated to a charitable organization of the dealers’ choice. Donations will be made to organizations working on COVID-19 relief efforts to help ease the devastation many communities are feeling as a result of the global crisis. A full list of participating Sigma dealers and benefiting charities can be found here.

FXhome 
To support those who are putting their lives on the line to provide care and healing to those impacted by the global pandemic, FXhome is adding Partners In Health, Doctors Without Borders and the Center for Disaster Philanthropy as new beneficiaries of the FXhome “Pay What You Want” initiative.

Pay What You Want is a goodwill program inspired by the HitFilm Express community’s desire to contribute to the future development of HitFilm Express, the company’s free video editing and VFX software. Through the initiative, users can contribute financially, and those funds will be allocated for future development and improvements to HitFilm. Additionally, FXhome is contributing a percentage of the proceeds to organizations dedicated to global causes important to the company and its community. The larger the contribution from customers, the more FXhome will donate.

Besides adding the three new health-related beneficiaries, FXhome has extended its campaign to support each new cause from one month to three months, beginning in April and running through the end of June. A percentage of all proceeds of revenues generated during this time period will be donated to each cause.

Covid-19 Film and TV Emergency Relief Fund
Created by The Film and TV Charity in close partnership with the BFI, the new COVID-19 Film and TV Emergency Relief Fund provides support to the many thousands of active workers and freelancers who have been hit hardest by the closure of productions across the UK. The fund has received initial donations totaling £2.5 million from Netflix, the BFI, BBC Studios, BBC Content, WarnerMedia and several generous individuals.

It is being administered by The Film and TV Charity, with support from BFI staff. The Film and TV Charity and the BFI is covering all overheads, enabling donations to go directly to eligible workers and freelancers across film, TV and cinema. One-off grants of between £500 and £2,500 will be awarded based on need. Applications for the one-off grants can be made via The Film and TV Charity’s website. The application process will remain open for two weeks.

The Film and TV Charity also has a new COVID-19 Film and TV Repayable Grants Scheme offering support for industry freelancers waiting for payments under the Government’s Self-employment Income Support Scheme. Interest-free grants of up to £2,000 will be offered to those eligible for Self-employment Income Support but who are struggling with the wait for payments in June. The Covid-19 Film and TV Repayable Grants Scheme opens April 15. Applicants will have one week to make a claim via The Film and TV Charity’s website.

Lenovo
Lenovo is offering a free 120-day license of Mechdyne’s TGX Remote Desktop software, which uses Nvidia Quadro GPUs and a built-in video encoder to compress and send information from the host workstation to the end-point device to decode. This eliminates lag on complex and detailed application files.

Teams can share powerful, high-end workstation resources across the business, easily dialing up performance and powerful GPUs from their standard workstation to collaborate remotely with coworkers around the world.

Users keep data and company IP secure on-site while reducing the risk of data breaches and remotely administering computer hardware assets from anywhere, anytime.
Users install the trial on their host workstations and install the receiver software on their local devices to access their applications and projects as if they were in the office.

Ambidio 
To help sound editors, mixers and other post pro who suddenly find themselves working from home, Ambidio is making its immersive sound technology, Ambidio Looking Glass, available for free. Sound professionals can apply for a free license through Ambidio’s website. Ambidio is also waiving its per-title releasing fee for home entertainment titles during the current cinema shutdown. It applies to new titles that haven’t previously been released through Blu-ray, DVD, digital download or streaming. The free offer is available through May 31.

Ambidio Looking Glass can be used as a monitoring tool for theatrical and television projects requiring immersive sound. Ambidio Looking Glass produces immersive sound that approximates what can be achieved on a studio mix stage, except it is playable through standard stereo speaker systems. Editors and mixers working from home studios can use it to check their work and share it with clients, who can also hear the results without immersive sound playback systems.

“The COVID-19 pandemic is forcing sound editors and mixers to work remotely,” says Ambidio founder Iris Wu. “Many need to finish projects that require immersive sound from home studios that lack complex speaker arrays. Ambidio Looking Glass provides a way for them to continue working with dimensional sound and meet deadlines, even if they can’t get to a mix stage.”

Qumulo
Through July 2020, Qumulo is offering its cloud-native file software for free to public and private-sector medical and health care research organizations that are working to minimize the spread and impact of the COVID-19 virus.

“Research and health care organizations across the world are working tirelessly to find answers and collaborate faster in their COVID-19 vaccine mission,” said Matt McIlwain, chairman of the board of trustees of the Fred Hutchinson Cancer Research Center and managing partner at Madrona Venture Group. “It will be through the work of these professionals, globally sharing and analyzing all available data in the cloud, that a cure for COVID-19 will be discovered.”

Qumulo’s cloud-native file and data services allows organizations to use the cloud to capture, process, analyze and share data with researchers distributed across geographies. Qumulo’s software works seamlessly with the applications medical and health care researchers have been using for decades, as well as with artificial intelligence and analytics services more recently developed in the cloud.

Medical organizations can register to use Qumulo’s file software in the cloud, which will be deployable through the Amazon Web Services and Google Cloud marketplaces.

Goldcrest Post
Goldcrest Post has established the capability to conduct most picture and sound post production work remotely. Colorists, conform editors and other staff are now able to work from home or a remote site and connect to the facility’s central storage and technical resources via remote collaboration software. Clients can monitor work through similar secure, fast and reliable desktop connections.

The service allows Goldcrest to ensure theatrical and television projects remain on track while allowing clients to oversee work in as normal a manner as possible under current circumstances.

Goldcrest has set up a temporary color grading facility at a remote site convenient for its staff colorists. The site includes a color grading control panel, two color-calibrated monitors and a high-speed connection to the main Goldcrest facility. The company has also installed desktop workstations and monitors in the homes of editors and other staff involved in picture conforming and deliverables. Sound mixing is still being conducted on-site, but sound editorial and ancillary sound work is being done from home.In taking these measures, the facility has reduced its on-site staff to a bare minimum while keeping workflow disruption to a minimum.

Ziva Dynamics
Ziva Dynamics is making Ziva VFX character simulation software free for students and educators. The same tools used on Game of Thrones, Hellboy and John Wick: Chapter 3 are now available for noncommercial projects, offering students the chance to learn physics-based character creation before they graduate. Ziva VFX Academic licenses are fully featured and receive the same access and support as other Ziva products.

In addition to the software, Ziva Academic users will now receive free access to Ziva Dynamics’ simulation-ready assets Zeke the Lion (previously $10,000) and Lila the Cheetah. Thanks to Ziva VFX’s Anatomy Transfer feature, the Zeke rig has helped make squirrels, cougars, dogs and more for films like John Wick 3, A Dog’s Way Home and Primal.

Ziva Dynamics will also be providing a free Ziva Academic floating lab license to universities so students can access the software in labs across campuses whenever they want. Ziva VFX Academic licenses are free and open to any fully accredited institution, student, professor or researcher (an $1,800 value). New licenses can be found in the Ziva store and are provided following a few eligibility questions. Academic users on the original paid plan can now increase their license count for free.

OpenDrives 
OpenDrives’ OpenDrives Anywhere is an in-place private cloud model that enables customers with OpenDrives to work on the same project from multiple locations without compromising performance. With existing office infrastructure, teams already have an in-place private cloud and can extend its power to each of their remote professionals. No reinvestment in storage is needed.

Nothing changes from a workflow perspective except physical proximity. With simple adjustments, remote control of existing enterprise workstations can be extended via a secure connection. HP’s ZCentral Remote Boost (formerly RGS) software will facilitate remote access over secure connection to your workstations, or Teradici can provide both dedicated external hardware and software solutions for this purpose, giving teams the ability to support collaborative workflows at low cost. OpenDrives can also get teams quickly set up in under two hours on a corporate VPN and in under 24 hours without.

Prime Focus Technologies 
Prime Focus Technologies (PFT), the technology arm of Prime Focus, has added new features and advanced security enhancements to Clear to help customers embrace the virtual work environment. In terms of security, Clear now has a new-generation HTML 5 player enabled with Hollywood-grade DRM encryption. There’s also support for just-in-time visual watermarking embedded within the stream for streaming through Clear as a secure alternative to generating watermarking on the client side.

Clear also has new features that make it easier to use, including direct and faster download from S3 and Azure storage, easier partner onboarding and an admin module enhancement with condensed permissions to easily handle custom user roles. Content acquisition is made easier with a host of new functionalities to simplify content acquisition processes and reduce dependencies as much as possible. Likewise, for easier content servicing, there is now automation in content localization, to make it easier to perform and review tasks on Clear. For content distribution, PFT has enabled on-demand cloud distribution on Clear through the most commonly used cloud technologies.

Brady and Stephenie Betzel
Many of you know postPerspective contributor and online video editor Brady Betzel from his great reviews and tips pieces. During this crisis, he is helping his wife, Stephenie, make masks for her sister (a nurse) and colleagues working at St. John’s Regional Medical Center in Oxnard, California, in addition to anyone else who works on the “front lines.” She’s sewn over 300 masks so far and is not stopping. Creativity and sewing is not new to her. Her day job is also creating. You can check out her work on Facebook and Instagram.

