Sci-FI VFX Tutorials

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With the upcoming release of Star Wars the Force Awakens, and the premiere of the recent Star Trek films, there have been many visual effects that filmmakers have looked to replicate to bring to their productions. This can be anything from heads up displays, 3D spaceships, weapons, and much more. Looking at these effects as they are, it would be a daunting task to replicate them without prior knowledge. However, using a tool like After Effects can bring your imagination to life by watching the right tutorials. Below, I will highlight a few tutorials based on science fiction visual effects that you can bring to your video projects.

Lightsaber Tutorial

In this tutorial from VideoCoPilot, Andrew Kramer shows us how to use his lightsaber preset which he created using the beam effect along with other filters and expressions. This preset has all the functions you would need to create the perfect lightsaber effect without having to use a solid layer with a mask. This preset also reacts to composition motion blur to create realistic motion. Using an obscure layer as a matte, you can place the lightsaber beam behind your talent when their motion calls for it.

I recently used this preset on a set of commercials and it still holds up eight years after it was initially released. I found it easier to use and manage over a plugin like Saber Blade from Fan Film FX. You can download the preset here and use it on your next Star Wars fan film.

Transporter Tutorial

In this tutorial from SternFX and Red Giant TV, Eran Stern breaks down how to create this infamous Star Trek teleportation effect using Trapcode Particular. Using the path from a circle math, Eran creates a circular motion for the point light which influences the motion path for Particular. Next, he parents the light to a null object so that he can influence the motion even further. With Particular applied to a solid layer and the settings manipulated to emit a solid stream of particles, the transporter effect begins to take shape. Once he has the effect created with Particular, he precomposes it and duplicates it to manipulate other iterations. With a lens flare from Knoll Light Factory and a few animation keyframes, he completes the overall animation necessary to apply to it to his subject.

In a separate composition, he brings the transporter effect and talent to the forefront. Using warping filters and masks, he completes the effect with ease. What I like about this tutorial is the attention to detail that Eran brings to this effect. I’ve seen this effect achieved using particle images from Particle Illusion, which is passable to the common viewer, but this version of the effect really has the Hollywood finish to it. Although it is a dated tutorial, I find it still holds up after all these years.

Hologram Tutorial

This tutorial from PixelBump shows us how to create a Star Wars themed hologram using green screen compositing. He creates three compositions with his keyed talent and changes their colors accordingly using the Levels effect. With the addition of the wiggle expression to create jerky motion, he crafts the colorization needed to create the hologram along with the Venetian Blinds filter. With a combo of offset matte layers and glow filters, he is able to complete Star Wars-esque hologram.

This effect was achieved using native filters and techniques that exist inside of After Effects which makes it accessible to everyone. I recently had to do a hologram effect for a group of spots and I went the third party route using Holomatrix to create the effect. It is always useful to know how to create visual effects when you don’t have access to to third party tools.

These are just three science fiction effects-based tutorials you can use on your next video projects. Try these out and experiment to create something unique.

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After Effects Add-Ons

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Being one of the longest industry standard post production applications in the world, you would think After Effects would have every function to make your life as an artist easier. With the ability to create vector shapes, rotoscope, track in 2D/3D, and more, it is a pretty comprehensive application. However, on its own it can only do so much. That is why there is a community of developers who have created add-ons for After Effects to make the user experience more bearable than before. These add-ons can make animating multiple layers more efficient, the creation of a folder structure at the project, and other features. I’m going to highlight three of these add-ons.

Mister Horse Previewer

 

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This After Effects plugin is something that should have been in the program from the get go. With this plugin, you can view imported footage, images, and music in a separate panel and see the first frame of compositions. I can’t count how many times I wish I could quickly preview an asset without having to go through much hassle. Ever since I purchased this plugin, I feel more at ease when importing assets into After Effects knowing I can see them on their own without having to open the layer panel view them. You can purchase this plugin for $21 at Videohive.

