CHEAP TRICKS | What's Kraken? - Fractured Ice Surface Tutorial (C4D/AE)

hello friends its Hoshi your action movie dad here with a fun little tutorial for you all anytime red giant creates a new product it means we need new effects shots to show them off this can result in some pretty wild beautiful and insane stuff I took this opportunity to try to teach myself something new and came up with this I sure a little bit of my process on this shot on Twitter and promised I'd make him do a tutorial so here we are let's break the ice here's my original piece of footage and ultimately I'd like to make it look like a monster is chasing this skater now the footage has got some pretty severe lens distortion and I hate lens distortion so much that I've always just avoided it or ignored it and dealt with it with bad comps because I'm lazy but this is why I'm thrilled that the latest edition of VFX suite includes a new tool called lens distortion it's the simplest way I've ever been able to undistorted an re distort my work to match the original here's how it works alright you start with your clip and I'll apply the FX lens distortion now in this case I'll select a fisheye Distortion then all I have to do is use this pen tool here to trace a longest shape that should be straight and that's all the input it needs for me I'll tell it to solve for the distortion and optical center and then click on create Distortion pre-comp now it won't look like anything's happened but it did down here you've got your original footage and above that is an undistorted work comp double-clicking into it you can see we have the footage undistorted the lines and the horizon all feel much more square which also means that camera tracking and comping will be much more doable the best part is this footage is set as a guide layer here and that's important because it means if we tab back or follow back the flowchart to the original cop you'll see that this pre comp is rida starting itself on top of the original source making this workflow non-destructive to your original plate back in our understory and we get a great track so somewhere in the middle of the clip here I'll set this as the ground plane and origin I'll also create a solid and camera here too now because the eye surface is so flat I don't feel I need any other 3d locators in this case so I'm going to go ahead and normalize my 3d scene using just this ground plane solid now folks as you know I'm always squawking about normalizing 3d track data it's truly helpful saves compositing time and I've covered it in a lot of these episodes you can now watch our short standalone video of how to do this process yourself and what's even cooler is that we were talking to our friend Joe at workbench TV and he made us a free script that makes this task even easier how easy is that script well once you've tracked your scene and made some guide solids you just use the Z gizmo to align your ground directionally with the worldspace rename it ground then select your guide solids and click on the normalized button whatever size your comp is the origin is now set right in the middle and aligned with your world and the script is also automatically rescaled your world so any particle effects stock footage or anything that you bring into the scene will be a reasonable size right to begin with be sure to check out that standalone video if you ever want more information on normalizing a 3d scene and a more in-depth walk through that script we're including the link for the script below here and also in the standalone video and from now on I'm just gonna say 3d track your scene and normalize it and we're just gonna understand each other ok to make some ice breaking apart we're gonna use cinema 4d to create our simulation now I've used cinema 4d for over a decade but not really like I get it it's an actual 3d software and I understand 3d but I'm more of a 3d hobbyist so I understand it enough to eventually what I need I often use cinema as a gateway to get things into after-effects where I render them with element which I'm even gonna do today now I confess all this because I'm humbled by the very talented people I've seen use this program in brilliant ways everything I'm doing today I learned in an afternoon by talking to people reaching out or looking up little tutorials on bits of this process so I'm passing along my combined solution now just like in After Effects there are dozens of ways you could do what I'm about to do in cinema 4d this is just what I figured out for this particular video now in cinema let's create a plane and then go to its properties and turn it to be just one width and one height segment let's scale it up next we'll click on the make editable button here and turn it into a polygon you can also select that option in the object manager over here or simply press C I'll create a new default material just to add myself in the next segment I'll make it bluish and then on the texture I'll say checkerboard and set that mix strength to 15% or so I can apply that to my plane and now as I work I'll be confident that that top surface preserves this UV texture throughout now I don't want this whole surface to completely break apart when the monster pokes his head through so I'm gonna define a little area that can break apart I'll middle click out of here and then back into a top view I'll grab the spline pen tool and draw a jagged little shape that represents the maximum amount of ice that I would want this Kraken to break away when I've completed this loop I can switch back to my default camera and then select my plane again and then click on polygon mode then under mesh I'll select the line cut tool and if I hold down ctrl or command on a Mac I can hover over this spline until it's highlighted and then clicking on it project it down onto my plane I'll tap e to switch back to the transform tool right-click on that selection and say split which makes a copy of this polygon with a point one over here in the object manager now this is just a copy