Object Matrix 
Object Matrix co-founder Nick Pearce has another LinkedIn dispatch, this time launching Good News Friday, where folks from around the globe check in with good news!  You can also watch it on YouTube. Pearce and crew are also offering video tips for surviving working from home. The videos, hosted by Pearce, and are updated weekly. Check them out  here.

Conductor
Conductor is waiving charges for orchestrating renders in the cloud. Updated pricing is reflected in the cost calculator on Conductor’s Pricing page. These changes will last at least through May 2020. To help expedite any transition needs, the Conductor team will be on call for virtual render wrangling of cloud submissions, from debugging scenes and scripts to optimizing settings for cost, turnaround time, etc. If you need this option, then email support@conductortech.com.

Conductor is working with partners to set up online training sessions to help studios quickly adopt cloud strategies and workflows. The company will send out further notifications as the sessions are formalized. Conductor staff is also available for one-on-one studio sessions as needed for those with specific pipeline considerations.

Conductor’s president and CEO Mac Moore said this: “The sudden onset of this pandemic has put a tremendous strain on our industry, completely changing the way studios need to operate virtually overnight. Given Conductor was built on the ‘work from anywhere’ premise, I felt it our responsibility to help studios to the greatest extent possible during this critical time.”

Symply
Symply is providing as many remote workers in the industry as possible with a free 90-day license to SymplyConveyor, its secure, high-speed transfer and sync software. Symply techs will be available to install SymplyConveyor remotely on any PC, Mac or Linux workstation pair or server and workstation.

The no-obligation offer is available at gosymply.com. Users sign up, and as long as they are in the industry and have a need, Symply techs will install the software. The number of free 90-day licenses is limited only by Symply’s ability to install them given its limited resources.

Foundry
Foundry has reset its trial database so that users can access a new 30-day trial for all products regardless of the date of their last trial. The company continues to offer unlimited non-commercial use of Nuke and Mari. On the educational side, students who are unable to access school facilities can get a year of free access to Nuke, Modo, Mari and Katana.

They have also announced virtual events, including:

• Foundry LiveStream – a series of talks around projects, pipelines and tools.
• Foundry Webinars – A 30 to 40-minute technical deep dive into Foundry products, workflows and third-party tools.
• Foundry Skill-Ups – A 30-minute guide to improving your skills as a compositor/lighter/texture artist to get to that next level in your career.
• Foundry Sessions – Special conversations with our customers sharing insights, tips and tricks.
• Foundry Workflow Wednesdays –10-minute weekly videos posted on social media showing tips and tricks with Nuke from our experts.

Alibi Music Library
Alibi Music Library is offering free whitelisted licensing of its Alibi Music and Sound FX catalogs to freelancers, agencies and production companies needing to create or update their demo reels during this challenging time.

Those who would like to take advantage of this opportunity can choose Demo Reel 2020 Gratis from the shopping cart feature on Alibi’s website next to any desired track(s). For more info, click here.

2C Creative
Caleb & Calder Sloan’s Awesome Foundation, the charity of 2C Creative founders Chris Sloan and Carla Kaufman Sloan, is running a campaign that will match individual donations (up to $250 each) to charities supporting first responders, organizations and those affected by COVID-19. 2C is a creative agency & production company serving the TV/streaming business with promos, brand integrations, trailers, upfront presentations and other campaigns. So far, the organization’s “COVID-19 Has Met Its Match” campaign has raised more than $50,000. While the initial deadline date for people to participate was April 6, this has now been extended to April 13. To participate, please visit ccawesomefoundation.org for a list of charities already vetted by the foundation or choose your own. Then, simply email a copy of your donation receipt to: cncawesomefoundation@gmail.com and they will match it!

Red Giant 
For the filmmaking education community, Red Giant is offering Red Giant Complete — the full set of tools including Trapcode Suite, Magic Bullet Suite, Universe, VFX Suite and Shooter Suite — free for students or faculty members of a university, college or high school. Instead of buying separate suites or choosing which tools best suits one’s educational needs or budget, students and teachers can get every tool Red Giant makes completely free of charge. All that’s required is a simple verification.

How to get a free Red Giant Complete license if you are a student, teacher or faculty member:
1. Use school or organization ID or any proof of current employment or enrollment for verification. More information on academic verification is available here.
2. Send your academic verification to academic@redgiant.com.
3. Wait for approval via email before purchasing.
4. Once you get approval, go to the Red Giant Complete Product Page and “buy” your free version. You will only be able to buy the free version if you have been pre-approved.

The free education subscription will last 180 days. When that time period ends, users will need to reverify their academic status to renew their free subscription.

Flanders Scientific
Remote collaboration and review benefits greatly from having the same type of display calibrated the same way in both locations. To help facilitate such workflow consistency, FSI is launching a limited time buy one, get one for $1,000 off special on its most popular monitor, the DM240.

Nvidia
For those pros needing to power graphics workloads without local hardware, cloud providers, such as Amazon Web Services and Google Cloud, offer Nvidia Quadro Virtual Workstation instances to support remote, graphics-intensive work quickly without the need for any on-prem infrastructure. End-users only need a connected laptop or thin client, as the virtual workstations support the same Nvidia Quadro drivers and features as the physical Quadro GPUs used by pro artists and designers in local workstations.

Additionally, last week, Nvidia has expanded its free virtual GPU software evaluation to 500 licenses for 90 days to help companies support their remote workers with their existing GPU infrastructure. Nvidia vGPU software licenses — including Quadro Virtual Workstation — enable GPU-accelerated virtualization so that content creators, designers, engineers and others can continue their work. More details are available here.  Nvidia has also posted a separate blog on virtual GPUs to help admins who are working to support remote employees

Harman
Harman is offering a free e-learning program called Learning Sessions in conjunction with Harman Pro University.

The Learning Sessions and the Live Workshop Series provide a range of free on-demand and instructor-led webinars hosted by experts from around the world. The Industry Expert workshops feature tips and tricks from front of house engineers, lighting designers, technicians and other industry experts, while the Harman Expert workshops feature in-depth product and solution webinars by Harman product specialists.

• April 7—Lighting for Churches: Live and Video with Lucas Jameson and Chris Pyron
• April 9—Audio Challenges in Esports with Cameron O’Neill
• April 15—Special Martin Lighting Product Launch with Markus Klüesener
• April 16—Lighting Programming Workshop with Susan Rose
• April 23—Performance Manager: Beginner to Expert with Nowell Helms

Apple
Apple is offering free 90-day trials of Final Cut Pro X and Logic Pro X apps for all in order to help those working from home and looking for something new to master, as well as for students who are already using the tools in school but don’t have the apps on their home computers.

Avid
For its part, Avid is offering free temp licenses for remote users of the company’s creative tools. Commercial customers can get a free 90-day license for each registered user of Media Composer | Ultimate, Pro Tools, Pro Tools | Ultimate and Sibelius | Ultimate. For students whose school campuses are closed, any student of an Avid-based learning institution that uses Media Composer, Pro Tools or Sibelius can receive a free 90-day license for the same products.

Aris
Aris, a full-service production and post house based in Los Angeles, is partnering with ThinkLA to offer free online editing classes for those who want to sharpen their skills while staying close to home during this worldwide crisis. The series will be taught by Aris EP/founder Greg Bassenian, who is also an award-winning writer and director. He has also edited numerous projects for clients including Coca-Cola, Chevy and Zappos.

mLogic
mLogic is offering a 15% discount on its mTape Thunderbolt 3 LTO-7 and LTO-8 solutions The discount applies to orders placed on the mTape website through April 20th. Use discount code mLogicpostPerspective15%.

Xytech
Xytech has launched “Xytech After Dark,” a podcast focusing on trends in the media and broadcasting industries. The first two episodes are now available on iTunes, Spotify and all podcasting platforms.

Xytech’s Greg Dolan says the podcast “is not a forum to sell, but instead to talk about why create the functionality in MediaPulse and the types of things happening in our industry.”

Hosted by Xytech’s Gregg Sandheinrich, the podcast will feature Xytech staff, along with special guests. The first two episodes cover topics including the recent HPA Tech Retreat (featuring HPA president Seth Hallen), as well as the cancellation of the NAB Show, the value of trade shows and the effects of COVID-19 on the industry.

Adobe
Adobe shared a guide to best practices for working from home. It’s meant to support creators and filmmakers who might be shifting to remote work and need to stay connected with their teams and continue to complete projects. You can find the guide here.

Adobe’s principal Creative Cloud evangelist, Jason Levine, hosted a live stream — Video Workflows With Team Projects that focus on remote workflows.

Additionally, Karl Soule, Senior Technical Business Development Manager, hosed a stream focusing on Remote video workflows and collaboration in the enterprise. If you sign up on this page, you can see his presentation.

Streambox
Streambox has introduced a pay-as-you-go software plan for video professionals who use its Chroma 4K, Chroma UHD, Chroma HD and Chroma X streaming encoder/decoder hardware. Since the software has been “decoupled” from the hardware platform, those who own the hardware can rent the software on a monthly basis, pause the subscription between projects and reinstate it as needed. By renting software for a fixed period, creatives can take on jobs without having to pay outright for technology that might have been impractical

Frame.io 
Through the end of March, Frame.io is offering 2TB of free extra storage .capacity for 90 days. Those who could use that additional storage to accommodate work from home workflows should email rapid-response@frame.io to get it set up.