True Comp Duplicator

 

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This is a script I’ve been using for the last two years and it has been an invaluable asset to my workflow. If you are a heavy After Effects user, you will know how much of a pain it can be to create duplicates of a composition which contain multiple precompositions. It’s not as simple as duplicating it from the project panel, unfortunately. What this script does is create a complete duplicate of a comp hierarchy, including sub-comps.  If a comp is used multiple times, the comp only gets duplicated once and all remaining references point to the first duplicate.  If the comps are arranged in a special folder hierarchy in the project panel, that folder hierarchy is preserved or duplicated (depending on user preference) for the duplicated comps.

Based on the tutorial provided by Lloyd Alvarez, this script is very in-depth and can is definitely a timesaver. The best part is that you can pay your own price to get this plugin.

Text Box Script

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This free script from Motion Boutique creates a rectangular box around a text layer. A modern look for infographics and other motion graphics involves text being inside of a box. This script helps speed up the process of creating shape layers around the length of your text. I’ve used this script on a few projects myself and it has been a blessing to use. All I have to do is create my separate text layers, plug in my parameters for the script, and voila! I have a text box graphic. Grab this script now and see where it fits in your workflow.

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Using Mocha Masks in After Effects CC

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Mocha AE is the version of Mocha that comes with After Effects CC. It has a great number of tools to access with tracking and rotoscoping, however, it’s not nearly as robust as the stand alone Mocha Pro program. Today we will take a look on how to take footage from After Effects CC, bring it into Mocha AE, track the footage, and then create a mocha mask from the tracking data to apply back into After Effects. To clarify, a Mocha Mask is a no different from any Mask created in After Effects using the pen tool or marquee tool; it just uses the tracking data created in Mocha to move the mask instead of going frame by frame by hand and moving anchor points. Mocha Masks are great to use when you are handling beauty retouching, censoring a section of video, or isolating a specific part of video for color correction.

The steps are as follows:

– Sending footage from After Effects to Mocha AE

– Tracking with Mocha AE

– Exporting Shape Data and Importing Mocha Mask into After Effects

– Example use of Mocha Mask

SENDING FOOTAGE FROM AFTER EFFECTS TO MOCHA AE

Once you create a new comp with your video footage, select the footage from the TIMELINE and go to ANIMATION > TRACK IN MOCHA AE.

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TRACKING WITH MOCHA AE

With your footage now in Mocha AE, first select the X SPLINE tool along the top tool bar.

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Using the X spline tool, create a shape around the item you want to mask. In this piece of footage I decided to track an unwanted logo on the side of a car.

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If you want to smooth the edges of your x spline and not have such jagged corners, RIGHT CLICK on the mask and go to  POINT > SMOOTH.

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With your shape created you have the ability to name the shape in the LAYER PANEL along with changing the masks color. This is helpful when creating a series of masks you need to keep track of.

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In order to track the mask you’ve created, look at the tools below the timeline. You will see a RIGHT ARROW with the letter T. This is for track forward (the broken arrow with a T next to it is for only tracking one frame forward). Click the Track Forward button and let Mocha analyze the footage as needed.

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EXPORTING SHAPE DATA AND IMPORTING MOCHA MASK INTO AFTER EFFECTS

With your mask now tracked the way you want it, you’ll need to export the data in such a way that you can import a mocha mask into After Effects. To export your Mocha Track data, select EXPORT SHAPE DATA located in the lower right of the program. From here, a message window will appear. Select COPY TO CLIPBOARD.

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Back in After Effects, create a new Adjustment Layer CMD + OPTION + Y. With this new layer selected go to EDIT > PASTE MOCHA MASK.

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EXAMPLE USE OF MOCHA MASK

As an example, I will quickly show you how to censor your tracked item now that you have a functioning Mocha Mask in After Effects. In After Effects, go to EFFECTS & PRESETS and type in BOX BLUR. Then click & drag the box blur effect and drop it onto the adjustment layer. With the blur effect added to the adjustment layer, you have the ability to go into the EFFECT controls and increase the RADIUS and ITERATIONS until the desired effect is reached. With the Mask tracked to the footage, the effect with follow along perfectly!

