Tag Archive for: after effects

VFX Pro Joseph Lawson Talks about the Visual Effects in ‘On Fire’

Joseph Lawson has been in the field of Visual Effects for over 20 years, with credits on iconic movies and shows like The Lord of the Rings: The Return of the King, Star Trek: Enterprise, and many films from The Asylum (the Sharknado series). The father-son team at Lawson Digital Arts bring us their latest work with On Fire (dir. Peter Facinelli & Nick Lyon), a thriller inspired by true events about a family escaping from a raging forest fire. With the movie in theaters nationwide, we sat down with Joseph to talk about visual effects.

P: Congrats on On Fire‘s reception! We’re looking forward to seeing it on the big screen.
J: Thanks so much! We’re proud to be part of On Fire using ProductionCrate elements as part of our VFX toolkit!


P: The VFX team for On Fire was relatively small for a feature-length, natural disaster movie; What kind of challenges did this present? Were there any benefits?
J: My son and I are probably the only father-son VFX team I know of in the world.  We have a lot of experience tag-teaming and working with each others strengths to make shows like On Fire come together.   We’re also hyper organized which helps us do a lot more than average. Tons of lower budget film experiences has taught us how to leverage budgets to make things look like more than the budget by the time folks experience them. As a director myself it’s possible to know what helps organically tell the film-maker’s story in a way that integrates visually without being too much VFX flashy. Ideally most folks won’t always realize we’re there at all. The biggest challenge was going from what was a project with 150 planned to 389 delivered shots.  A lot of fire effects planned for on set came to us out of genuine safety concerns. Fortunately we have a robust internal pipeline and organizational setup using ShotGrid that enables us to do a project of this scope.  The producers also gave us a generous amount of time to do the work.  The benefit of our two-person team (with some tracking/matte help from Joseph’s friend Elijah Morrow) is we have the visual shorthand and shared respect to trust each other with any task.


P: What made you want to pursue visual effects? What was your gateway to working professionally?

J: When I was 12 living in Okinawa I was a huge Star Trek fan. Some friends and I did Super 8mm short films so I knew I wanted to be a director. Doing our special effects got me hooked on that. Silent Running, Space:1999 and Star Wars, of course, confirmed my life goals. After a career in broadcasting radio and television including commercials with effects and being a weather announcer, I started a graphics business that did animation in Montana using LightWave 3D. I married my darling Kelly then got a job on Roughneck’s: The Starship Troopers Chronicles at the legendary Foundation Imaging (Babylon 5, Hypernauts).  This brought us to Valencia, California where we raised our son and daughter while I worked for various studios over almost two decades.  That included everything from The Global Asylum as VFX supervisor for seven years (and directing five of their movies) to Rhythm & Hues plus Digital Domain and so many great places and projects. With over 200 IMDB listings and growing it’s hard to give them all individual proper credit due.


P: What do you consider the biggest sea change in the time that you’ve worked as a VFX Artist/Supervisor?
J: There have been so many changes but one huge one is the availability of tools to a wide range of artist.  The hardware has gotten faster and cheaper, the software more capable and the availability of tools like ProductionCrate that provide elements and more to we creators quickly via internet makes it possible for us to create from anywhere there’s adequate speedy connection like our place here on the North Coast of Oregon.  And it’s all only getting better for those with tools, talent and desire to create.


P: What made Blender & After Effects the ideal tools for creating the VFX in On Fire?
J: Blender has become a perfect tool for freelance and boutique shops looking for a wide range of ever growing/improving capabilities.  We still leverage other software like LightWave when needed.  After Effects has always worked well for us and since we have so much experience; So many presets and plug-ins, it’s hard to change.  With AE’s color capabilities coming of age during On Fire we were able to integrate elements better than ever before.


P: Were there any lessons learned while working on a project like On Fire? Were there any unexpected hurdles?
J: Every show has its unique challenges, and for On Fire it was having to integrate so much fire into practical footage that was initially planned for live on set. We couldn’t do that because the forest floor was tinder-dry, forcing us to do even the smaller fire work in post.  That was also the biggest unexpected hurdle along with a lot of invisible effects like clocks, monitor screens, crew paint outs.  It was a long post period for a reason!

P: Which shot/sequence are you most excited for people to see?
J: The family fire chase sequence is pretty scary cool narrative and works.  A lot of my sons 100 percent CG shots are fantastic throughout the movie. I’m so proud of the artist he’s grown to be since starting almost a decade ago at age 14. That’s all him! He has an astounding future!