Frame.io is also offering free Frame.io Enterprise plans for the next 90 days to support educational institutions, nonprofits and health care organizations that have been impacted. Please email rapid-response@frame.io to set up this account.

To help guide companies through this new reality of remote working, Frame.io is launching a new “Workflow From Home” series on YouTube, hosted by Michael Cioni, with the first episode launching Monday, March 23rd. Cioni will walk through everything artists need to keep post production humming as smoothly as possible. Subscribe to the Frame.io YouTube channel to get notified when it’s released.

EditShare
EditShare has made its web-based, remote production and collaboration tool, Flow Media Management, free through July 1st. Flow enables individuals as well as large creative workgroups to collaborate on story development with capabilities to perform extensive review approval from anywhere in the world. Those interested can complete this form and one of EditShare’s Flow experts will follow up.

Veritone 
Veritone will extend free access to its core applications — Veritone Essentials, Attribute and Digital Media Hub — for 60 days. Targeted to media and entertainment clients in radio, TV, film, sports and podcasting, Veritone Essentials, Attribute, and Digital Media Hub are designed to make data and content sharing easy, efficient and universal. The solutions give any workforce (whether in the office or remote) tools that accelerate workflows and facilitate collaboration. The solutions are fully cloud-based, which means that staff can access them from any home office in the world as long as there is internet access.

More information about the free access is here. Certain limitations apply. Offer is subject to change without notice.

SNS
In an effort to quickly help EVO users who are suddenly required to work on editing projects from home, SNS has released Nomad for on-the-go, work-from-anywhere, remote workflows. It is a simple utility that runs on any Mac or Windows system that’s connected to EVO.

Nomad helps users repurpose their existing ShareBrowser preview files into proxy files for offline editing. These proxy files are much smaller versions of the source media files, and therefore easier to use for remote work. They take up less space on the computer, take less time to copy and are easier to manage. Users can edit with these proxy files, and after they’re finished putting the final touches on the production, their NLE can export a master file using the full-quality, high-resolution source files.

Nomad is available immediately and free to all EVO customers.

Ftrack
Remote creative collaboration tool ftrack Review is free for all until May 31. This date might extend as the global situation continues to unfold. ftrack Review is an out-of-the-box remote review and approval tool that enables creative teams to collaborate on, review and approve media via their desktop or mobile browser. Contextual comments and annotations eliminate confusion and reduce reliance on email threads. ftrack Review accepts many media formats as well as PDFs. Every ftrack Review workspace receives 250 GB of storage.

Cinedeck 
Cinedeck’s cineXtools allows editing and correcting your file deliveries from home.
From now until April 3rd, pros can get a one month license of cineXtools free of charge.

 

 

Maxon and Red Giant to merge

Maxon, developers of pro 3D software solutions, and Red Giant, makers of tools for editors, VFX artists, and motion designers, have agreed to merge under the media and entertainment division of Nemetschek Group. The transaction is expected to close in January 2020, subject to regulatory approval and customary closing conditions.

Maxon, best known for its 3D product Cinema 4D, was formed in 1986 to provide high-end yet accessible 3D software solutions. Artists across the globe rely on Maxon products to create high-end visuals. In April of this year, Maxon acquired Redshift, developer of the GPU-accelerated Redshift render engine.

Since 2002, Red Giant has built its brand through products such as Trapcode, Magic Bullet, Universe, PluralEyes and its line of visual effects software. Its tools are used in the fields of film, broadcast and advertising.

The two companies provide tools for companies including ABC, CBS, NBC, HBO, BBC, Sky, Fox Networks, Turner Broadcasting, NFL Network, WWE, Viacom, Netflix, ITV Creative, Discovery Channel, MPC, Digital Domain, VDO, Sony, Universal, The Walt Disney Company, Blizzard Entertainment, BMW, Facebook, Apple, Google, Vitra, Nike and many more.

Main Photo: L-R: Maxon CEO Dave McGavran and Red Giant CEP Chad Bechert

Review: Red Giant’s VFX Suite plugins

By Brady Betzel

If you have ever watched After Effects tutorials, you are bound to have seen the people who make up Red Giant. There is Aharon Rabinowitz, who you might mistake for a professional voiceover talent; Seth Worley, who can combine a pithy sense of humor and over-the-top creativity seamlessly; and my latest man-crush Daniel Hashimoto, better known as “Action Movie Dad” of Action Movie Kid.

In these videos, these talented pros show off some amazing things they created using Red Giant’s plugin offerings, such as the Trapcode Suite, the Magic Bullet Suite, Universe and others.

Now, Red Giant is trying to improve your visual effects workflow even further with the new VFX Suite for Adobe After Effects (although some work in Adobe Premiere as well).

The new VFX Suite is a compositing focused toolkit that will complement many aspects of your work, from green screen keying to motion graphics compositing with tools such as Video Copilot’s Element 3D. Whether you want to seamlessly composite light and atmospheric fog with fewer pre-composites, add a reflection to an object easily or even just have a better greenscreen keyer, the VFX Suite will help.

The VFX Suite includes Supercomp, Primatte Keyer 6, King Pin Tracker, Spot Clone Tracker, Optical Glow; Chromatic Displacement, Knoll Light Factory 3.1, Shadow and Reflection. The VFX Suite is priced at $999 unless you qualify for the academic discount, which means you can get it for $499.

In this review, I will go over each of the plugins within the VFX Suite. Up first will be Primatte Keyer 6.

Overall, I love Red Giant’s GUIs. They seem to be a little more intuitive, allowing me to work more “creatively” as opposed to spending time figuring out technical issues.

I asked Red Giant what makes VFX Suite so powerful and Rabinowitz, head of marketing for Red Giant and general post production wizard, shared this: “Red Giant has been helping VFX artists solve compositing challenges for over 15 years. For VFX suite, we looked at those challenges with fresh eyes and built new tools to solve them with new technologies. Most of these tools are built entirely from scratch. In the case of Primatte Keyer, we further enhanced the UI and sped it up dramatically with GPU acceleration. Primatte Keyer 6 becomes even more powerful when you combine the keying results with Supercomp, which quickly turns your keyed footage into beautifully comped footage.”

Primatte Keyer 6
Primatte is a chromakey/single-color keying technology used in tons of movies and television shows. I got familiar with Primatte when BorisFX included it in its Continuum suite of plugins. Once I used Primatte and learned the intricacies of extracting detail from hair and even just using their auto-analyze function, I never looked back. On occasion, Primatte needs a little help from others, like Keylight, but I can usually pull easy and tough keys all within one or two instances of Primatte.

If you haven’t used Primatte before, you essentially pick your key color by drawing a line or rectangle around the color, adjust the detail and opacity of the matte, and — boom — you’re done. With Primatte 6 you now also get Core Matte, a new feature that draws an inside mask automatically while allowing you to refine the edges — this is a real time-saver when doing hundreds of interview greenscreen keys, especially when someone decides to wear a reflective necklace or piece of jewelry that usually requires an extra mask and tracking. Primatte 6 also adds GPU optimization, gaining even more preview and rendering speed than previous versions.

Supercomp
If you are an editor like me — who knows enough to be dangerous when compositing and working within After Effects — sometimes you just want (or need) a simpler interface without having to figure out all the expressions, layer order, effects and compositing modes to get something to look right. And if you are an Avid Media Composer user, you might have encountered the Paint Effect Tool, which is one of those one-for-all plugins. You can paint, sharpen, blur and much more from inside one tool, much like Supercomp. Think of the Supercomp interface as a Colorista or Magic Bullet Looks-type interface, where you can work with composite effects such as fog, glow, lights, matte chokers, edge blend and more inside of one interface with much less pre-composing.

The effects are all GPU-accelerated and are context-aware. Supercomp is a great tool to use with your results from the Primatte Keyer, adding in atmosphere and light wraps quickly and easily inside one plugin instead of multiple.

King Pin Tracker and Spot Clone Tracker
As an online editor, I am often tasked with sign replacements, paint-out of crew or cameras in shots, as well as other clean-ups. If I can’t accomplish what I want with BorisFX Continuum while using Mocha inside of Media Composer or Blackmagic’s DaVinci Resolve, I will jump over to After Effects and try my hand there. I don’t practice as much corner pinning as I would like, so I often forget the intricacies when tracking in Mocha and copying Corner Pin or Transform Data to After Effects. This is where the new King Pin Tracker can ease any difficulties, especially when performing corner pinning on relatively simple objects but still need to keyframe positions or perform a planar track without using multiple plugins or applications.

The Spot Clone Tracker is exactly what is says it is. Much like Resolve’s Patch Replace, Spot Clone Tracker allows you to track one area while replacing that same area with another area from the screen. In addition, Spot Clone Tracker has options to flip vertical, flip horizontal, add noise, and adjust brightness and color values. For such a seemingly simple tool, the Spot Clone Tracker is the darkhorse in this race. You’d be surprised how many clone and paint tools don’t have adjustments, like flipping and flopping or brightness changes. This is a great tool for quick dead-pixel fixes and painting out GoPros when you don’t need to mask anything out. (Although there is an option to “Respect Alpha.”)