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Nodes 2 from Yanobox

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Avengers. Ender’s Game. Iron Man 3. Rise of the Planet of the Apes. These are just a few films that have had the opportunity to utilize the plugin known as Nodes. With the release of Nodes 2, Yanobox has upped the ante with what this plugin can do. This motion graphic tool can import 3D models, interact with the After Effects camera, link text and images to individual nodes, and so much more. The best part is it supports the most popular editing and compositing programs on the market including: After Effects, Motion, Final Cut Pro X, and Premiere Pro. If you don’t believe how awesome and intricate this plugin is, take a look at this demo below:

I’ve had a chance to try out Nodes 2 myself and I was extremely impressed with how quickly I was able to pick it up. Here are a few quick examples of what I was able to create on my own, which to my surprise, rendered very quickly on my iMac. On top of that, I like that I can create certain animations with ease compared to plugins like Trapcode Form or Particular.

Overall, Nodes 2 is an incredible plugin that needs to be experienced firsthand to admire its depth. With this plugin, I am able to create breathtaking and stylized motion graphics that would require multiple plugins and tinkering to achieve the look Nodes can create effortlessly. I’ve always been a fan of the Yanobox plugins, and this Nodes sequel more than lives up to its predecessor. I like how the controls are easy to experiment with, as well as the presets. The presets provide a great starting point and can be manipulated at will. The fine folks of Noise Industries have provided very detailed tutorials for your favorite software application, which you can check out here:

If you are looking for a plugin that imports stunning 3D models, build networks of node structures, and allows you to create an limitless amount of text and image connections, then look no further than Yanobox Nodes 2. At the price of $299, it’s a no brainer purchase that will save you hours of work and allow you to explore more creative depths than you can imagine.

Sound Effects

Best Drones for Filmmaking

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In this new era of filmmaking, getting complex shots has become much easier thanks to technological advances made by vendors across the world. It’s more affordable to get a rising shot thanks to jibs and cranes that are accessible to even the most low budget filmmakers. Getting stabilized shots are easier now thanks to amount of rigs available. Aerial shots have now become cheaper due to the influx of drones available on the market. I want to highlight some drones you may want to consider adding to your filmmaking kit so that you can increase your production value.

DJI Phantom 3 Advanced/Professional $1,3000

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This aerial drone is a new release from DJI and can capture great high quality footage from great distances. What makes this drone so popular is the following:

  • 3 Axis Gimbal camera which shoots HD (for the Advanced model) or 4K (for the Professional model)
  • Captures photographs at 12 megapixels
  • Live HD camera view via smartphone or tablet attached to the remote controller through the DJI app
  • Vision positioning through visual and ultrasonic sensors
  • Intelligent Battery with battery level indicator
  • Worry-free AutoPilot

As an owner of the DJI Phantom 3 Pro, I can attest to the incredible media captured with this camera. Within three days of learning to fly this drone, I was capturing great aerial shots that I would have had to pay a helicopter pilot to capture. With a $1,300 price tag, it is a steal for what you get from this drone. I would personally recommend this model for any prosumer or high end shooter who needs to capture aerial shots of client locations.

 

DJI Inspire 1 $3,399

 

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The DJI Inspire 1 is the more advanced and expensive model of the Phantom models offered. This drone is designed with strong carbon fiber arms and gives the user a full 360 unrestricted view when in flight. The Inspire features:

  • 3 axis gimbal 4K camera which shoots up to 30 fps, or 1080p up to 60 fps and takes photos at 12 MP
  • Optional dual remote control function
  • Powerful propulsion system
  • HD wireless video transmission
  • Vision Position system
  • Intelligent Power Management system

If I had the expenses, I would have considered investing in this. I would definitely say that this model is meant for high end, big budget filmmakers that have the funds to afford it.

3DR Solo Quadcopter $999.95

 

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The 3DR Solo is an all-in-one personal drone with a great ease of use and powerful new features. Within these powerful features are the following:

  • Computer assisted cinematography through the Solo app
  • Attach a GoPro to gimbal harness and stream HD video from your GoPro to your iOS or Android mobile device, at ranges of up to half a mile.
  • Easy to use aerial photography controller
  • Powerful smart battery which displays remaining time
  • Up to 20 minutes of flight time with GoPro attached

I haven’t had the opportunity to try this drone, but based on the preview video above and the feature list, it has a lot to offer. With the ability to mount a GoPro, you know what type of quality you are getting. With a price tag of $1,000, you are getting an advanced video production tool that will give see a greater return.