of that shape so I'm gonna go back to my original mesh still in polygon mode select that middle polygon and press Delete now you can see we've got the outside and the inside as different shapes with both of my objects selected in polygon mode I can select both of these inner and outer polygons and then right click and say extrude which brings up this tool for me I'll check create caps and then just hover over one of these surfaces and drag it downward just a little bit adding some slight thickness to the ice now you can see this segment fits perfectly into this one now originally I figured out this part through a series of complicated rules and selections and stuff like that and honestly there are a lot of different ways you could do this however this simple cookie cutter method comes courtesy of the nose man as in the nose man nose also known as Athanasius presences or the Nasus for short check out his other cinema4d videos and three tools that he creates and nose men thank you so much for the super fast response there's a really robust Maxon community out there that's just a Google search or Twitter question away not to mention sin aversive decom so you're never alone and just for tidiness let's rename this middle part the piece now let's shatter this ice and we'll do it in the most simple way possible the Voronoi fracture named of course after gr gave our own eye you can currently find the Voronoi fracture here as the fifth item in the mograph menu which is easy for me to remember because yogi is my fifth favorite Russian mathematician now if I drag my piece into this fracture object it does this cool colorful visualization of this plane being shattered into bits under the properties you can see that the source for this fracture is a point generator highlighting it will reveal the point amount now right now this isn't enough shards so I'm gonna turn up that point count now these sheeps are obviously very geometric and boring and if you go to the detailing tab on your fracture you can do some things like add noise to the surface so you get fewer straight lines etc but this will blow your time and your ultimate file size right now I'm in a skip detailing and just get to the fun stuff every object in cinema 4d has tags like these materials Fong's UV tags and there are also tags that allow them to participate in physical simulations and they're called simulation tags the ones we're interested in today are called rigid bodies and collider bodies now rigid bodies obviously applies to things that are supposed to be rigid that will bounce around your scene and we're gonna apply that tag to our Verona fracture then we've got Collider bodies now these are things that rigid bodies can collide into but are otherwise unmovable we'll apply that to this surrounding ice plane so now if we hit play we can see those rigid pieces fall into infinity but for at least 90 frames it kind of reminds me of this scene let's go ahead and add some more frames to this simulation let's see our original is about nine seconds long 9 times 24 and just say 250 frames to Pat it now I don't want these pieces falling down immediately so I'm actually gonna highlight the Voronoi is extend down under dynamic properties I'll change the trigger setting to on collision now if I play nothing should happen we need a third object to break up the ice like it's a monster now originally I didn't know what kind of monster I was gonna have chasing him like a whale maybe or a Plesiosaurus or something like that maybe something with tentacles I didn't know so I used a placeholder object I created a sphere converted it to polygons and then in point mode I just selected and stretched out a few random spikes until you know one of these kind of shapes just for some organic variants I dragged it down under my ice plane and then starting at frame 0 I clicked to record the keys for this object and then turned on Auto keying to allow me to add some simple translation keys across the length of this project and then on the last frame I also added some forward rotation so my final result is kind of something like this it Bob's up spins its way forward and then finally sinks again I'll turn off auto king now and here comes the fun part let's go up to our sphere and add the collider body tag to it and now let's play again and check it out we've got pieces falling away when they're broken all right now let's help these pieces to not shatter away quite so easily by using the mograph weight paint brush with a verona object selected this is basically a brush that allows me to paint a weight map on all these pieces I'll adjust the scale and strength of the brush and then paint all around these outer edges then in the grow noise settings I'll go to connector create fixed connector and then I'll drag the newly created weight brush tag down to where it says braking weight now when I play through you can see that the edges are trying to cling together the most strongly where we painted and you can refine and adjust the braking weight settings and the weight map all you like until you get the physics and stickiness or friction you want of your object crumbling now this ice is looking a little bit too thick for me so I'm gonna take a quick moment to squish everything down just a bit there we go I don't know if I can explain to you how satisfying it is to me to watch simulations come to life now watch these pieces break and fall and react to this collider spiky ball it's just a lot of fun and now let's take a look at the textures it would be nice to have a different texture on the top surface of the ice and these side bits here on the Voronoi fracture in the object settings I'll go ahead and uncheck the colorize fragments box so I can see the clear surface as intended now we're gonna do a little bit of material tag sorting if I click on my Voronoi object you'll see a category called selections I'm gonna check the outside faces and inside faces and you'll see that up here to polygon selection tags have appeared I'm going to