P: Did working on shots set mostly at night present any unique obstacles?
J: It actually made our job easier, especially because Chris Wilks and his stunt/effects team (along with the amazing lighting crew) set up some fantastic light sources to dramatically tell the director Nick Lyon’s and writer Ron Peer’s story.  We added the fires where needed and motivated by them. The main challenge it caused was tracking and lots of roto.  TONS of roto.  The lady on fire sequence was one of the toughest for both yet most of it integrates well.  Scary stuff.

P: What are your favorite VFX shots/sequences that you didn’t work on?
J: My favorite sequence Joseph worked on were some CG point-of-view shots during a family driving sequence.  The burning buildings and trees are all CG with a mix of fire and spark elements including ProductionCrate selling it.

P: Who are the masters you looked-up to and learned from?
J: Of course, we all stand on the shoulders of giants and my inspirations are decidedly old school names.  So many hardworking TV and movie artists but especially Ray Harryhausen, Douglas Trumbull, Brian Johnson, Greg Jein, and John Dykstra’s whole ILM team from Star Wars. Then computer pioneer and later friends Ron Thornton, Adam Mojo Leibowitz, Mark Kochinski, Glenn Campbell and SO many other great coworkers who always inspired me with how much better they were and gracious to all me to learn from.  Too many great folks to list here.  I continue to be humbled and learn from them all even now.

P: Most movie audiences only see the end product and not what it used to look like; what are some common VFX responsibilities that most viewers wouldn’t even think about that need to be done?
J: Pre-visualization, shot choreography and design, database set-up and organization and shot progress/delivery tracking, plate downloads, preview and final uploads, thumbnail captures, timeline scrubbing, bidding, prep, tracking, roto, invisible/clean up effects, deciding on elements, prepping things like frame rates, outputs and color space in compositing, plug-in management, constantly learning new software updates and plug-ins, working with clients, zoom calls, invoices, taxes, our own IT work, storage and disk space management, keeping up on hardware and software… and much more like having a family life!


P: Do you have any wisdom for aspiring visual effects artists?
J: Learn your craft.  Love your chosen field.  Follow your passion with all your heart.  Appreciate what time and resources you have to do the best you can for any given project then forgive yourself enough so as to learn what to do better next time.  Build friendships.  Be reliable.  Under-promise, over deliver, be fair and be pleasant enough that people WANT to work with you again.  Have fun!  Otherwise why are we in this at all?

P: How/where/when can people support On Fire?
J: On Fire is in theatres nationwide! We’re proud to have helped the fantastic teams of artists and actors who gave their art, talents and passion honoring first responders and acknowledging the toll of real world tragedy with this heartfelt emotional family story. 

Download Crate’s Text Message Generator for FREE

Sign in for FREE Download 
Windows & Mac

Register for a Free or Pro Account Here.
Digital text messages have rapidly become a fundamental part of our entertainment, featuring in popular shows like Sherlock and Spider-Man: Homecoming. Characters effectively convey crucial information to audiences through text messages. However, this process often proves tedious for motion graphics artists.

That’s why we’re excited to introduce our FREE After Effects extension, Crate’s Text Messages. This tool simplifies the creation of animated text message graphics in After Effects. To begin, log in to your ProductionCrate account and download the installer for Mac or Windows from the product page.

Once installed, customize both incoming and outgoing messages, including specifying sender details, starting times, and selecting from preset app styles or crafting your own. If you encounter issues or wish to start anew, simply utilize the reset button.

Once you click “generate,” the exchange transforms into multiple After Effects compositions. These compositions provide you with extensive controls for further customization.

Crate’s Text Message Generator

If you have not disabled your expression error settings, you may see a warning banner the first time you run the extension. You can uncheck this option in After Effects Preferences -> Scripting & Expressions.

Should you encounter any issues when using this script, contact us at support@productioncrate.com

ProductionCrate Monthly Update: July 2023

NEW CONTENT:
4K Splash VFX
4K Meteor VFX
Suspense Music Idents
Royalty Free Lo-Fi Music Tracks
3D Military Truck Model
FREE Cyberpunk Hand 3D Model
Skeleton Warrior Pack (Unreal Engine)
Worker Robot (Blender)

VIDEOS:
Unreal Engine Cinematics Tutorial
Robotic Arm 3D Tutorial
Green Screen Compositing in After Effects Tutorial
Beginner 3D Tracking in After Effects Tutorial

VFX CONTEST:
Theme: Found Footage Superpowers
Prize: Portkeys PT5 II

Download Free Light Wrap Plugin for After Effects

Download a free Light Wrap plugin for Adobe After Effects here

ProductionCrate has released a free light wrap plugin for Adobe After Effects! It is available to download now. Crate’s Light Wrap fixes one of the biggest obstacles any VFX artist faces, how to cleanly and easily composite in After Effects. We made it specifically for use alongside the VFX Assets available at FootageCrate, but it works perfectly for any compositor’s needs.