Optical Glow and Knoll Light Factory 3.1
Have you ever been in an editing session that needed police lights amplified or a nice glow on some text but the stock plugins just couldn’t get it right? Optical Glow will solve this problem. In another amazing, simple-yet-powerful Red Giant plugin, Optical Glow can be applied and gamma-adjusted for video, log and linear levels right off the bat.

From there you can pick an inner tint, outer tint and overall glow color via the Colorize tool and set the vibrance. I really love the Falloff, Highlight Rolloff, and Highlights Only functions, which allow you to fine-tune the glow and just how much it shows what it affects. It’s so simple that it is hard to mess up, but the results speak for themselves and render out quicker than with other glow plugins I am using.

Knoll Light Factory has been newly GPU-accelerated in Version 3.1 to decrease render times when using its more than 200 presets or when customizing your own lens flares. Optical Glow and Knoll Light Factory really complement each other.

Chromatic Displacement
Since watching an Andrew Kramer tutorial covering displacement, I’ve always wanted to make a video that showed huge seismic blasts but didn’t really want to put the time into properly making chromatic displacement. Lucky for me, Red Giant has introduced Chromatic Displacement! Whether you want to make rain drops appear on the camera lens or add a seismic blast from a phaser, Chromatic Displacement will allow you to offset your background with a glass-, mirror- or even heatwave-like appearance quickly. Simply choose the layer you want to displace from and adjust parameters such as displacement amount, spread and spread chroma, and whether you want to render using the CPU or GPU.

Shadow and ReflectionRed Giant packs Shadow and Reflection plugins into the VFX Suite as well. The Shadow plugin not only makes it easy to create shadows in front of or behind an object based on alpha channel or brightness, but, best of all, it gives you an easy way to identify the point where the shadow should bend. The Shadow Bend option lets you identify where the bend exists, what color the bend axis should be, the type of seam and seam the size, and even allows for motion blur.

The Reflection plugin is very similar to the Shadow plugin and produces quick and awesome reflections without any After Effects wizardry. Just like Shadow, the Reflection plugin allows you to identify a bend. Plus, you can adjust the softness of the reflection quickly and easily.

Summing Up
In the end, Red Giant always delivers great and useful plugins. VFX Suite is no different, and the only downside some might point to is the cost. While $999 is expensive, if compositing is a large portion of your business, the efficiency you gain might outweigh the cost.

Much like Shooter Suite does for online editors, Trapcode Suite does for VFX masters and Universe does for jacks of all trades, VFX Suite will take all of your ideas and help them blend seamlessly into your work.


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.

Review: Red Giant Magic Bullet Suite: Looks 4 and Colorist IV

By Brady Betzel

Color grading is an art unto itself. A dedicated colorist can make your footage look so good, your response upon seeing it will likely be, “I had no idea it could look like this.”

Unfortunately, as an editor you don’t have the opportunity to spend 10 hours a day honing the craft of color correction. You don’t sit in front of high-end color correction panels while surrounded by thousands of dollars worth of equipment whose reason for being is taking everyday footage and pulling peoples’ minds inside out.

Even with Blackmagic’s free version of DaVinci Resolve out in the wild, color correction is a skill that takes a lot of time to hone. Don’t fool yourself, one, two or three years doesn’t really even scratch the surface of the dedication you need to dive into the dark art of color correction, and most color correction artists are more than willing to tell you that. Hopefully, that doesn’t discourage you on your journey to becoming a color master, because it is an awesome career in my opinion. I mean how many people get to play with what are essentially digital crayons all day and get paid to do it?

For those who don’t have hundreds of hours to learn the magic of apps like Resolve, Pablo Rio and Baselight, or even color correction inside of an NLE like Avid Symphony or Adobe Premiere for that matter — you still have the ability to create stunning footage with plug-ins like Red Giant’s Magic Bullet Suite.

The Magic Bullet Suite is a set of color correction and video finishing plug-ins that work in multiple multimedia apps like Adobe’s Premiere and After Effects, and some even work inside of Final Cut Pro X, Motion, Resolve and Avid Media Composer/Symphony.

If you’ve been around editing for a while, you’ve probably heard of Magic Bullet Looks; it’s one of the most common color correction plug-ins that people use to quickly and easily color correct and grade their footage. The full contents in Magic Bullet Suite 13 include Magic Bullet Looks, Magic Bullet Colorista IV, Magic Bullet Film, Magic Bullet Cosmo II, Magic Bullet Denoiser III, Magic Bullet Mojo II and Magic Bullet Denoiser. While all of these Magic Bullet plug-ins can be purchased separately, they are available as a suite for $899 as well as at an academic price of $449. There is also an upgrade price of $299 if you are a previous version user.

Magic Bullet Suite 13 has been overhauled, with one of the biggest additions being OpenGL and OpenCL support, allowing incredible speed gains. In this review, I am going to provide a plug-in-by-plug-in review, so you can see if $899 is an investment you should make. Up first is the heavy hitter of the suite: Magic Bullet Looks.

Magic Bullet Looks
At $399, Magic Bullet Looks 4 is just one piece of the Magic Bullet Suite 13 set, but it’s probably the most well known. Looks is a color correction plug-in that works with most major nonlinear editing apps, including Premiere Pro CC, After Effects CC, Final Cut Pro X 10.2.3 and up, Apple Motion 5.2.3 and up, Magix Vegas Pro 14, Avid Media Composer 8.5-8.7, Blackmagic DaVinci Resolve 12.5, Edius 8.2 and Hit Film Pro 2017.

Essentially, Magic Bullet Looks 4 is a color correction plug-in that you would typically start with a preset correction or grade that Looks has built in. Think of it like a set of over 200 color grading LUTs (Look-Up Tables) that can be finessed, changed and layered — from there you can add vignetting, video noise or even one of my favorites: chromatic aberration.

There are a few new updates in Looks 4 that make this version the one to purchase. Version 3 had GPU acceleration, but Version 4 includes OpenCL- and OpenGL-compatibility for better realtime playback with color graded footage; the Renoiser Tool which can help to add video noise or film grain back into denoised footage; and my favorite technical feature that I hope other apps include — the ability to resize the color scopes and even zoom into the Hue/Saturation scope.

While using Magic Bullet Looks, I discovered just how easy Red Giant made it to add a “look” to footage, add some grain and a vignette and then export. While the Lumetri Color tools in Premiere Pro CC were a great addition, they left some things to be desired, and in my opinion, Red Giant Magic Bullet Looks picks up where Premiere’s Lumetri Color tools left off. To apply Magic Bullet Looks 4, you can find it in the Effects drop-down under Video Effects > Magic Bullet > Looks, scrub over to the Effect Controls window and click on “Edit Look.” From there you will be launched into the Magic Bullet Looks plugin GUI. Before you get started it might be handy to open up the Magic Bullet Looks user guide, especially the keyboard shortcuts.

To try out Magic Bullet Looks, I had some Sony a6300 footage lying around waiting to be color corrected. Once inside of the Magic Bullet Looks’ GUI I saw another new feature called the Source tool, which quickly allows you to specify if you are working with Log, flat or video footage — basically, a quick LUT to get you to a starting point — nothing ground breaking, but definitely handy. From there you can open the “Looks” slideout and choose from the hundreds of preset looks. I immediately found “Color Play” and chose “Skydance,” a trippy, ultra-saturated preset with a couple of color gradients, a preset color grade using Colorista (which I will cover later in this space) and some curve adjustments.

If you want to check the values against a scope you can click on the “Scopes” slideout. If you are on a small monitor you may have to close the “Looks” slideout to see the scopes. From here you can check out your footage on a scalable RGB Parade, Slice Graph (displays color values from one line in your image), zoomable Hue/Saturation, Hue/Lightness, Memory Colors (really interesting and deserves a read), and Skin Tone Overlay, which adds lines over your image where it believes the true skin tone colors are coming through.

To apply and begin customizing a look, you can add a preset by double clicking it. It will then apply itself to your clip or adjustment layer. At the same time, it will layout any specific tools used into what Red Giant calls the “Tool Chain,” or the row of tools along the bottom of the GUI. This Tool Chain is important because it is the order of operations. If you put a tool on the right side of the Tool Chain it will impact the preceding tools on the left. For example, if you double click the Print Bleach Bypass tool (which is also awesome and gives a shiny silvery-like polish) it will place the effect naturally at the end of the Tool Chain. This impacts all previous effects, basically creating an end to the order of operations. If you want to get tricky, Magic Bullet Looks allows you to disrupt the order of operations in the Tool Chain by Alt+dragging the tool to a different spot in the Tool Chain. This can be a great method for building a unique look, essentially disrupting the normal order of operations to get a new perspective (on a Mac it is Option+drag).