drag the material from the piece right up here so it's attached to the Verona object instead but I'll leave the Fong and UV tags behind now if the material tag is highlighted you can see this selection property here I can drag the polygon selection tag of the outside faces right down into this box and you'll see that it's gone back to having that checkerboard texture on top next I'll create a material for my inner shape just a white placeholder I can apply this material to my Voronoi also and then under its material tag setting I'll drag the inside faces tag down into the selection box and now I've got just what I wanted besides our differently colored back on my surrounding plane I can also paint just this inner edge with this white color by selecting my object and then going to polygon mode and using the ring selection tool I hover my mouse in just the right place and I can click on this nice ring of polygons then I can drag the white material up to just that and now let's watch it again the simulation is pretty cool with pieces breaking and falling away but my desired result is a watery surface that's kind of below the ice and I have a super simple solution for that I'll create another plane this time I'll give it about a hundred width and height segments I'll scale it to cover the hole and then place it just below the ice surface and then I'll add a displacer object drag it under my plane here and then under its properties I'll open up the shader selector and say noise now by default this plane comes in nice and wobbly based on this noise pattern and the resolution on this noisy surface isn't that important to me so if I click on noise right here I can go into the noise shader editor rec and turn up its global scale which will sort of change that plane into wider gentler slopes of water I can also set the animation speed to maybe two and when I have the displacer object selected I can adjust the overall height of these noise waves and now it's time to add a Collider body tag to my plane then in the tags properties under collision I'll change the shape to automatic mode I nameks this will maintain the detailed noise of that displacement and now when we play back you can see that wherever the sheets of ice or landing they're kind of bobbing like they're in water now for a last little bit of fun I'm also going to add some keyframes to my plane on frame zero I'll click the keyframe button and then on the last frame I'll translate the plane kind of over a bit rotated a little bit and then click to record a second keyframe and now when I play back the friction and movement of this plane gives the impression of an ice floe on water now I'll add one more custom shader into the mix here just something dark blue that I can apply to that water plane now as I'm sure I've said before for all physical and particle simulations you always want to play around with them until you're happy with you know the beautiful mess you've created naturally the more shards you've created and the more detailed your water surfaces the longer your computer will have to crunch through everything so I always recommend starting with low numbers and then increasing them until they're as small as you can get away with because we're scrappy you know we're not all running unreal engines around so yeah save yourself the headache and try to work as efficiently as possible as all I'm saying now at this point I want to start getting this thing into element in After Effects and the simplest way is a handy extension called the file sequence exporter available here it's a super simple extension that you can just run and export a cinema 4d or obj sequence both of which can load as animated into element pretty straightforward and my go-to method for getting stuff into After Effects another option that's almost as good is making the simulation into transform keyframes with in cinema 4d which element can load as well now one advantage is that if you decide to stretch the timing of the animation in element your object will move smoothly now instead of into stepped static frames but this only works for rigid objects element cannot read point level animation meaning that that water surface will only import as static so if you're just concerned with rigid bodies and want that speed control here's how you do prep the cinema 4d file first save a backup or incremental save first then right-click on the Varona object and say make editable this turns each piece into its own geometry now you can click on the simulation tag up here on the Verona group go on over to cache and click on bake all it'll take just a second but this locks the simulation to its one random seed and caches all of that so now you can scrub back and forth across one locked animation but this is still only half baked we need to turn the motion into keyframes by switching to the animation layout selecting the Voronoi group and then on the timeline go to function baked objects now you can uncheck create copy if you've already saved a backup and just make sure the position and rotation are checked wait another little moment and now you can see that if you switch to object mode you could highlight any piece and it has its animation path like this piece has a path and this has a bat they all they all have paths the simulation is baked if you save the cinema 4d file it'll load into element and you'll have some control over these ice objects at least but like I'd mentioned earlier I really want my water as well so I'm going to be utilizing the file sequence exporter to create a cinema 4d file sequence now this is pretty awesome for just 15 minutes in cinema 4d and if you practice breaking stuff apart like this you can probably do it in half the time in speaking of time it's finally time to go back to After Effects we're going we don't leave notes all right here's where we left off a very simple comp that's been motion tracked and normalized also a reminder that I'm working in this undistorted comp which will ultimately be reduced or 'td into