What is a light wrap?

Light-wraps are an effective and underutilized technique that improves the realism of a compositor VFX. These simulate the apparent diffusion of extremely bright lights around a foreground, helping to integrate the composited layer into the background. This visually blends the two different layers, creating a cohesive unified final image.

When should I use a light wrap?

Light wraps are commonly used against bright backgrounds, skies, fire video effects and any other intense sources of illumination. This can be added with the motivation of improving the realism of a scene, as a bright source of light (such as an explosion) will carry excessive luminant energy that leaks into adjacent pixels. This means that when a particular area of an explosion is being obscured by a foreground, its colors may still influence the pixel’s final output due to bloom, illumination and fog scattering.

An artist may also want to add a light-wrap for stylistic purposes to visually exaggerate the intensity of a source of light. For example, a dragon breath can be given a stronger light wrap to communicate its deadly heat; or the opening doorway of a UFO blinding the onlookers to reinforce their mysterious nature. Digitally, a pixel can only reach a maximum luminance of 1 (white), so to create a sense of limitless intensity, the implied brightness is reinforced by a light-wrap.

How to create a light wrap in After Effects

Crate’s Light Wrap generates light-wraps at blazing fast speeds. While most light-wrap After Effects tutorial videos require a dozen individual steps to complete, Crate’s Light Wrap generates these optical effects instantly.

Begin by installing the plugin to your Windows or Mac plugin directory:
Windows:      Extract plugin to C:\Program Files\Adobe\Common\Plug-ins\7.0\MediaCore
Mac:                Extract plugin to Applications/Adobe After Effects/Plug-in

Open Adobe After Effects, and in your composition, identify your background (the source of light) and the foreground (what the light-wrap will interact with).

The plugin then requires you to pre-compose these two layers, so that they can be correctly aligned. Once that’s done, apply Crate’s Light Wrap to your foreground layer.

  • Background Layer – Use this to select the source of your light wrap.
  • Background blur – Blur the background before the light-wrap is generated to help smooth out colors.
  • Free After Effects Light Wrap Plugin Comparison Background Blur
  • Wrap Width – How far into the foreground the light-wrap extends
  • Free After Effects Light Wrap Plugin Comparison Wrap Width
  • Exposure – Controls how bright the light-wrap is
  • Blend mode – Choose between several different ways for the light-wrap to transfer onto the image
  • Tint/Color – Increase the saturation of the light wrap
  • Free After Effects Light Wrap Plugin Comparison Tint
  • Luminance Bias – Use this to control how much influence the foreground’s luminance has on the intensity of the light wrap
  • Free After Effects Light Wrap Plugin Comparison Luma Bias
  • Bias Exposure – Adjust the luminance bias matte’s brightness
  • Bias Gamma – Adjust the luminance bias matte’s contrast
  • Auto Detect Gamma – Allow the plugin to guess the best color management settings for your project
  • View – Change how the light-wrap is output to the layer.
  • Premult background – Before the light wrap is processed, premultiply the background so that anything directly behind the foreground does not contribute to the glow.
  • Free After Effects Light Wrap Plugin Comparison Premult

The great way to build a free light wrap in After Effects is to duplicate the foreground layer and apply the light wrap with the “View” set to “Wrap Solo”. By setting the blending mode to “Add” or “Screen”, you will have a separate light wrap layer that is available for even more artistic control. For example, you can add a Curves layer to enhance a specific color, or control exactly where the light wrap is applied with a feathered mask.

Light-wraps in After Effects work best when working in a 32-bit project with an sRGB linear workspace. This provides the most accurate color behaviours, which is especially important in the context of light-wraps. By utilizing a linear workflow, bright highlights in your backgrounds (whether from a sunset, or a bright energy blast) will create the correct intensities and falloffs in your foreground. We recommend using this for professional use.

This free light-wrap plugin in After Effects is ideal for compositing green screen footage. When shooting inside a green screen studio, the lighting conditions are unlikely to match the complex lighting arrangements of the intended background. Using a lightwrap helps to carry your foreground elements coloring closer to what is expected to be seen if the actor was really in the artificial scene.

Light-wraps can also work inversely, adding CG elements to real-world footage. Most 3D rendering software are unable to produce the phenomena that are responsible for a light-wrap, and so in the compositing stage, a light wrap is often required to seamlessly integrate the 3D model into the scene. This makes ProductionCrate’s free light-wrap plugin a powerful and attractive addition to users of Blender, Cinema4D and Houdini.