Once I completed my quick look build, I clicked the check mark on the bottom of the window and was back in Premiere Pro CC 2017 playing my Sony a6300 footage in realtime with the Magic Bullet Look applied at 100 percent strength with no slowdowns. To be clear, I am not running a super-fast machine. In fact, it’s essentially a powerful tablet with an Intel i7 3.10Ghz processor, 8GB of RAM and an Intel Iris GPU, so playing down this look in realtime is pretty amazing.

For a test I trimmed my clip down to one minute in length and added Magic Bullet Look’s Color Play preset “Skydance” — which I mentioned earlier adds chromatic aberration inside of the plugin. I then exported it as a 1080p H.264 QuickTime at around 10 to12 Mb/s, which is basically a highly compressed QuickTime for YouTube, Instagram or Twitter. It took about four minutes and eighteen seconds with the look applied, and one minute without the look applied. So it took quite a bit longer to export with the look, but that can expected with a heavy color grading process. Obviously, with a fast system with a GPU like an Nvidia GTX 1080, you will be chewing through this type of export.

In the end, Magic Bullet Looks 4 is a great paint-by-numbers way of color correcting and grading, but with the ability to highly modify what is being used to create that look. I really love it. As someone who color corrects most of his footage the “old” way with wheels and such, it’s a breath of fresh air to jump into a plug-in that will give you a pretty great output with the same ability to dial in your look that a colorist may be used to but in half the time.

One thing you will notice as I review the rest of the plug-ins in the rest of the Magic Bullet Suite 13 is that the plugins Colorista, Renoiser, and Mojo II are also included with Magic Bullet Looks 4 but only when used inside of the plug-in. When you purchase the entire Magic Bullet Suite 13 you get those as standalone plugins, a feature that I actually like a lot better than working inside of the Looks plug-in. It’s something to consider if you can’t shell out the full $899.

Colorista IV
Colorista IV is a color correction and grading plug-in that is similar in function to Adobe’s Lumetri color tools, but surpasses it. It is compatible with Premiere Pro CC, After Effects CC, Final Cut Pro X 10.2.3 and up, and Motion 5.2.3 and up. Inside of Premiere, Colorista IV offers a much more intuitive workflow for color correction and color grading than Lumetri. But I really think Colorista shines in apps like After Effects where you don’t have as robust color correction options.

Colorista IV consists of a three-way color corrector with the standard Shadows, Midtones and Highlight adjustments, new Temperature and Tint controls to help adjust white balance issues, an exposure compensation, Highlight Recovery, Pop, Hue-Saturation-Lightness wheels and many more adjustments. Right off the bat you can now specify whether your footage is video (basically Rec.709) or Log. When you specify Log, Colorista will actually work a little differently and a little better for your footage than if you tried to use the video color mode. While that is not an uncommon feature/workflow in color correction apps, it is an important update to the Colorista toolset.

Another update is the Guided Color correction, which walks you through color balancing an image in seven steps. I have to say it’s not too bad. After about five different guided color balances using the Guided Color Correction I came to the same conclusion: it looks a little too contrasty but it’s not a bad starting point. Think of it like a guided auto correct. It even shows before and afters of your image while making adjustments in the Guided section. In fact, if you are learning to color correct this is a great way to simply understand a basic initial step when correcting.

After you run through the guided correction, you can fine-tune anything you did in that process, including using Colorista’s Key Mode. The Key Mode of Colorista is a simplified version of secondary keying in color correcting apps. If you want to isolate a skin tone or a specific color that is possibly too saturated, you can enable the Key Mode, select the color you want to adjust by using the color selectors or even using the HSL Cube, and adjust your selection From here Colorista gives you a few options: “Apply” the key, “Cutout” the key, or “Show Key” which will turn the image into a black and white matte for some more advanced adjustments that reach beyond the scope of this review but can be fun and extremely helpful.. You can also select the “Show Skin Overlay” checkbox that will overlay a checkerboard-like pattern on the parts of your image when they have “proper” skin tone colors; it’s pretty useful when doing beauty work and keys in Colorista.

The last two categories in Colorista IV are the Structure & Lighting and Tone Curve & LUT. Structure allows for quick adjustments to the shadows, highlights, pop (basically sharpness) and adding a vignette. The Tone Curve is a multipoint curve, much like curves in every other color correcting app, and at the bottom is where you can load your own LUT or choose a specific technical LUT, such as Sony’s Slog 2 or 3.

Summing Up
In the end, Magic Bullet Looks and Colorist IV are plug-ins that can be super simple or very meticulous depending on your mood or skill level. While almost everything in these plug-ins can be achieved without a plug-in, Colorista IV and Looks gives a simple and straightforward interface for accomplishing great color balance, a correction and grade.

One of my favorite features inside the updated Colorista IV is the new panel, which can be opened by clicking on the menu bar: Window > Extensions > Magic Bullet Colorista IV. You can keep this panel open and instantly begin color correcting a clip without having to drag the effect onto every clip you want to correct; it will automatically apply it to whichever layer is selected. If you are interested in color correction and want to ease into the complexity, Magic Bullet Looks 4 and Colorist IV are a great way to learn.

In the next Magic Bullet review I will be covering the rest of the plugins that comprise the Suite 13 plug-in set, including Magic Bullet Denoiser III which has been revamped and rivals Neat Video (an industry standard noise reduction plug-in), Cosmo II, Renoiser and Film. To buy all of these together check this out, where you can occasionally find everything at a discount.


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.

Review: Red Giant’s Universe 2

By Brady Betzel

Throughout 2016, we have seen some interesting acquisitions in the world of post production software and hardware — Razer bought THX, Blackmagic bought Ultimatte and Fairlight and Boris FX bought GenArts, to name a few. We’ve also seen a tremendous consolidation of jobs. Editors are now being tasked as final audio mixers, final motion graphics creators, final colorists and much more.

Personally, I love doing more than just editing, so knowing tools like Adobe After Effects and DaVinci Resolve, in addition to Avid Media Composer, has really helped me become not only an editor but someone who can jump into After Effects or Resolve and do good work.

hudUnfortunately, for some people it is the nature of the post beast to know everything. Plug-ins play a gigantic part in balancing my workload, available time and the quality of the final product. If I didn’t have plug-ins like Imagineer’s Mocha Pro, Boris’s Continuum Complete, GenArt’s Sapphire and Red Giant’s Universe 2, I would be forced to turn down work because the time it would take to create a finished piece would outweigh the fee I would be able to charge a client.

A while back, I reviewed Red Giant’s Universe when it was in version 1, (check it out here). In the beginning Universe allowed for lifetime, annual and free memberships. It seems the belt has tightened a little for Red Giant as Universe 2 is now $99 a year, $20 a month or a 14-day free trial. No permanent free version or lifetime memberships are offered (if you downloaded the free Universe before June 28, you will still be able to access those free plug-ins in the Legacy group). Moreover, they have doubled the monthly fee from $10 to $20 — definitely trying to get everyone on to the annual subscription train.

Personally, I think this resulted from too much focus on the broad Universe, trying to jam in as many plug-ins/transitions/effects as possible and not working on specific plug-ins within Universe. I actually like the renewed focus of Red Giant toward a richer toolset as opposed to a full toolset.

Digging In
Okay, enough of my anecdotal narrative and on to some technical awesomeness. Red Giant’s Universe 2 is a vast plug-in collection that is compatible with Adobe’s Premiere Pro and After Effects CS6-CC 2015.3; Apple Final Cut Pro X 10.0.9 and later; Apple Motion 5.0.7 and later; Vegas 12 and 13; DaVinci Resolve 11.1 and later; and HitFilm 3 and 4 Pro. You must have a compatible GPU installed as Universe does not have a CPU fallback plan for unsupported machines. Basically you must have 2GB or higher GPU, and don’t forget about Intel as their graphic support has improved a lot lately. For more info on OS compatibility and specific GPU requirements, check out Red Giant’s compatibility page.

Universe 2 is loaded with great plug-ins that, once you dig in, you will want to use all the time. For instance, I really like the ease of use of Universe’s RGB Separation and Chromatic Glow. If you want a full rundown of each and every effect you should download the Universe 2 trial and check this out. In this review I am only going to go over some of the newly added plug-ins — HUD Components,  Line, Logo Motion and Color Stripe — but remember there are a ton more.

I will be bouncing around different apps like Premiere Pro and After Effects. Initially I wanted to see how well Universe 2 worked inside of Blackmagic’s DaVinci Resolve 12.5.2. Resolve gave me a little trouble at first; it began by crashing once I clicked on OpenFX in the Color page. I rebooted completely and got the error message that the OpenFX had been disabled. I did a little research (and by research I mean I typed ”Disabled OpenFX Resolve” into Google), and  stumbled on a post on Blackmagic’s Forum that suggested deleting “C:\ProgramData\Blackmagic Design\Davinci Resolve\Support\OFXPluginCache.xml” might fix it. Once I deleted that and rebooted Resolve, I clicked on the OpenFX tab in the Color Page, waited 10 minutes, and it started working. From that point on it loaded fast. So, barring the Resolve installation hiccup, there were no problems installing in Premiere and After Effects.