this fish ID drone shot let's add a solid ad element and then import our 3d sequence I'll make sure that it comes in as a sequence you can tell because there are frame numbers here and you can also kind of preview it here by dragging this start frame around now let's set it back to 1 and press ok you can see that since we normalized our scene this ground plane is automatically aligned with our comp ground plane I'll make the layer semi-transparent now in element I can go create a group know which will assist me in placing and scaling this 3d animation alright let's preview this and see what we got now remember we kind of improvised the timing based on the total running time so some adjusting will probably be necessary and cool this broadly works I think it could be a little bit larger and I think we want to place a little bit more like it's chasing him so let's move this around I'll rename the group no ice surface with a cute little ie I guess and since our scene is normalized I can confidently translate this layer in Z by just dragging the position here if it weren't normalized I'd be misaligning this ground plane by dragging the z value so you know consequence number one of not listening to my advice all right let's try that uh-huh so close but you dead dude all right huh let's see let's try this ooh [Music] close call but live to see another day now there's this one chunk that kind of flies forward and kind of conflicts with his skate path so I'll adjust this end position a little bit and there we go a perfect narrow escape now it's time to texture this thing up and I'd obviously like the top surface of this ice ground plane to match the ice from the footage now I did spend some time doing some trial and error with a photogrammetric approach but I'll admit that it was just easier to extract a texture and Photoshop it so here's how I find a nice frame where I can see a pretty big portion of the ice I'm going to apply a real smart motion blur on the footage layer itself and then set the value to a negative one to try to reduce the motion blur from these front corners then I'll add an adjustment layer and apply CC power pin I'll disable the effect and then use these pins to determine a nice swatch of ice just kind of by eye I'll kind of avoid the skater and then I can check the unstretched box in power pin and then turn the effect on now we've got a nice big sampled area that we can use to build our ice surface but it's not really a tileable texture yet so I'll export is still image so I can do that oldest time Photoshop trick of using the filter other offset and here I can set horizontal and vertical offset which means that the edges are now cleanly wrapped around but the middle is where the visible seam is now using the clone stamp tool to gently erase this seam tired selecting a wide feathered area that covers up the seam and then making content-aware fill take care of it wired speaking of which is the tired wired phraseology thing tired for I'm almost 40 forgive me but I will save that as the tileable ice texture and then we'll head back to there's no time back to after-effects delete that adjustment layer and then open up element again where we can load in our ice texture and as you can see it looks great now since I only have this one image I can still actually copy it here and then try to use it as its own reflection and glossiness map by inverting it adjusting the levels a little bit and that'll give me just a little bit more realism in the texture I'll also go to the reflect mode of the object and set it to be a mirror surface that also renders itself and then I'll choose an environment map that feels you know bright on top like the original footage but kind of D saturated also looking at this this ice texture is gonna be way too large once I get it out of here so in the UV settings for this object let's set the UV repeat to like three and then we'll give that a look see all right still too big let's jump back into element adjust the UV again to at safe four and then you know on this water surface I'm gonna apply one of these pro shader presets probably the blue-ice and then I'll kind of mess with the dials a bit just to get you know something that looks a little bit like a plausible water color in the scene then we'll jump back out and in the render settings for element I'm going to enable fog I'll sample the sky color and then dial it up just a bit so I can kind of match that mild bit of mistiness back here and now if I play through I've got a pretty cool thing going here I'll apply some real smart motion blur to the element layer which I'll turn kind of on and off throughout this process as needed now if you don't have real smart motion blur you could also probably pre-render and use your element layer with CC force motion blur and I'll actually be pre-rendering my eyes for some time savings later right now this cracking plain of ice shouldn't actually take up this whole screen but right now it does and in practice it's always better to leave anything practical that you can and in this case I'm gonna do a very sloppy but effective way to matte this element layer and help sell the illusion I'll create a comp size solid that I'll call element mask then from a top-down view I'll place this just in front of the cracking ice and then I'll key it to move just ahead of the breakage and always still in front of the camera all right I'll rotate this baby a bit toward the scene camera and then you can see as I scrub through we get this kind of nice traveling solid I can make this semi-transparent for a second and then draw a really simple mask shape on here feather it out and ultimately this will become an alpha matte for this breaking up I now if I didn't have the pieces flying up into the air I could have even used a copy of my ground plane as a perfect ly tract mask but thankfully as I scrub through you can see that this mask is actually already kind of doing its job even before I keyframe it that much I'll quickly scrub through add a few more keys