Crate’s Light Wrap Requirements

Software:
  • AE CS6 and newer
  • MacOS 11.3 or newer
  • Windows 7 or newer
Hardware:
  • GPU required (integrated GPU such as Intel Iris supported)
  • Apple Silicon native. Older mac’s (~2013) with Nvidia cards may not work

This plugin cannot be re-shared, distributed or provided anywhere else without our expressed permission. Contact Support@ProductionCrate.com for any questions. Articles, blogs and videos promoting this free plug-in are encouraged. You are free to use any of our media elements in your promotions, reviews or edits.

Interested in more free plugins? Check out our free Godrays plugin here.

Download Free Godrays Plugin for After Effects

Log in to your Sample or Pro ProductionCrate account then click here to download the free Godrays Plugin from ProductionCrate.

If you don’t have an Account, you can register here. Donations for the sample account are optional, you can sign up without any payment!

This plugin comes packed with features. Simply drag and drop the Crate’s Godrays plugin onto your footage to see it in action. Godrays is brought to your by ProductionCrate. You probably know us best for our free video effects. We’re now making VFX tools to bring you even more creative power!

  • Select your Threshold mode. We generally recommend leaving it on the default Luma mode, but you can also try Chroma for unique results.
  • Adjust the Threshold amount to select the visible range that the rays will emit from. Increase it to make sure the darker parts of your footage are not emitting any rays!
  • Threshold smoothness will make your light rays sharper or smoother.
  • Length controls the overall distance your light rays travel.
  • Exposure controls the overall brightness of your light rays.
  • Decay is a falloff control for your light rays, increase or decrease depending on the effect you want to achieve.
  • You can choose the direction of your light rays for various effects, like holograms or god-rays.
  • Pick from a variety of chromatic aberration settings to add unique colors to your light rays.
  • We have four different quality modes. While this plugin is extremely fast, you can speed it up by dropping it down to draft. If you need to increase the quality, try high or even extreme!
  • In the compositing settings you can change the blend mode from Screen to Add to make your light rays more powerful.
  • If you want to add additional effects to your light rays, we suggest changing the View setting from Final Composite to Rays Solo. You can then add a solid composite effect, change it to black and add any blurs, curves, levels or other effects. Make sure to change your Rays Solo layer to a Screen or Add blend mode!

create volumetric light rays with this free AE plugin


How to Install the Plugin

Unzip the file

Windows: Move Plugin to C:\Program Files\Adobe\Adobe After Effects\Support Files\Plug-ins
Mac: Move Plugin to Applications/Adobe After Effects/Plug-in


Spec Requirements

Software:

  • AE CS6 and newer
  • MacOS 11.3 or newer
  • Windows 7 or newer
Hardware:
  • GPU required (integrated GPU such as Intel Iris supported)
  • Apple Silicon native. Older mac’s (~2013) with Nvidia cards may not work

If you have any issues, email us directly Support@ProductionCrate.com

Download 200+ 4K Spark Stock Footage Assets for VFX

Download 4K Spark VFX assets here.

ProductionCrate has updated its VFX asset library, with over 250 spark effects now available to download and use in any personal or commercial project.

The addition of sparks in explosions, bullet impacts and crashing cars undeniably intensifies the visual spectacle of an action sequence.

Blazing trails of burning hot embers provide incredible contrast and detail, enriching a scene with its turbulent chaotic appearance. They are the icing on the cake of any pyrotechnic special effects and have become a go-to ingredient for many filmmakers to make their action-packed films memorable. Spark effects, when used well, can often elevate a scene to an iconic level, with Michael Bay taking the spotlight in; Transformers, 6 Underground and Pearl Harbor.

“The pyrotechnicians were having fun on this one!” Chris Kelly recalls, while reviewing the footage, “They kept saying things like ‘Oh, I didn’t expect that to happen’ or ‘let’s see what it looks like if we combine these two!’ clearly having a lot of fun. We got some great content out of it that would be nearly impossible to recreate.”

Bus speeding off a ramp with Spark VFX assets that are available to download

For visual effects artists, sparks offer an avenue for enhancing the realism of explosions and destruction simulations. Using these effectively tackles the challenge of digitally replicating the imperfect chaotic behaviour of explosions seen in the real world. While artists familiar with Houdini are capable of creating spark simulations, this task requires countless hours of R&D and rendering. Using live-action stock footage VFX elements allows editors to immediately apply authentic sparks to their video within minutes; making it an effective solution for projects facing a deadline.

By browsing ProductionCrate’s library of stock footage spark elements, you can instantly preview exactly what each file contains. With the vast selection available to download, you’ll identify the perfect spark effect that your project needs. Whether you need a brief bullet impact, or a star-wars style death star explosion, ProductionCrate aims to cover all creative requirements

These stock footage elements are meticulously prepared by carefully calibrating the recorded footage from the studio. This is done to meet the several requirements for creating professional VFX assets that are ready to be used in feature films, music videos and games. ProductionCrate ensures that all of its content is delivered with these consistent and reliable standards.