Once installed, you will notice that Universe has a few folders inside of your plug-in’s drop down: Universe Blur, Universe Distort, Universe Generators, Universe Glow, Universe Legacy, Universe Motion Graphics, Universe Stylize and Universe Utilities. You may recognize some of these if you have used an earlier version of Universe, but something you will not recognize is that each Universe plug-in now has a “uni.” prefix.

I am still not sure whether I like this or hate this. On one hand it’s easy to search for if you know exactly what you want in apps like Premiere. On the other hand it runs counterintuitive to what I am used to as a grouchy old editor. In the end, I decided to run my tests in After Effects and Premiere. Resolve is great, but for tracking a HUD in 3D space I was more comfortable in After Effects.

HUD Components
First up is HUD Components, located under the Universe Motion Graphics folder and labeled: “uni.HUD Components.” What used to take many Video CoPilot tutorials and many inspirational views of HUD/UI master Jayse Hansen’s (@jayse_) work, now takes me minutes thanks to the new HUD components. Obviously, to make anything on the level of a master like Jayse Hansen will take hundreds of hours and thousands of attempts, but still — with Red Giant HUD Components you can make those sci-fi in-helmet elements quickly.

When you apply HUD Components to a solid layer in After Effects you can immediately see the start of your HUD. To see what the composite over my footage would look like, I went to change the blend mode to Add, which is listed under “Composite Settings.” From there you can see some awesome pre-built looks under the Choose a Preset button. The pre-built elements are all good starting points, but I would definitely dive further into customizing, maybe layer multiple HUDs over each other with different Blend Modes, for example.

Diving further into HUD Components, there are four separate “Elements” that you can customize, each with different images, animations, colors, clone types, and much more. One thing to remember is that when it comes to transformation settings and order of operations work from the top down. For instance, if you change the rotation on element one, it will affect each element under it, which is kind of handy if you ask me. Once you get the hang of how HUD Components works, it is really easy to make some unique UI components. I really like to use the uni.Point Zoom effect (listed under Universe Glow in the Effects & Presets); it gives you a sort of projector-like effect with your HUD component.

There are so many ways to use and apply HUD Components in everyday work, from building dynamic lower thirds with all of the animatable arcs, clones and rotations to building sci-fi elements, applying Holomatrix to it and even Glitch to create awesome motion graphics elements with multiple levels of detail and color. I did try using HUD Components in Resolve when tracking a 3D object but couldn’t quite get the look I wanted, so I ditched it and used After Effects.

Line
Second up is the Line plug-in. While drawing lines along a path in After Effects isn’t necessarily hard, it’s kind of annoying — think having to make custom map graphics to and from different places daily. Line takes the hard work out of making line effects to and from different points. This plug-in also contains the prefix uni. and is located under Universe Motion Graphics labeled uni.Line.

This plug-in is very simple to use and animate. I quickly found a map, applied uni.Line, placed my beginning and end points, animated the line using two keyframes under “Draw On” and bam! I had an instant travel-vlog style graphic that showed me going from California to Australia in under three minutes (yes, I know three minutes seems a little fast to travel to Australia but that’s really how long it took, render and all). Under the Effect Controls you can find preset looks, beginning and ending shape options like circles or arrows, line types, segmented lines and curve types. You can even move the peak of the curve under bezier style option.

Logo Motion
Third is Logo Motion, located under Universe Motion Graphics titled uni.LogoMotion. In a nutshell you can take a pre-built logo (or anything for that matter), pre-compose it, throw the uni.LogoMotion effect on top, apply a preset reveal, tweak your logo animation, dynamically adjust the length of your pre-comp — which directly affects the logo’s wipe on and off — and, finally, render.

This is another plug-in that makes my life as an editor who dabbles in motion graphics really easy. Red Giant even included some lower third animation presets that help create dynamic lower third movements. You can select from some of the pre-built looks, add some motion while the logo is “idle,” adjust things like rotation, opacity and blur under the start and end properties, and even add motion blur. The new preset browser in Universe 2 really helps with plug-ins like Logo Motion where you can audition animations easily before applying them. You can quickly add some life to any logo or object with one or two clicks; if you want to get detailed you can dial in the idle animation and/or transition settings.

Color Stripe
Fourth is Color Stripe, a transition that uses color layers to wipe across and reveal another layer. This one is a pretty niche case use, but is still worth mentioning. In After Effects. transitions are generally a little cumbersome. I found the Universe 2 transitions infinitely easier to use in NLEs like Adobe Premiere. From the always-popular swish pan to exposure blur, there are some transitions you might use once or some you might use a bunch. Color Stripe is a transition that you probably won’t want to use too often, but when you do need it, it will be right at your fingertips. You can choose from different color schemes like analogous, tetradic, or even create a custom scheme to match your project.

In the end, Universe 2 has some effects that are essential once you begin using them, like uni.Unmult, uni.RGB Separation and the awesome uni.Chromatic Glow. The new ones are great too, I really like the ease of use of uni.HUD Components. Since these effects are GPU accelerated you might be surprised at how fast and fluid they work in your project without slowdowns. For anyone who likes apps like After Effects, but can’t afford to spend hours dialing in the perfect UI interface and HUD, Universe 2 is perfect for you. Check out all of the latest Red Giant Universe 2 tools here.

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. Earlier this year, Brady was nominated for an Emmy for his work on Disney’s Unforgettable Christmas Celebration.

Review: Red Giant Trapcode Suite 13, Part 2

By Brady Betzel

In my recent Red Giant Trapcode Suite 13 for After Effects review, Part 1, I touched on updates to Particular, Shine, Lux and Starglow. In this installment, I am going to blaze through the remaining seven plug-ins that make up the Trapcode Suite. Those include Form, Mir, Tao, 3D Stroke, Echospace, Sound Keys and Horizon. While Particular is the most well-known plug-in in the Suite, the following seven all are incredibly useful and can help make you money.

Form 2.1
Trapcode Form 2.1 is best described as a particle system, much like Particular, but with particles that live forever and are used in forms like cubes. If you’ve used Element 3D by Video CoPilot you probably know that you can load objects from Maxon Cinema 4D into your Adobe After Effects projects pretty easily and, for all intents and purposes, quickly. Form allows you to load these 3D OBJ files and alter them inside of After Effects.

When you load the OBJ file, Form applies particles at each vertices point. The more vertices you have in your 3D object, the more detail you will have in your Form. It is really a cool way to create a techy kind of look for a HUD (heads up display) or sweet motion graphics piece that needs that futuristic pointillism type look. The original function of Form was to create particle grids that could be exploded or tightly wound and that would live on forever, as opposed to Particular, which creates particle systems with a birth and a death.

Form

Form 2.1

A simple way to think of how Form works is to imagine the ability to take simple text and transform it into “particles” to create a sandy explosion or turn everyday objects into particles that live forever. From Grids to Strings and Spheres to Sprites, with enough practice you can create some of the most stunning backgrounds or motion graphics wizardry inside of Trapcode Form, all of which is affected by After Effect lights and cameras in 3D space.

I was really surprised at how powerful and smooth Trapcode Form can run. I am running a tablet with an Intel i7 processor and I was able to get very reasonable performance, even with my camera depth-of-field turned on.

Mir 2.0
Trapcode Mir is an extremely useful plug-in for those wanting to create futuristic terrains or modern triangulated environments with tunnels and valleys. Mir is versatile and can go from creating smooth ocean floors to spiky mountain tops to extreme wireframe structures. Some of the newest updates in Mir 2.0 are the ability to add a spiral to the Mir landscape mesh you create (think galaxy); seamless looping under the fractal menu; ability to choose between triangles and quads for your surfaces; the really cool ability to add a second pass wireframe on top of your surface for that futuristic grid look; texture sampling from smooth gradients to solid colors; control of the maximums and minimums under z-range (basically allows for easier peaks and valleys); multi-, smoothridge, multi-smoothridge and regular fractals for differing displacements on your textures; and improved VRAM management for speedy processing.

Mir 2

Mir 2.0

These days GIFs are all the rage, so I am really impressed with the seamless loop option. It might seem ridiculous but if you’ve seen what is popular on social media you will know it’s emojis and GIFs. If you want to prep your seamless loop, check out this quick video from Trapcode creator Peder Norrby (@trapcode_lab).

Simply, you create beginning and end keyframes, find the seamless loop options under the Fractal category, step back one frame from your end loop point, mark your end-of-work area, go to the loop point (which should be one frame past where you marked the end to your work area) and click Set End Keyframe. From there Trapcode Mir will fill in the rest of the details and create your seamless loop ready to be exported as a GIF and blasted on Twitter. It’s really that easy.

If you are looking for an animated GIF export setting, try exporting through Adobe Media Encoder and searching “GIF” in the presets. You will find an “Animated GIF” preset, which I resized to something more appropriate like 1280×720 but that still came out at 49MB — way over the 5MB Twitter upload limit. I tried a few times, first with 50% quality at 640×360, which got me to 13.7MB. I even changed the quality down to 5% in Media Encoder, but I kept getting 13.7MB until I brought the size down to 320×180. That got me just under 4MB, which is perfect! If you do a lot of GIF work, an easy way to compress them is to use http://ezgif.com/optimize and to fiddle with their optimization settings to get under 5MB. It’s quick and it all lives online.