here and there and then let's preview and now aside from some slight you know color curves difference going on here the illusion is that you mostly see these high contrast pieces breaking away more than you see that soft matte ahead of it so after some curves and tinkering let's look at the original undistorted comp and hey that's a pretty good start I mean some of the matting is visible but I think that in the moment the misdirection will be key now I'm missing a monster which is a bit of a silly thing to have left out until now but the reason I did was because I actually didn't know if I was going to be able to pull off this sim in the first place and so I did what I would recommend that you do which is starting with the thing that you might fail at first it beats wasting the time of doing the easy stuff and then suddenly realizing you can't finish speaking of easy stuff our next step is to hunt down a 3d model of a monster some kind of a squid or you know some kind of turbo squid and I know just the place sketchfab calm I searched for animated Kraken this one's made by Pro Factor Inc it's animated and relatively inexpensive for a 3d model and just what I need so I'll open it up and cinema 4d where I can see that it's got all sorts of animations and waving around it's a slam and the surface some cool stuff like that and this is all strung together on one really long timeline now when I've seen game models prepared like this it usually means the timeline is full of small loops and bits of animation so I'm gonna pop up in the dope sheet and then zoom way in on this first little part a slowly mouse over until I sensed that one of these animation bits ends and it looks like that happens right around frame 70 you see how the animation clearly suddent like snaps to linear right here alright so I'll click to highlight that frame and then go to functions trim after and now I'll go hunt for the first loop point it looks like that's on frame 10 so I'll highlight that and then go to function trim before now I can scooch these keyframes over and do a quick check that shows that you know frame zero is the same as frame 60 so that means I should probably delete this end frame to make a perfect loop and then I will run the file sequence exporter to make a cinema 4d sequence of this Kraken back in After Effects I'll jump into my element layer and create a new group group two and then I'll file import sequence grab my Kraken and then it's time to relink some textures the best part about these professional models is that many of them come with a really great maps for all of the channels I can make them look great and element already right now our monsters hidden because of that matte we made earlier but no worries let's create a no for group to call it Kraken and then start adding some very professional position and orientation keyframes now it's more than likely that this Kraken is going to intersect incorrectly with the ice here and there and yeah we could have done this all in cinema 4d to begin with so that you know the Kraken itself was breaking the ice but you know what you can you can do that if you want I just didn't think of it first and here we are I obviously had to adjust my mask was cutting off the tentacles in some places but once I was through that I felt pretty satisfied with my effort and I want to start compositing in some water splashes to make the whole thing feel a little more real so to do that I'm going to render out a beauty pass in PMG form and then to aid my compositing I'll also output a depth pass now to do that all quickly duplicate this whole comp and then go into element and then down under output I'll switch it to Z depth I'll also disable this alpha mask and now as you can see we've got things that get darker as they approach to the foreground now I'll adjust the depth settings a bit so we have a good range of brightness scattered across my subject in these sheets of ice then I'll output this as an image sequence to now my original footage plate is 8-bit and I'm about to output this depth mat as 8-bit JPEGs which I know is a bad practice so if you're on a movie or whatever feel free to use you know an EXR with a higher depth rate for your renders but I'll bet that I get enough detail for this YouTube video all right so we've got those sweet pre-rendered elements here in the project file I'll rename them to depth and Kraken let me turn off the original element layer and then I'll bring in the beauty pass and that depth mat now the render is obviously just nice for being able to quickly play through super time-saving but the depth mat what's the deal with that well we've used them before but I'd love to explain clearly here to now a depth mat is obviously my 3d layer but render so that dark means near the camera and white means far away and here's where that's helpful if we were to add some levels to this layer I could crunch them down so that the foreground is entirely black and a narrow band has some gradation and then the background is totally white I can even clip these down super tight to get really distinct Z depths white it out now here's really 8-bit thing let's of artifacting but honestly in this cop it's so wide it's not going to be very visible in motion so what kind of things can we do with a mat like this well let me throw in a text layer and then set this modified depth mat as its luma mat now you can see that wherever those curves are forced to black the text is blocked out and where it's white it's totally visible and where it's gray we get some nice fall-off so by setting some keyframes on the histogram of these levels I can basically control how much of my image is revealed or Simar revealed throughout the entire comp pretty cool right alright so what if one of the most impressive parts of this comp is actually the easiest no well courtesy of action VFX we have some amazing water splash assets and if I simply place them in here as 3d cards I can start doing some really cool stuff I'll place this water blast right here