4K video resolution gives these video assets a greater range of flexibility. With this, you’re free to position any 4K spark asset around your composition whilst retaining incredible visual quality. The freedom to scale up, rotate and position the spark asset anywhere in the scene without introducing pixelation makes this worthy of even high-end projects exported at a high resolution. This 4K resolution is also crucial to match the realism of the original background footage, allowing artists to naturally integrate this into scenes effortlessly.

The spark VFX assets were recorded at 96FPS on 2 RED cameras. This high framerate captured all of the incredible behaviours seen in sparks, including crackling microbursts, rapid embers bouncing against surfaces, and the explosive initial blast during ignition. To achieve a greater sense of scale, these spark assets are being delivered at 30FPS. These pyrotechnic explosion effects now appear to be several metres high, making them suitable for large car explosions, missile impacts and exciting car chases. To convert these spark effects back to real-time speeds, set their framerate to 96FPS, or adjust the speed to 320%. Slowing down the sparks even further will make them appear even larger in size.

“Our top priority is for these to be composited in seconds, without any technical knowledge or refinement required”, David Blaker explains whilst demonstrating how effortless ProductionCrate has made the process. “It’s really important for us to know that any artist can use these without further instructions, no matter if they’re editing a gunfight or a space battle”.

A huge contributing factor to the quality of these assets comes from the clean-up process. The footage has been thoroughly processed to remove artefacts, background elements, inconsistencies, unfavourable behaviours and various other corrections; providing a clean and polished VFX asset that exclusively features the essential sparks. Further processing has been accomplished to perfectly eliminate any hard edges on the edge of the frame – no sparks will be immediately cut off as they fly out of the footage. This especially helps when the spark effect has been positioned far from the camera or scaled down until edges become visible. Wherever you position your effect, you will have confidence that it will just work with no hassle.

Some assets are designed to fill the entire screen as overlays, whose borders have not had feathering applied. This can easily be re-applied by adding a mask around the edges and feathering the edges to achieve a soft blend.

Complex chemical reactions and the black body spectrum cause real-world sparks to radiate a vast array of colors. It is fair for anyone to assume that sparks simply glow a hot firey yellow. But once observing the pyrotechnic explosions taking place up close, Chris decided it was important to preserve the unique oranges, reds, greens and yellows in the final assets. The imperfections in how sparks are illuminated offer unprecedented realism that is difficult to achieve digitally. However, it is possible to use the tint effect to easily adjust the color of your sparks to match a red sci-fi laser blast or a green magic spell.

During the production of these assets, several categories were produced, each featuring a diverse range of spark behaviours. ProductionCrate aims to meet the requirements of any scene imaginable, and so ambitiously build the largest variety of spark asset styles to date. These include:

Spark burst VFX

These spark explosions are perfect for impactful energetic events. Typically beginning with a sudden expansion of red hot embers, before rapidly decelerating from dragging through the air, the dynamic character of these spark VFX assets make them a favorite of the collection.

Careful adjustments were made to these spark burst stock footage elements to ensure that they worked as modular effects. The timing of all the bursts synced with the first frame, allowing mashups of several spark burst effects to be as easy as stacking the clips together.

Large aerial variations are available that have the iconic appearance of the classic death star explosion. These may also be used for various air-burst effects, such as helicopter explosions, asteroid collisions or electricity pylon destruction.

Ceiling spark VFX

Featuring falling sparks and embers, the ceiling sparks give artists flexibility in the placement of their pyrotechnics. Perhaps an incandescent light bulb is exploding due to a power surge, or chaos is unfolding on the engineering deck of the USS Enterprise. Use these spark video effects to add drama to your music video; saving the need to purchase expensive pyrotechnics and follow complicated safety requirements.

Various ground interactions have been included in several of these spark special effects. Sparks bouncing and breaking apart as they collide with these surfaces create a spectacular appearance that once again is very difficult to replicate in a digital simulation. The illumination cast onto the ground by the sparks has also been retained, helping artists seamlessly blend the falling sparks into their footage.

Bullet impact VFX

Quick and easy to composite, these bullet impact VFX stock footage elements are the go-to for building an action scene. These bullet impact effects feature sudden explosive bursts of sparks that rapidly dissipate in the air as they spread out, providing a visual punch that elevates the intensity of a shot.

These can be used for far more than just bullets; artists can creatively insert these into sword clashes, car crashes, robot fist-fights and laser impacts. With over 100+ bullet impact effects available on ProductionCrate, compositors will never run out of variety when using this in a climatic thriller setpiece.