As with all Trapcode Suite plug-ins (or anything for that matter), the only way to get good is to experiment and allow yourself to fail or succeed. This holds true for Mir. I was making garbage one minute and with a couple changes I made some motion graphics that made me see the potential of the plug-in and how I could actually make content that people would be blown away with.

3D Stroke

3D Stroke

3D Stroke
One plug-in that isn’t new but will lead into the next one is Trapcode 3D Stroke. 3D Stroke takes the built-in After Effects plug-in Stroke to a new level. Traditional Stroke is an 8-bit plug-in while Trapcode 3D Stroke can run on the color-burning 32-bits-per-channel mode. If you want to add a stroke along a path that interacts with your comp cameras in 3D space, Trapcode 3D Stroke is what you want. From creating masks of your text and applying a sweet 3D Stroke to them to intricate 3D paths that zoom in between objects with a HDR-like glow, 3D Stroke is one of those tools to have in your After Effects tool box.

When using it I really fell in love with the repeater. Much like Element 3D’s particle arrays, the repeater can create multiple instances of your paths or text paths to create some interesting and infinitely adjustable objects.

Tao
Trapcode Tao is new to the Trapcode Suite of plug-ins. Tao gives us the ability to create 3D geometry along a path, and boy did people immediately fall in love with this tool when it was released. You can find tons of examples and tutorials of Tao from experts like VinhSon Nguyen, better known as @CreativeDojo on Twitter. Check out his tutorial on Vimeo, too. Tao is a tricky beast, and one way I learned about it in-depth was to download Peder Norrby’s project files over at http://www.trapcode.com and dissect them as best I could.

Tao

Tao

If you remember Trapcode 3D Stroke from earlier, you know that it allows us to create awesome glows and strokes along paths in 3D space. Trapcode Tao operates in much the same way as 3D Stroke except that it uses particles like Mir to create organic flowing forms in 3D space that interact with After Effects’ cameras and lights.

Trapcode Tao is about as close as you can get to modeling 3D geometry inside of After Effects at realtime speeds with image-based lighting. The only other way to achieve this is with Video CoPilot’s Element 3D or by using Cinema 4D via Cineware, which is sometimes a painstaking process.

Horizon 1.1
Another product that I was surprised by was Trapcode Horizon 1.1. In the age of virtual reality and 360 video you can never have too many ways to make your own worlds to pan cameras around in. With a quick Spherical Map search on Google, I found all the equi-rectangular maps I could handle. Once inside of After Effects, you need to import and resize your map to your comp size, add a new solid and camera, throw Horizon on top of your solid, under Image Map > Layer, choose the layer name containing your spherical image, and BAM! You have a 360-world. You can then add elements like Trapcode Particular, 3D Stroke or Tao and pan and zoom around to make some pretty great opening titles or even make your own B-Roll!

Echospace

Echospace 1.1

Echospace 1.1
Trapcode Echospace 1.1 is a powerful section in the Trapcode Suite 13 plug-in library. It is one of those plug-ins where you watch the tutorials and wonder why people don’t talk about it more. In simple terms, Echospace replicates layers and creates interdependent parenting links to the original layer, allowing you to create complex repeated element animations and layouts. In essence it feels more like a complex script as opposed to a plug-in.

Let’s say you want to create some offset animation of multiple shape layers in three-dimensional space, Echospace is your tool. It’s a little hard to use and if you don’t Shy the replicated layers and nulls, it will be intimidating. When you create the repeated layers, Echospace automatically sets your layers to Shy if you enable Shy layers in your tool bar. A great Harry Frank (@graymachine) tutorial/Red Giant Live episode can be found on the Red Giant website: http://www.redgiant.com/tutorial/red-giant-tv-live-episode-8-motion-graphics-with-trapcode-echospace.

Sound Keys 1.3
The last plug-in in the massive Trapcode Suite v13 library is Sound Keys 1.3. Sound Keys analyzes audio files and can draw keyframes based on their rhythm. One reason I left this until the end of my review is that you can attach any of the parameters from the other Trapcode Suite 13 plug-ins to the outputs of the Sound Keys 1.3 keyframes via a pick whip. If I just lost you by saying pick whip, snap back into it.

If you learn one thing in the After Effects scripting world, it’s that you can attach one parameter to another by alt+clicking (command+clicking) on the stopwatch of the parameter that you want to be driven by another parameter and dragging the curly-looking icon over the other parameter. So in the Sound Keys case, you can attach the scale of an object to the rhythm of a bass drum.

Soundkeys Color Orientation

Sound Keys 1.3

What I really liked about Sound Keys is that it not only can create a dynamically driven piece of motion graphics, but you can also use the audio meters it draws to visualize the audio. You see this a lot in lyric music videos or YouTube videos that are playing music only but still want a touch of visual flare, and with Sound Keys 1.3 you can change the visual representation of the audio including color, quantization (little dots that you see on audio meters) and size.

Easily isolate an audio frequency with the onscreen controls, find the effect you want to drive by the audio, and pick whip your way to dynamic motion graphic. If I was the graphics designer I wish I was, I would take Sound Keys and something like Particular or Tao and create some stunning work. I bet I could even make some money making some lyric videos… one day.

Summing Up
In the end, the Trapcode Suite v13 is an epic and monumental release. The total cost as a package is $999, and while it is a significantly higher cost than After Effects, let me tell you: it has the ability to make you way more money with some time and effort. Even with just an hour or so a day I feel like my Trapcode game would go to the next level.

For those that have the Trapcode Suite and want to upgrade for $199, there are some huge benefits to the v13 update including Trapcode Tao, GPU performance upgrades across the board, and even things like the second pass wireframe for Mir.

If you are a student, you can grab Trapcode Suite 13 for $499 with a little verification legwork. If you are worried about your system working efficiently with the Trapcode Suite you can check the technical requirements here, but I was working on an Intel i7 tablet with 8GB of memory and Intel Iris 6100 graphics processor. I found everything to be very speedy for the limitations I had. Tao was the only plug-in that wouldn’t display correctly, but rightly so, as you can read the GPU requirements here.

If I was you and had a cool $999 burning a hole in my After Effects wallet I would pick up Trapcode Suite 13 immediately.

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.

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.

Automatic Duck is back and partnering with Red Giant

Red Giant is partnering with Automatic Duck to deliver two new products: Automatic Duck Ximport AE and Automatic Duck Media Copy 4.0. Both leverage Automatic Duck’s software for transferring projects between host applications and locations. Ximport AE transfers entire timelines, including cuts, third-party effects, transitions and more, from Final Cut Pro X to Adobe After Effects. Media Copy 4.0 uses AAF and XML to simplify copying and moving media files from any Final Cut Pro 7, Final Cut Pro X or Avid Media Composer/Symphony project. Ximport AE and Media Copy 4.0 join the Red Giant family of software plug-ins for visual effects and motion graphics artists.

With Ximport AE, users can copy entire projects directly from Final Cut Pro X to After Effects without requiring conversion or XML processing. Effects created using third-party plugins such as those from Red Giant, as well as a number of Final Cut Pro X features including compound clips, transforms and retiming, can be transferred from FCP X to AE.

Designed for Final Cut Pro and Avid users, Media Copy 4.0 allows users to copy and move project media by reading the project’s AAF or XML export and copying referenced files to a chosen destination. Users can also generate HTML reports for a record of copied files, and they have the option to process individual project files or group them all for relocation.

Watch this space — interview with Automatic Duck’s president, Wes Plate, coming soon!

Review: Red Giant’s Shooter Suite 12.6

A suite of seven tools helps you get organized, saving you time and money

By Brady Betzel

If you have ever been an assistant editor, an editor who had to prep their own content, or even a production assistant who was asked to go way beyond their job title and perform DIT duties on set, you know that without the right tools, that “quick and easy” job you took on Craigslist can quickly turn into a 12-hour day and immediately become not worth the time.

If you have ever regretted taking a job after realizing that the job description stated “content is already organized and in sync” but they really meant you are the one that will need to “organize and sync” (without jam sync timecode), then you need to pay close attention to this review of Red Giant Shooter Suite. Red Giant Shooter Suite (currently in version 12.6) contains seven tools that will help make offloading, organizing, proper metadata entry, synchronizing, denoising, upressing, deinterlacing and LUT-ing much more enjoyable.

Included in the Shooter Suite package are PluralEyes, Offload, Bulletproof, Denoiser, Instant 4K, Frames and LUT Buddy. In this review, I will dig in deep to just a few of the tools, but every tool is worth way more than the price of $399 (a savings of $345 if each were bought individually, although LUT Buddy is a free download). Keep in mind that every tool could potentially save you tons of time, money and more importantly your sanity.

Offload

Offload

Offload
First up is Red Giant Offload. Offload is one of those really simple tools that can potentially save your job. More often than not I see and read about jobs that ask for an “experienced” DIT, editor or assistant editor to be on set to transfer footage from cameras, log, add LUTs and many other responsibilities. The only problem is they usually want to pay $100/day — not a good rate-to-job responsibility ratio. (My advice is don’t take that job.) So to those posting these ads on Staff Me Up and Craigslist, do those poor new hires a favor and buy them Offload, at the least.

