Now that you watched our new tutorial on creating a Solar Atmosphere you are probably thinking of all the other cool things you can do with Fractal Noise like Plasma Balls and Force Fields!
But what about those polar seams? No problem!
We need to take the regular texture and convert it to a spherical texture using the “Polar Coordinates” Effect and some layer duplicating.
Check out the Project File to see the process marked by Step 1-3!
In this new tutorial we will use After Effects to create a powerful solar atmosphere without the need for additional plug-ins. But for even more impressive heat distortion, check out our new stand-alone plug-in below!
Heat Distortion Plug-in:
Our new Advanced Heat Distortion plug-in is now available individually for only $24.95! Check out the feature videos and see what a difference it makes. Great for Energy blasts, Jet Turbines and even the ending shot of the MotionPulse trailer.
I found some time to play in After Effects this weekend and here is another experiment that doesn’t use any 3rd party plug-ins.
Although I will say that using our heat distortion plug-in would have been easier to create the heat waves. In fact, I was thinking about finally making this plug-in available for sale individually instead of inside the bundle, anyone else interested in that idea?
At Video Copilot, we know that Sound Design is critical when it comes to motion graphics and today we are excited to announce our new product MotionPulse!
MotionPulse features over 2000 compound sound FX across 35 categories. No filler sound FX, just INSANE multi-layered sound FX for Movie Trailers, Motion Design, Special Effects and anytime you need to grab someones attention and shake people up!
This is not generic sound FX collection, like footsteps and bad guys screaming, this collection was generated specifically for motion designers that need to add hard-hitting sound FX to things that do not exist. Bring your motion graphics to life with MotionPulse!
When Fast & Furious star Paul Walker passed recently, the film sequel was put on hold. Now that producers are moving forward, and the question is how should they finish a film that is already more than half-way done filming?
There has been talk of rewriting, re-editing or even using stand-ins to film the remaining scenes.
But one suggestion has stirred a lot of controversy: Use a CGI Paul Walker! (Basically a computer generated likeness) Some people have suggested this is bad taste, disrespectful, creepy. Maybe it is, I don’t know. Now that producers have confirmed this solution, the backlash has begun.
BUT… I personally think they SHOULD use CGI Paul Walker. And here’s why. (And it is not because CGI has improved. That doesn’t matter!)
His Real Performances!
Typically, I’m against bringing back actors but the movie was already at least half-way done filming before Paul Walker passed. SO they have his REAL last performances in the film.
Now since movies are typically filmed out-of-order, it’s possible these finished scenes are missing important connecting moments that are needed to tell the story and maintain continuity.
So producers have to choose:
1. Cut his character entirely and re-shoot/rewrite the film without Paul Walker. (Movie insurance would cover the cost):
END RESULT: No Real Paul & No CGI Paul.
2. Use a CGI-version of the character to finish the missing scenes and keep the majority of his REAL performance in the movie:
END RESULT: Real Paul with Some CGI Paul.
Whether you are a fan of the movies or not, they were always fun and well made. And these films may well be his legacy so I think it would be a shame to cut all of his last performances over some CGI that is only meant to help keep the true Paul Walker in the film so producers don’t have to cut him out.
NOTE: I’m not tied to production so I’m not sure the specifics of how they plan to do the CGI stuff but I wanted to make this post to offer some perspective. Hopefully they have the same idea!
Are you going to NAB in Las Vegas?
If so please stop by the Adobe booth on Tuesday and Wednesday for my presentation! I’ll be on around 2pm both days. Come one, come all, I’d love to have a chance to meet some of my digital friends!
Plus you can hang around the show floor and see many great new gadgets! Should be fun!
So the Academy Awards for best visual effects is upon us and we momentarily focus on the impressive work created by the many thankless visual effects artists around the world!
Not that my opinion matters, (Although I was the first to combine an After Effects Tutorial with MS Paint) but I started to think about the idea of giving an award for best VFX. How do you choose? Luckily, I don’t have to.
Visual Effects is the art of problem solving. Every shot, every movie, every challenge is different. I look at the body of work in this years academy awards and think, “every one of these movies did their job exactly right”. The visual effects all expanded the story, the world and created an impressive experience. Not to mention the films that were not nominated like Pacific Rim.
Was one movie more or less innovative than another? I don’t know. I do know that the end result does not always tell the story of what it takes to get there.
The film Gravity created some stunning work that has never been done before on that scale and pulled it off flawlessly. The set extensions in Lone Ranger were some of the best I’ve EVER seen. And did you see the Star Trek into Darkness End Titles? AMAZING! I mean… Well…
The point is this: I think every person on the post side of visual effects will probably be lost in the the controversy over wether or not Leonardo DiCaprio wins or loses. But maybe we can all take a moment to talk about the great visual effects shots you remember from this past year! Leave a comment, maybe the artist who created it is reading!
PS: Go LEO!
Strap in! The team at Funny or Die has put together a new video & a contest that is perfect for VFX and they even let me do a little cameo! Oh and it’s starring this one guy named JEAN-CLAUDE VAN DAMME!
How it works:
Watch the video. Then you shoot a video and add in some pre-keyed shots of Van Damme taking names, then whoever makes the best films wins some gear! Short deadline though, only 2-weeks, good thing they are pre-keyed!
FreddieW also created a new short using footage from the contest!
I’ve been finding some extra time to dig deeper into some built-in After Effects plug-ins to create some interesting and unique effects. Here is my new experiment using a very interesting combination of effects (as always) to build a networked title or logo.
We are really making a big effort to create new projects to keep you inspired and thinking in new ways!
I’ll be recording the tutorial this week so expect it soon and be ready for a few unexpected surprises!
Happy Valentines’ Day from Video Copilot!
Sorry for the last minute gift, now you know how my wife feels! Ha! Just kidding honey, I love you.
Our Free Model Pack contains several great 3D models ready to use with Element 3D or your favorite 3D program!
No nonsense, just download now!
Like Right Now! (164 MBs)
In this new tutorial I’ll show you a cool technique to generate 3D Light Rays inside of After Effects without 3rd party plug-ins. I’ll also show you how to add volumetric light to a live action shot using 3D tracking. I’ll be posting project files and tutorial to the main site later today!
We also created a blog show to demonstrate how to create light rays in real life!
Watch on Youtube in HD!
In our recent blog show on volumetric light, I created a short animation with the puppet tool because I wondered what would the twitter logo be like if it was alive… In this short video I explain how I setup the project file to animate the logo.
Download the project file too! (CS6)
UPDATE: According to twitter guidelines it is not permitted to “add special effects” to the logo. Sorry.
If you are not on twitter, be sure to follow us @videocopilot