Overall, these three drone models are great if you want to add aerial videography to your business and skill set. I’ve only began my journey into aerial photography, but already I feel that it has added much value to my current projects. I look forward to seeing what I can do next.

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Luca Visual FX Backgrounds & Overlays

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The team at Luca Visual FX has brought another product to the market which will benefit professionals across Mac and PC platforms. It is the incredible and extraordinary Backgrounds & Overlays. This product is an extremely versatile collection of 100 HD clips which are an indispensable addition to any editor’s library.

It is compatible with the following software:

  • Final Cut Pro 7/X
  • Adobe Premiere Pro
  • Adobe After Effects
  • Apple Motion
  • Avid Media Composer
  • DaVinci Resolve
  • HitFilm
  • Sony Vegas

I had a chance to test drive this new product.

What are Backgrounds & Overlays?

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It is a vast collection of 100 Full HD dynamic motion graphic clips designed to be used as backgrounds and/or overlays for a variety of projects. You can use them in promos, VJing, music videos, sports, news, corporate, and much more. On the dedicated web page at the Luca Visual FX site, you can preview the entire collection and see what each background has to offer.

What are some of the best ways to customize these clips?

Editors can use blend modes from their host programs, change the speed rate, scale, crop, position, or add any third party filter or built in effects to customize these clips. Also, stacking several instances of Backgrounds & Overlays allows the creation of complex and beautiful effects by simply using blend modes. Use effects such as blurring and distorting to maximize your customization. In this clip, I created some examples to showcase how far you can push these clips.

To see how these clips can be manipulated and integrated into your projects, take a look at this tutorial where I show you how to use them with footage and text:

Is it possible to get the Backgrounds & Overlays in a different format?

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All files are delivered as .mov files, so as long as the user has Quicktime installed everything should work correctly. If you need further assistance, you can contact customer support here.

Can you list some scenarios where these clips work best in?

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As mentioned above, they can be used for a variety of video projects. Here is a list of effects that I’ve done which you can try out yourself:

  • Video inside of text or shapes effect
  • Text backgrounds
  • Feathered shape overlays
  • Heads up displays
  • Frames and borders
  • Picture and picture background
  • Lower thirds
  • 2D & 3D animation inserts
  • And many more effects

Overall, I believe that Backgrounds & Overlays will be a product that users will turn to when they need to amp up their productions. With the dynamic range of motion graphics, and the fully customizable options that are available, the sky is the limit with creative opportunities. I strongly recommend that you download some of the demo watermarked clips and see what you’ve been missing. They are now available for download on the web page.

The launch price of Backgrounds & Overlays is $49.  Don’t miss out on this versatile product line.

For readers of this article, LVFX is offering a 10% off coupon when you make a purchase using this coupon code: BO2015S

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What is HitFilm?

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With all the editing and compositing programs available for filmmakers on Mac and PC, it can be hard to decide which program suits your workflow. The general understanding of post production is that editing should be handled in one program, where visual effects and motion graphics are handled in another. Programs that utilize this workflow are Premiere Pro/After Effects and Final Cut Pro X/Motion. With Avid Media Composer, professionals cut in the program but usually go to programs like After Effects, Fusion, Nuke, or Motion for graphics work. However, there are programs that have the best of both worlds all in one package. Autodesk Smoke has both editing and node based compositing capabilities. Another program is HitFilm Pro. I want to discuss HitFilm Pro, and why you should consider using it if you want an affordable all-in-one post production software.

What is HitFilm Pro?

HitFilm Pro is an all-in-one editing and compositing program. Designed to handle projects on the small scale to big budget, HitFilm can withstand it all. Bundled with over 180 effects, and the ability to switch between editing and effects smoothly, this program can do some amazing things whether it is in 2D or 3D. Need to motion track titles to a moving object? HitFilm can do it. Need to make your talent look like they are flying through the clouds? HitFilm can do that. This piece of software is pretty comprehensive and is only limited by what you want to create.

What is the general workflow when using it?

First time users can take different approaches to post production when they use this software. Gone are the days of switching between apps to do essential parts of the post production pipeline. Now, you have the choice between doing compositing or editing. In the second video above, Axel Wilkinson shows us a general overview of the HitFilm interface and how users can get up to speed crafting their videos in no time. Switching between the editing tab to the composite tab is something we could only dream of in the past. That reality is here with HitFilm Pro.