Offload allows the user (Mac or Windows) to choose a media source folder (including XDCAM, GoPro, etc.), a folder to copy the assets to and a folder to copy a back-up of the assets to. This all happens very simply and even shows a preview thumbnail of the files at the bottom. One issue I had with Offload was that as I was transferring some footage from my GoPro Hero3+ Black Edition, I plugged in a drive with XDCAM footage on it and crashed the program, so one word of advice: let all of your files transfer before plugging in more drives.

Anybody could understand this awesomely simple interface, however, the real power lies in the checksum verification (a way to check the integrity of transferred data when compared to its original source media — but keep in mind it doesn’t check for errors, only that the beginning file and end file match exactly) that is done almost instantly after the files are done being copied or backed up. In addition, the checksum text file can be located and copied. Trust me, keeping a copy of things like the checksum file may seem trivial, but when you get an editor or director that wants to blame the low person on the totem pole, you can whip out this file and their argument ends there… hopefully.

Checksum

Checksum

Bulletproof
If your skill set lies beyond Offload, you’ll want to open Bulletproof, which takes the idea of copy and backup to the next level with addition of metadata editing, light color correction, curves adjusting and even LUT application. I really love the color adjusting with the Red Giant Colorista three-way and LUT addition — it even comes with a few LUTs like Prolost Flat to Warm. It’s quick, easy and with some practice, anyone with some post knowledge could learn to become a makeshift DIT.

I don’t have much real-world experience as a DIT, so I can’t definitively say if this is a lifesaver for that world, but what I can say is that with 10 years experience in post production I would feel comfortable asking my assistant editor to take a half-hour in Bulletproof, read the online manual and come up with a preset for a Bulletproof workflow to create ProRes Proxy files to edit with.

BP_1_2_IMPORT_VIEW copy

In terms of export options you can choose between PhotoJPEG, ProRes or H.264 MPEG-4 AVC, with or without a timecode burn-in, embedded XMP metadata and appended file names. It really is a one-stop shop for dailies creations. I would definitely recommend a newer iMac or, better yet, a new Mac Pro with 64GBs of RAM when dealing with high-resolution files — my five-year-old MacBook Pro was a little sluggish.

PluralEyes
My favorite part of Red Giant Shooter Suite is by far PluralEyes. For years I have been using PluralEyes with Avid Media Composer and Symphony, always hoping Avid would eventually incorporate this technology into their grouping, but unfortunately that hasn’t happened. It seems others did catch on like the forthcoming Blackmagic’s DaVinci Resolve 12, but I digress. PluralEyes 3.5 is the latest release candidate, and boy does it kick butt.

Pre-SyncPost-Sync
PreSync and PostSync

When taking that time-challenging job I talked about earlier, where the job poster claimed the media to be edited was already organized and in sync but in reality wasn’t, PluralEyes is the tool that will solve your problems as long as they recorded audio. From personal experience, I have taken over 40 hours of footage, without jam sync timecode, and PluralEyes lined it all up almost perfectly, although it took some time to match up the footage and isolate audio tracks. To make this work you must have audio for PluralEyes to sync the media properly.

PluralEyes works by analyzing waveforms and matching up what it thinks should match. Most of the time it is correct, but occasionally it isn’t. When it isn’t correct you can manually adjust the sync. What I love best is that when using it for apps like Adobe Premiere and Media Composer, your media comes back in fully editable.

PluralEyes doesn’t do any encoding or transcoding of your media files if you don’t want it to, so if you want to add new clips that don’t have audio but happen to have proper slating with timecodes, you can add it and start your multi-grouping. If you do want PluralEyes to make media files with the in-sync video and audio, it can do that too. This helps in apps that don’t support XML or AAF importing.

In Adobe Premiere CS6 or CC you can even use Red Giant’s PluralEyes 3.5 Connector, which allows you to transfer projects back and forth without the hassle of XMLs. To set up a project to be analyzed in PluralEyes you must import your media; add it to a timeline or sequence with different cameras or isolated audio on different layers; export the XML or AAF with linked media to PluralEyes; run PluralEyes’ synchronize command and, depending on how many hours of media, you have you could be off and running in under an hour.

I’ve previously tested this on an ISIS-connected Media Composer and it worked pretty well when using an AAF and linking to the media. If you have specific questions about how to properly set up an AAF for things like round-tripping with PluralEyes, tweet me @allbetzroff — I might be able to help you out.

A caveat to be aware of is identifying sync settings that you may need to enable like, “Try Really Hard.” If you have very low or rough audio you may want to check this option. It will go a lot more in depth when matching audio. The only downside is that it will take a lot longer to sync.

Denoise

Denoiser II

More Tools
The final few tools included in the Red Giant Shooter Suite are Denoiser II, Instant 4K, Frames and LUT Buddy. Denoiser II is one of those tools you can just drop on a noisy clip and for the most part it does its job without any tweaking (although you can do some fine tuning, like luma offset or chroma smoothing). I dropped in a free stock footage clip from www.dissolve.com featuring a coffee mug. The footage wasn’t terrible to begin with but after bringing it into After Effects CC, I zoomed in close and saw some noise. I dropped on Red Giant Denoiser II and without any tweaking saw a vast improvement. What I like is that it got rid of the noise and some blocky artifacting without having to specify anything. It really made the clip look great; I might add a little noise back into the clip, color, then export.

Instant 4K is a plug-in for Adobe Premiere and After Effects that will uprez any footage to 720p, 1080p, 2K, 4K and many other resolutions. I added the effect to a 1920×1080 piece of footage and upscaled it to my composition’s width of 4096. The footage looked pretty great even after being upscaled so much.

To find out about the last two apps: Frames and LUT Buddy, check out http://www.redgiant.com/products/shooter-suite or follow Red Giant on twitter: @RedGiantNews. Do yourself a favor and if you aren’t following Aharon Rabinowitz already follow him @ABAOProductions. He has a host of tutorials and general amazing Red Giant awesomeness going on.

Summing Up
In the end, if you want a complete toolset for copying, organizing, verifying, synchronizing, denoising, and upressing your images, then you will want to purchase the complete Red Giant Shooter Suite 12.6. Personally, I think Pluraleyes and Bulletproof are worth the $399 cost of admission — add in the magic of Denoiser II and the 4 other Red Giant video tools and you have a true technical value pack. Every person who works in freelance production and post that is in the realm of onset shooting, organizing media, and assistant editing should have Red Giant Shooter Suite in their toolbox.

Just to reiterate, here are my top Red Giant Shooter Suite 12.6 highlights: it contains seven highly specialized video tools in one package saving over $345; it comes with newly released Offload for easy and worry-free transfer and backup of master files from camera memory cards; and it includes the lifesaving PluralEyes 3.5 auto-syncing app, which can really save hours of work.

Red Giant focuses on new tools, user feedback with Universe

Red Giant, makers of Magic Bullet, Trapcode and PluralEyes, has launched Red Giant Universe (a public beta) — a community that gives members access to pro tools for editing, filmmaking, visual effects and motion design.

“It’s rare we get to introduce technology that is entirely new,” said Red Giant’s co-founder and CTO Sean Safreed, who has been working with his team, behind the scenes, on Universe for the last year and a half. “Universe is an entirely new foundation for tools. It marries the simplicity of JavaScript with the power of the GPU to deliver speedy renders and pixel-perfect results. Users are going to love how quickly we offer new plug-ins.”

Knoll-EZ-Arsenal-Esmall

Knoll EZ Arsenal

In total, Red Giant is releasing 50 new plug-ins at once — with more already in development. Every tool in the Universe library of effects and transitions is GPU-accelerated, both Mac- and Windows- compatible, and works across multiple host applications including After Effects, Premiere Pro, Final Cut Pro X and Motion. The Universe library of tools is continuously growing— new effects and transitions are added regularly, and existing tools are updated often, based on user feedback.

In addition to the expanding library of plug-ins, Universe also offers Premium membership, which gives users access to even more tools – including new effects and transitions, as well as existing Red Giant favorites ported over to the new Universe platform (such as Knoll Light Factory EZ, Holomatrix, Retrograde and ToonIt). Premium membership is available through monthly and yearly subscription, as well as a one-time lifetime membership fee.

Red Giant Universe free membership is available now, with the Premium membership available for purchase this month. Premium pricing will be $10 (monthly), $99 (yearly) and $399 (lifetime).

“I’m a motion graphics and visual effects artist, and definitely not a coder,” said Aharon Rabinowitz, Red Giant’s director of content and communities. “Even so, along with the Universe development team, folks like motion designer Harry Frank and I have been secretly cranking out plug-ins for the last few months. Our new development tools have made it surprisingly easy. I’m super excited that we can finally share the stuff we’ve been making.”

Through Universe Labs, members get to help choose what effects and transitions Red Giant builds next, and premium members are eligible for invitations to early betas of new products, allowing users to give early feedback and actively help shape Universe’s expansion over time.

Check out the video explaining more about the Universe: http://vimeo.com/87001310.