in 3d space and because of that normalization this stock element comes in at a default great workable size and orientation I'll adjust the anchor point to be close to the origin of that splash and then I'll line it up with the initial crack that appears in the ice right here next I'll tint this assets the white from the sky value and for the black I'll sample some of this dull gray and we should have a pretty great looking water splash now a cheap and easy way to propagate more splashes with the same tinting is just to duplicate this layer and swap it out for another splash it looks like this one could align nicely with this crack that forms right here and I'll time those out so they feel like a good initial impact splash nice that seems about right and now comes the depth magic I'm going to copy my Krakens beauty layer and then place it here under this depth mat that we've already crushed the values down in now if I set that as a luma inverted matte I'll have a nice front half of the CG render here in front of my 3d water cards and check this out the water particles are rendered cleanly behind the tentacles blocked by the foreground ice shards and then kind of married with some implied depth across the middle of this you know monster mess now the rest of the technique is a whole lot of the same I just start duplicating replacing and moving these water cards over and because of that handy depth of mat in the foreground I really get this perfect depth result just by roughly aligning these cards into place I make about you know 15 splashes over the course of this video and I could probably even add you know twice as much it's never too much but let's go ahead and stop here for a moment and jump over to my original comp where I can see the whole thing in its original distorted fisheye lens that it was filmed with comped nicely on top of the original plate so let's take a quick look at that not too shabby in fact one of the only things left to do here is to fix this moment where the skater is you know supposed to be in front which which means don't no no not gonna say it nope which means I'm gonna I'm gonna I'm gonna do a color range key on the gray and then a simple choker to just blow them out a bit and then another match choker soften it out and and then I can just just garbage madam come on come on come on come on come on come on come on yes next let's go ahead and add a little bit of seasoning to this shot using one of the other handy tools in the VFX suite so I never really spent any time trying to get this crack in or the ice reflecting in this icy surface the way the skater does and mostly because I'm lazy but secondarily because I can probably do something pretty similar in less time using VFX reflection here I can reflect my CG layer establish a ground plane in the reflection direction and then there's even a new feature that allows me to use the footage layer as a displacement source so I can warbled a reflection and soften it a little bit [Music] then I can key its opacity pretty low add a few key frames to the reflector surface position and we're golden alright let's do some easy finishing touches I'll start with Magic Bullet Looks browse through this awesome library of presets I like this Moscow one it makes it nice and wintery I might you know tone that down a little bit and then maybe I'll add some additional vignette which I could have done with in books itself oh well and then you know what why not how about we add a black solid add a rectangle mask subtract and then just shrink it and kablammo only a major production could have afforded such beautiful black bars add a quick transform shift this up a bit yeah we go and son of a gun I do want more water so I'm into the simplest thing that I can think of which is jumping quickly into the original work comp selecting and then duplicating all my water layers moving them forward in time and then forward in space and then just bleeding the few that I don't like and let me play that back Hey all right let's render this beast now some people didn't like my original Twitter sound pass at this I'm gonna get you so uh so here's the special edition well that was fun everyone this whole tutorial came about because of some back-and-forth that started on Twitter surrounding this totally random promo shot and if you're on Twitter you should definitely come join the conversation of this month I'd love to highlight some of my favorite VFX creators I've spotted using our tools starting with Alberto pedina at Duke studio tweet he's always posting these fun videos of his daily life or with his kids doing extraordinary things it's it's fantastically fun stuff and also yong-ha spills is combining some really cool techniques together to create this mesmerizing crystal growth on this tree and lastly we've got Oren Kaplan who is transforming some of this home shot drone footage into this insane kovat V robot video that I can't wait to see in its entire to you when it's released Horan's also one of the hosts of the just shooted podcast so give that a listen share your creations with me action movie kid and at red giant news so we'll be sure to see the amazing things that you're all up to thanks again for joining me for cheap tricks be sure to check out and download that free normalization script thank you so much Joe at workbench TV for creating that for us and everyone have a lovely lovely day look at that I made it the whole time without saying release the crap

Channel: Red Giant

Views: 47,624

Keywords: Red giant, visual effects, vfx, motion graphics, filmmaking, color correction, compositing, tutorial, after effects, adobe, premiere pro, final cut pro, trapcode, magic bullet, universe, pluraleyes, particular, mir, movies, video, training, ilm, vlog, blogger, content, youtube, creator, mograph, software, plugin, postproduction, post production, c4d, cinema4d, ice vfx, kraken vfx, cheap tricks, daniel hashimoto, action movie kid

Id: tWaNDWYmzM8

Length: 43min 1sec (2581 seconds)

Published: Thu Jun 11 2020