What effects can I create in it?

Like I said before, what you create in HitFilm Pro is limited to your imagination. Below is a list of effects and compositing capabilities it possesses:

  • Chroma Keying
  • Live 3D Model Rendering
  • 3D Particle Engine
  • Mocha 4.0 for planar tracking
  • Fire, lightning, and weapon based effects
  • 3D camera projection
  • Color correction/grading

Essentially, it possesses the capabilities of the popular NLEs and compositing programs on the market. Many web-based filmmakers have used created effects with this program, which include Corridor Digital, Film Riot and Freddie W. The effects I’ve seen created by users of this program would blow away even the most capable pros.

Why should I buy it?

There are many programs you could be using to complete your post production work. Many of which are trusted to get the job done by seasoned professionals. However, just because one workflow is trusted and most used does not mean it’s the only one that matters. Using HitFilm Pro will give you the ability to have the best of two disciplines in one program. No need to farm your visual effects out to a separate application. You can do it all in the application by tabbing over. With HitFilm Pro, you finally get the program that let’s you be all things post production without much hassle. When you have the options that this robust program offers, it’s a no brainer.

Overall, the team at HitFilm have created a comprehensive and robust application that can tackle even the most daunting of projects while making it affordable to every filmmaker. Download HitFilm Express 3 for free or purchase the pro version for $299.

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Motion 5 Tutorials

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Since its creation in 2004, Apple Motion has been an application that has evolved quite nicely, despite the fierce competition it faces from other apps like After Effects and Nuke. In its current iteration, Motion provides the plugin architecture for Final Cut Pro X, which means that all FCPX effects are actually Motion templates. With that advantage, users can create just about anything with Motion. Below are a few tutorials where Motion users illustrate how versatile the application is for their workflows.

Creating a Transition for FCPX

This tutorial highlights one of the core features of Motion, which is the ability to create custom transitions. Gone are the days of having to stack layers and utilizing keyframes. With a decent understanding of the Motion interface and its functions, users can create unique transitions to suit their video projects. In this particular example, the author shows users how to create a ripple flash transition from start to finish. When I discovered that you can create transitions and other effects in Motion, I decided to give Motion another try after years of being an After Effects user. I found this tutorial useful because even at the basic level, you can get an understanding of how far you can go with the creation of custom effects.

Animating a Photoshop File

There will be situations where your client wants to create a spot and you have no b-roll. Even worse, you have very minimal images to work with. However, they provide you with a layered, high resolution Photoshop file which you can animate and turn into a motion graphic with a little imagination. In this tutorial, Telemundo editor Brett Gentry shows us how he was able to take a client graphic and turn it into a 30-second spot using a combo of Motion and Photoshop. Utilizing markers, keyframes, and behaviors, he takes what I call a simple “Ken Burns effect” and makes an entertaining spot for an event. I will be first to admit that the Motion interface can be daunting at first glance, but watching how others work in it so efficiently inspires me to learn more.

Creating a Auto Green Screen Keyer with Background

There are projects you receive where the talent was shot on a green screen, and you need to key them out and insert the same background. If this is no more than five people, no big deal. However, if it is multiple talents and it needs to look like they were all keyed and composited the same way, it can become tedious. In the tutorial above, Brett shows us another way he uses Motion to create an auto keyer effect, which will allow him to key not only his talent, but insert/manipulate the background he wants behind them. This is convenient when you need to cut multiple spots or short form videos and time is not on your side. This effect is also a viable solution for the scenario I mentioned above with multiple talents. If you publish enough parameters and include the necessary assets, you can save a lot of time by creating an auto keyer effect in Motion.

Text Behind Glass Effect

I’ve highlighted the effects you can create in Motion for workflow tasks like titles, transitions, and effects, but it is always interesting to see how far one can push Motion to create things you would only expect in After Effects. This tutorial above is a prime example of something I wasn’t sure Motion could create. Editor/plugin author Simon Ubsdell takes a concept that originated in After Effects and creates it from scratch in Motion. Using textures, text layers, blend modes, filters, and behaviors, Simon creates this effect which can be used for promos, documentaries, or identifiers. I have to give kudos for the content that Simon has produced as of late. I’ve always believed the reason Motion wasn’t as popular as After Effects was because of the vast community and gurus that are out there. Seeing a dedicated user showcase Motion capabilities peeks my interest to add this tool to my skill set.

