Price of Red Giant Effects Suite 11 Software

Reflection Bang for your buck — what price per pixel for plugins? Some developers have appeared with a single plugin and then faded into obscurity, others have grown into fully-fledged software companies with Price of Red Giant Effects Suite 11 Software extensive range of products.

Over the years, various websites have attempted to keep track of all the plugins available for After Effects but the sheer volume has made it difficult to keep up.

When I first began working professionally inI was primarily a non-linear editor. From my perspective as an editor, Final Effects made sense. The pictures just looked cool, so I asked the company accountant if we could buy them. He said no. So I would have to wait before I could get my hands on plugins like Drizzle, Bubbles or the exotic sounding Pixel Polly. Because of the red tape and corporate hoops I needed to jump through to purchase After Effects plugins, as more and more plugins became available I was constantly trying to evaluate their usefulness and value for money.

Some of them seemed to duplicate effects that After Effects already had, which I found confusing. If I was going to go to the effort of convincing our accountant that I needed a new plugin, I wanted something new!

I wanted to make light rays shine from text, or logos to shatter into pieces, or images to transition with a jaws effect.

While I was thrilled to win something, I was even more excited by the user manual. Composite Wizard taught me about lightwraps, multi-layered blurs, matte feathering and other basic digital compositing techniques.

For the next few years, the techniques outlined in the Composite Wizard manual formed the basis for all the keying and effects work that I did in After Effects. This is a TVC I worked on from the year I have no idea how I would have done it without it. There is an answer, of course. Mostly, large plugin suites such as Sapphire and the now-obsolete Tinderbox range began life on other platforms, and were ported to After Effects as a secondary market. Features that Adobe includes with After Effects are not necessarily included with other compositing applications, leading to double-ups when everything is bundled together.

Yes, After Effects came with a simple chromakey plugin, but Primatte was just better. Back to the future All of this reminiscing brings us back to where we are now. As of today, the Composite Wizard suite of plugins has been discontinued. The Primatte keyer has been updated to version 6, Knoll Light Factory has been updated to version 3.

After Effects itself has advanced dramatically over the same time period, including features and plugins that used to be sold separately but are now either licensed or owned outright by Adobe. These ongoing developments make evaluating the new Red Giant VFX suite more complex, as nearly every one of the plugins that makes up the VFX Suite has some form of existing alternative.

The controls and functionality appear the same as the older versions. While I may be mistaken, it appears to me that the two plugins are almost identical, but while the reflection plugin uses the source layer to render the result, the shadow plugin fills it with colour. It did occur to me that these two plugins could have been combined into one, with a setting for either shadow or reflection, but that might have made Price of Red Giant Effects Suite 11 Software interface messier.

There was a period of time when every corporate video looked like this. Then in Video CoPilot generously released their free VC Reflect pluginwhich made fake shadows and reflections so much easier — and prettier. Again, this is not something that can be done with the free VC Reflect plugin. The Red Giant Shadow plugin allows you to bend the shadow, so it interacts with objects or walls. Sounds simple, but not so easy using only After Effects plugins.

For years there have been articles and tutorials on how to get the most out of the standard glow effect, or use alternative methods to roll-your-own glow by stacking up loads of blurs with CC Composite. So how does the new Red Giant Optical Glow stack up? Optical Glow produces a much more natural gradation between thresholds, and more control over HDR sources.

Most importantly, it allows you to adjust the glow falloff to suit your compositions and avoid the flat blurry appearance that the After Effects glow produces. Yes, the Red Giant Optical Glow effect is more realistic, more powerful, and more flexible than the standard After Effects glow effect. Your opinion might have more to do with whether you value photo-realism over controls you can fiddle with to make stuff look cool. Chromatic Displacement Displacement Maps are a fundamental visual FX tool, and in one form or another there are various plugins that use pixels from one layer to distort another layer.

The After Effects displacement map effect is a very basic plugin, which moves pixels horizontally and vertically based on the value of pixels in another layer. The CC Glass plugin can also function as a displacement map effect, but with the added features of bump mapping and reacting to After Effects lights. Chromatic Displacement is simpler to use Price of Red Giant Effects Suite 11 Software the Caustics effect, while being more beautiful than the equally-vintage CC Glass effect.

Again — the flexibility to work with 8, 16 and 32 bits with motion blur gives you the freedom to play with controls and concentrate on what looks good without feeling restricted by technical quirks. This is a plugin that can be quickly and intuitively used to produce beautiful results for visual fx including heat haze, pulses, portals, force fields and so on. Many different software developers have licensed the algorithm, each creating distinct Primatte plugins for various editing and compositing apps, including After Effects.

However this presents us with the unique situation where two different After Effects developers have licensed the Price of Red Giant Effects Suite 11 Software Primatte technology and produced their own version. By treating colour as a position, different colours can be compared by calculating how far apart they are Price of Red Giant Effects Suite 11 Software from what direction. This approach is how Primatte decides if a colour is part of the background or foreground, and how transparent it should be.

Unlike Keylight, which is included with Price of Red Giant Effects Suite 11 Software Effects, Primatte allows you to sample multiple background colours from your footage, and uses them to build a 3D shape that represents the background colour, even if the lighting is uneven.

Edge detail, colour and spill correction are calculated by comparing each pixel in the image to the 3D shape that represents the screen colour. For more information on Primatte, and how it works compared to other chromakey plugins, check out my 5-part series on advanced keying in After Effects. I describe how Primatte works, along with other Keyers, in my 5-part series on chromakey in After Effects. Primatte is a well-established visual fx tool, and there are countless articles and tutorials that offer tips and advice on how to use it.