Constant sparks effects

Perfect for factories filled with heavy industrial machinery, these constant spark effects feature a constant directional stream of sparks. Rapidly discharging from their source, the constant spark stock footage is perfect for creating train-derailment wreckage or intense rocket thruster flames. Multiple durations of these are available to download, ranging from one to ten seconds.

Wild sparks effects

Miscellaneous setups were recorded, often purely experimentally to see what interesting things would happen. One pyrotechnic had the idea to hang a spark gerb on the end of a loose rope. The thrust created caused the spark emitter to fly around wildly, creating a chaotic and exciting effect that Chris decided to keep. Another shot saw a firecracker let loose, detonating several times around the ground. Various setups such as these were processed and included in this spark VFX bundle to offer fun options that can not be found elsewhere, and ProductionCrate is eager to see how these are used in projects.

Charges

These speciality spark effects feature a rapid discharge of an explosive fuse. Useful in planned demolitions, heists and SWAT ambushes, these charges often follow the geometry of interior surfaces, such as floors and doors.

How to add spark VFX to your video

ProductionCrate promises to provide assets that are compatible with the most diverse range of video editing software. Multi-layer compositing software is recommended for the best experience, such as Adobe After Effects, Adobe Premiere Pro, Hitfilm, Nuke and Davinci Resolve. These VFX editing programs allow anybody to perform a vast range of creative adjustments to meet your artistic vision.

For this tutorial, we will be using Adobe After Effects, although the principles can be replicated in any editing software. Begin by adding the background image or video to the composition, with this particular background being sourced from Pexels.

Empty Train Station in After Effects

Once you’ve browsed ProductionCrate’s collection of 4K spark VFX assets and found your perfect pyrotechnic, download the effect and import it to your project. From here, you will be able to insert the effect onto your footage simply by layering it over your background.

If you have downloaded a pre-keyed version of a spark effect, you’ll immediately see the results. You may experiment with different blending modes, such as Add, Lighten and Screen, each affecting the behaviours of colors differently. David used Lighten, allowing the darker red tones in the sparks to remain visible against the bright background.

How to add 4K Spark VFX to your video in After Effects

Depending on the geometry of your scene, you may need to mask out any objects that should be obscuring the sparks. In David’s case, the platform of the train station confines the spark explosion to a smaller size, and so with two subtraction masks, we can account for this.

How to add 4K Spark VFX to your video in After Effects

At this stage, you may already be happy with the quality of your spark VFX! The process of adding Hollywood-grade spark VFX only takes a few seconds with the power of pre-keyed stock footage elements. You’re now free to combine the sparks with even more elements, such as smaller bursts, falling embers and explosions. Additionally, you can color correct your sparks to match the tone and temperature of the scene.

If you’re working on a commercial or professional film, you may want to elevate the quality of your work with an additional reflection layer. If you’re unsure whether this is worth it, check out the comparison down below. Reflections offer an additional layer of scene interaction that visually integrates your spark stock footage into the environment. While most composited VFX requires a shadow, illumination effects such as sparks require the opposite, as their light is expected to illuminate surfaces in close proximity.

Begin by duplicating the effect, and flipping it vertically. Already you’ll see that we’ve taken the first step in creating a fake reflection.

How to add 4K Spark VFX to your video in After Effects

Clearly, this does not look correct – in the real world, we expect reflections to be darker on rougher surfaces. We will need an additional layer to inform the reflection layer on how bright it should be, otherwise known as a Matte. Copy the background footage, and name it something appropriate. You may precompose any layers if you need to perform additional masking or positioning.

How to add 4K Spark VFX to your video in After Effects

In your spark reflection layer, add an exposure effect. This helps you adjust the strength of the reflection. A color filter effect will allow you to intensify the coloring of the reflection, as the washed-out white colors in a spark effect may in reality be really bright orange. The final ingredient is the Set Matte effect. When using the background matte layer’s luminance values, we’re approximating the brightness of the reflection based on the brightness of the background. A great example of this in action is on the metallic rail tracks – its bright appearance in the photo indicates that it is a reflective surface, and so we want this to greater influence the opacity of the spark reflection.

How to add 4K Spark VFX to your video in After Effects

Depending on the roughness of your ground, it can be useful to blur the reflection sparks before these effects are applied. This helps evenly distribute the intensity of the light, simulating the  the bumps, crevices and dented surfaces that break up the reflected light.

How to add 4K Spark VFX to your video in After Effects

Those are the main principles that create an incredible spark explosion effect. You can improve this effect even further with the addition of glow effects, smoke, lingering flames and debris. You can find these additional effects and thousands more in ProductionCrate’s library of 10,000+ assets.

ProductionCrate is excited to see what content artists around the world are able to create with this new collection.

Download ProductionCrate’s media kit for the Spark VFX collection here.