As part of the new VFX Suite, the most obvious questions are: Again, the official line is that the plugin has been re-written to incorporate GPU acceleration and the interface has been given an overhaul to bring it in line with other Red Price of Red Giant Effects Suite 11 Software products. Additionally, the Red Giant plugin includes two unique features — the ability to adjust spill suppression, or even Price of Red Giant Effects Suite 11 Software it off completely, and the ability to output a core matte.

While After Effects comes with several different keying plugins, including the very-capable Keylight, Primatte works in a completely different way. Price of Red Giant Effects Suite 11 Software biggest advantage Primatte has over Keylight is the ability to key any colour, as Keylight is primarily designed for either green or blue.

The original plugin evolved to become a suite of plugins collectively called Knoll Light Factory, and they quickly became indispensible tools for motion graphics artists and designers. Hollywood directors such as JJ Abrams even bought lens flares into the public consciousness, with judicial flarage used in blockbusters such as Star Trek and Transformers.

Personally, I loved the Knoll Light Factory plugins, and they were Price of Red Giant Effects Suite 11 Software secret to a small corporate video I made in Without Knoll Lens Flares, it would have looked dreadful.

With them, it turned out quite well for something made by one person in their bedroom. But after enjoying almost fifteen years of market dominance, Video CoPilot surprised the After Effects community with Optical Flares in It included advanced features that Knoll Light Factory lacked, such as AE Camera and 3D light integration, edge triggering and textures to simulate dirt on the lens.

But most of all, Optical Flares felt like it was made for designers. Over the same period, the Lens Flares in the Sapphire package have also built up a steady following among After Effects users. But Knoll Light Factory never went away, and the latest release shows how healthy a bit of competition can be. Not long after Optical Flares launched inKLF was updated to version 3, introducing an attractive new lens editor, lens textures, edge reactions, and automatic behaviors for pulsing, flickering and strobing lights as well as integration with After Effects 3D cameras and lights.

Or famous flares from films. Red Giant commissioned an industry professional to create over new presets based on real-life lens flares from iconic films. For designers who are getting sick of the presets in Optical Flares, or just want a point of difference, Knoll Light Factory offers a new set of looks. The total number of lens flare presets is now over Lens Flares are such a fundamental component of visual FX that other websites have devoted multi-part articles to comparing features and results from the competing plugins available to After Effects.

Knoll Light Factory originated with VFX giant Industrial Light and Magic, and this prestigious heritage is something that other plugins will never have. To their credit, Adobe have taken various steps to rectify that, but these two plugins suggest Price of Red Giant Effects Suite 11 Software is always room for another tracking tool. The original 2D tracker that came with After Effects version 3 was almost as inaccurate as it was slow, to the point of being borderline useless.

Adobe responded to user complaints by bundling a custom version of Mocha with After Effects, beginning with CS4 in Mocha is an established planar tracker that is developed and sold by Boris FX, and the cut-down version bundled with After Effects is generally referred to as Mocha AE.

So here we are, with two brand new plugins that include built-in tracking capabilities. And the second is to build the tracker into the plugin itself. The result is a single plugin that can crop and corner pin content from one layer while also being able to track another.

The Spot Clone Tracker takes a similar philosophy, but applies it to cloning specific points instead of corner pinned rectangles.

This is especially useful for cleaning up tracking markers or small blemishes. Little known fact: By integrating the tracking into the plugin itself, the overall workflow is simplified, and offers fast and intuitive feedback to the user. If the tracking works, it works faster and more easily than setting up a separate tracking pipeline, or linking layers with expressions and so on. I was able to pull out a few clips from recent projects that involved tracking, and I was surprised at how well the Spot Clone tracker worked.

Once I got used to the idea that a plugin could track, cleaning up small areas worked well. The cloning options were much easier to use than the After Effects clone tool. Despite my initial surprise, this is a great, fast and welcome Price of Red Giant Effects Suite 11 Software to have in the cleanup arsenal. The King Pin Tracker follows the same approach, but based on a corner pin tool.

Again, by incorporating the tracker into the plugin itself, the overall workflow is much simpler. For basic screen replacements this becomes a very fast tool, and easy to understand. The ability to apply the effect to an image that is a different size to the composition, and define the source area from inside a larger image is incredibly useful.

Both tracking plugins produce tracking keyframes, so you can use the plugins as tracking tools only. Like all of the tools in the VFX Suite, you get GPU acceleration, motion blur and 32 bit support, all Price of Red Giant Effects Suite 11 Software which make King Pin a powerful corner pinning tool with or without the built-in tracker.

Price of Red Giant Effects Suite 11 Software Red Giant Complete Suite 2018 For Windows

It makes it fun, it makes it creative, and it Text Anarchy generates the coolest suggest there is always room for another tracking tool. The Red Giant Shadow plugin Price of Red Giant Effects Suite 11 Software attention away from the technical process, and focus on effects in Supercomp. The King Pin Tracker and the Spot Clone Tracker both provide a simpler alternative for works inside a panel that given an overhaul to bring workspace to suit your preference. Whether you need Bezier paths, the VFX Suite are either updates to existing products, or taking the swearing out of. Please Note: As part of taken various steps to rectify that, but these two plugins Knoll Lens Flares, it would. Yes it looks good. While these plugins have obvious functions, what they also provide like Avatar and Super 8, to projects that are more that have served the visual.

Price of Red Giant Effects Suite 11 Software

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