Dr. Strange VFX Tutorial in After Effects

Watch this tutorial and learn how you can become Doctor Strange with VFX!

We have some downloadable content to help you on your VFX journey. Check out these links

Magic Circle VFX

Magic Circle Vector

AE Shield Template

Magic Cloak VFX

Magic Cloak 3D Model

 

Create Fog for CGI Renders in After Effects!

Fog and atmosphere always look awesome, but rendering them is still a pain. Noise, trouble with lights and lack of control (and of course slow rendering speeds) make us dread rendering fog scenes. Our approach is to add fog in post-production as often as possible using a depth pass.

This trick is cheap and easy! You can customize and make any adjustments without being stuck with rendered fog. Check out our tutorial here

Want to create this scene yourself? Find our Assets below!

3D Rigged Werewolf

3D Trees

Forest Ground Material

Werewolf Howl Sound Effects

 

Download Crate’s Face Relighter for After Effects

Download Crate’s Face Relighter for Pro users here Windows Compatible Only

When compositing VFX into live-action footage, one thing is absolutely essential to get right – lighting.

This is the most powerful and crucial aspect of blending visual effects into video. When done correctly, replicating the real-world behaviour of light helps convince your viewers that what they’re seeing is real. Because light bounces, scatters and casts shadows in a specific predictable manner, it’s very easy for anyone to identify lighting that doesn’t follow the properties of reality. This is especially the case on human faces, which almost always becomes the focal point of any shot. That is why it’s so important to get it right.

Crate’s Face Relighter aims to revolutionize the face-relighting workflow. We’re offering a powerful AI-assisted After Effects tool that provides a creative new way to illuminate your actor’s faces. This can assist VFX artists to create better muzzle flashes, magic, fire, explosions, holograms, lightsabers and more.

How to relight faces in After Effects

Element3D, a powerful 3D rendering plugin for After Effects, is required for this to work. By leveraging Element3D’s extensive range of creative controls, such as materials, fully-adjustable lighting and pixel-perfect camera integration, we’re able to offer a user experience that you’re already familiar with. You can purchase and install Element3D from VideoCopilot here.

Let’s take a look at some of the ways you can use Crate’s Face Relighter in After Effects.

Lightsaber VFX

The much-loved iconic plasma blades have always presented the challenge of casting illumination on the hero or villain’s face. Without LED lights lining the length of the laser using an expensive prop, it is notoriously difficult to fake the bright light shining on an actor; a task typically requiring many hours of tedious keyframes and masking.

By using Crate’s Face Relighter, we’re able to represent the laser with a simple After Effects light. You can adjust the properties so that it matches the brightness and color of your desired effect perfectly. From there, our tool will handle the complex illumination of your actor’s face, automatically tracking both the position, orientation and facial structure with near-perfection.

Lightsaber Lighting in After Effects

Magic VFX

Magic VFX are some of the most visually spectacular effects that can be produced. Not only is it fun, but it’s as easy as adding our magic stock footage from FootageCrate over your background using a screen blending mode. Combining particles, flames, smoke and plasma can let you produce any imaginable sequence of magic powers: telekinesis, portals, superpowers, teleportation and spells. Once you’re happy with the special effects, you’ll usually need to perform some final compositing corrections, one of these being simulating realistic lighting in your environment.

A great example is if your wizard is summoning a ball of fire. We want this to be an emissive effect, and so it’s imperative that we help improve our compositing by creating fake lighting in the footage. This After Effects extension provides an effortless solution; delivering a responsive and realistic facial light that interacts with the shape of the actor’s face. You can combine lights and color them differently to produce multi-angled illumination for more complex scenes – we aim to avoid any restrictions on your creativity in any way.

Green Magic VFX in After Effects

Fire VFX

As the VFX industry has grown, using digitally composited fire has become the mainstream choice for most producers in their video projects. Not only is it safer to keep actors away from pyrotechnics, but it is also less expensive and provides the VFX artist with the ability to control the look and behaviour of their fire in post-production. These are highly important benefits to filmmakers, and so you’ll need to be prepared and know how best to create convincing fire. We recommend taking a look at our extensive collection of professional fire stock footage to help you achieve any scene, ranging from small embers to raging infernos.

Ensuring that your digital flames illuminate your footage environment helps elevate your VFX closer to reality. Being able to utilize Crate’s Face Relighter means that the complex shadows from the nose, eyes and lips are correctly produced on an actors face. You can even use After Effects expressions, such as “wiggle(5,30)”, to cause your After Effects lights to flicker, delivering a dynamic lighting setup that can’t be replicated with standard LED lights.

Fire Relighting in After Effects

Muzzle Flashes

Muzzle flashes are some of the first steps any VFX artist takes when compositing with live-action footage; and are deceptively difficult to do correctly. While quick muzzle flashes can often be achieved by simply layering some muzzle flash assets in the correct position, a realistic effect fit for a film would typically require the additional effort of illuminating the face of who is firing the gun. By using this tool, you’ll be able to do this quickly – simply animating the opacity of the illumination layer from 0% to 100% every time the muzzle flash is visible. This provides an effective way to speed up your workflow, especially when considering that some muzzle flashes may require hundreds of frames to be relit. You’ll be emphasising the impact and power of the muzzle flash with the light that it emits.

How to relight a face in After Effects for VFX?

To get started, you must have Element3D installed into After Effects, as well as a Pro ProductionCrate membership. Please be aware that this tool is highly experimental, and we cannot guarantee that it will work on your system. We are in no way affiliated with Element3D, and will not be able to provide support for Video Copilot’s product, our face-relighting tool simply uses it for the rendering process.

Once you’ve run our installer, simply open the tool by navigating to Window -> Extensions -> Crate’s Face Relight. We’ve done as much as we can to simplify the workflow using this After Effects extension, and so you’ll only need to perform a few steps!

How to relight a face in After Effects

Input Video – First, select your input video. You’ll require an MP4, MOV or ProRes4444 file.

Output Folder – The tool works by converting an input video file into a 3D OBJ sequence. This contains a 3D mesh of the actor’s face, including their position, orientation and posture, each stored in an individual file for each frame. As you can expect hundreds of files depending on the length of your project, we recommend you create an empty folder to deposit the sequence of files.

Launch App – Once you’re ready, hit “Launch app”. The tool will begin processing your footage frame-by-frame. A black console window may appear, but that’s expected due to how the tool works. You can even look at the files being generated in real-time by visiting your Output folder! If the conversion process gets stuck, it’s likely that no face was detected in a particular frame, in which case you simply click “Force Quit” on the interface.

Element3D – In most cases, this should remain checked. This will simply optimize the output mesh in a way that best works with Element3D.

Cinema4D – Checking this will enable a unique mesh generation mode that keeps each vertex-index consistent on the face. This means that in 3D packages such as Cinema4D, 3ds Max and Blender, it’s easier to attach objects to vertices in the face mesh. To retain the index consistency, the polygons are un-welded. To optimize in C4D simply merge your OBJ sequence, set proper frame-rate, select OBJ mesh and enter Polygon Mode, and with all your polygons selected right click and select Optimize. Download the C4D Template here to have your camera pre-calibrated.

Setup Scene – Once the files have been generated, clicking “Setup Scene” will produce a new composition with several layers included, kickstarting your relighting adjustments.

How to relight footage in After Effects

Before we relight the face, we must first open Element3D. Select layer 7 of your composition, and hit “Scene Setup”.

Once the Element3D interface has opened, hit File -> Import -> 3D Sequence.

How to relight a face in After Effects

A file dialogue will open, navigate to your chosen Output folder, and select the first frame of your sequence (for example, “0000.obj”).

An import preferences panel will appear. Here, you must change “Force Alignment” to “From Model”. This helps the face mesh align itself with the footage. You’re now safe to hit “Ok” and close the Element3D scene editor.

How to relight a face in After Effects

You should now be seeing results!

Relight Faces in After Effects

If your face mesh doesn’t line up quite perfectly, we recommend adjusting the “Zoom” parameter in the composition camera.

Camera Adjustment in After Effects

We know that artists don’t like being restricted, which is why we’ve ensured that the default preset is as open to interpretation as possible. By clicking the Shy switch above the timeline, you’ll be displayed additional layers which can be adjusted to fine-tune the blending of the light with the face. This includes the luma matte (which sharpens the details of the light), and the feathering system (which gradually blurs the edges of the face illumination layer). Feel free to adjust these however you feel works best for your project!

We’re looking forward to seeing you make use of this face relighting tool in your After Effects VFX project! If you’re interested in our other plugins, scripts and extensions, check them out here.

How to adjust the lighting of your actors with VFX

Texture Flow – Free AE Script

Sign in to your account and download our free TextureFlow Script here!

Projection mapping to flat, non animated objects is pretty easy. It’s even easier if you use our Projection Mapping Script (also free!) But what do you do if you want to map on to an animated surface? This is something we’ve struggled with in the past. For compositing pre-rendered VFX assets, the ability to do this would be extremely powerful.

Luckily, we have some pretty smart people working here at ProductionCrate. David came up with this clever technique using the Content Aware Fill tool in AE.

To simplify things even further, Nate built us a script! This script will save you time while approaching this technique. I suggest watching David’s video above to have more control over the script’s results. The entire process will take you less than a minute to set up.

Here is how you can use our Free Texture Flow Script