Overall, Motion has matured into a intricate and versatile tool that editors should take the time to learn. The market tends to favor the After Effects user, but every now and then there are jobs for people with Motion knowledge. Knowing this tool can benefit you in the long run.

Sound Effects

Understanding the Roto Node in NUKE 9

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The Foundry’s NUKE is at the forefront for leading compositing programs in visual effects for television and film. Great news for those of you who want to learn NUKE and be ready for professional studio work. There is a FREE, non-commercial version to download. Once installed, you are ready to take on this tutorial and learn the functions of the roto node in a node based compositing program.

PLEASE NOTE* I have covered the topic of rotoscoping in basic and advanced tutorials previously in other compositing programs – Adobe After Effects & Silhouette FX. This tutorial is for those coming in with the knowledge of what rotoscoping is, but need or want to learn the interface of NUKE, since it is a node based compositing program. If you want to learn more of what rotoscoping is, please refer to my older lessons where I spend more time explaining the concept of rotoscoping.

I will break this tutorial down into three parts:

–       Adding the Roto Node

–       Shapes and Splines

–       Keyframing Shapes Over Time

ADDING THE ROTO NODE

Go to the DRAW NODES on the left hand side node bar > CLICK > and select ROTO. In your Node Graph, a roto node will appear. Simply hook up the viewer to the roto node in order to proceed.

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For those of you who are used to stacking layers in other compositing programs, such as After Effects, this might take some getting used to. Though the concepts remain the same, with node tree you are essentially mind mapping your ideas that are connected. I will go into more detail on Node Trees in another lesson.

SHAPES AND SPLINES

In your viewer, you can CLICK and create an anchor point. Continue to click around and you will start creating a shape. You can close the shape by either clicking back onto the first anchor point you created, or by simply hitting the ENTER key at any time.

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With the roto node active, on the left side of your viewer you will see your curves selections. The most commonly used are Bezier and B spline, but feel free to experiment with them all.

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Above the curves selection you will find your selection tools. These will control how and what you select of your splines in the viewer. For example, SELECT POINTS will allow you to select anchor points without selecting the splines themselves. Again, I encourage you to explore and tinker with all the tools to become familiar.

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In your properties window to the right, you will notice a list of shapes you have drawn in your viewer which will help you keep organized and remember which spline was used. Additionally, next to the shape name you have the EYE ICON which turns the shapes visibility on or off. Next to that is the LOCK ICON, allowing you to lock individuals shapes. That way they cannot receive or remove any keyframe data that has been established to that point. Next to that is the COLOR ICON which allows you to double click and choose a new color for that shape. The rest we will explore in a later lesson.

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KEYFRAMING SHAPES OVER TIME

Now let’s take a look at how we can start to animate these shapes across a timeline. By default the AUTO KEY feature is enabled. This is the skeleton key icon you see in the upper left hand corner near your selection tools.

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With this feature enabled, you can look at your frame on the timeline and see there is already a blue keyframe placed there.

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You can take your mouse and move the playhead further down the timeline, and then make adjustments to your shapes. You will notice another keyframe is automatically added (notice at frame one, and then again at frame 20, there is a blue dash representing the keyframe).

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Using your selection tools, you can move each control point individually, or you can highlight some or all of the control points on the shape and move those as needed. Additionally, you can go to your PROPERTIES window on the right and open the TRANSFORM tab to bring up the transform controls on your shapes. This will allow you to create separate transform keyframes on the timeline that handle transform, scale, and rotation.

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Luca Visual FX Hi-Tech Overlays

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The team at Luca Visual FX have been working hard to bring a new product to the market that will benefit post production professionals across Mac and PC computers. It is Hi-Tech Overlays. This product line expands the alpha transitions and overlays that LVFX created in the past. This update brings a new model for users to access the elements they need at a moment’s notice. I’ve had a chance to preview the new library and had a chat with the guys of LVFX. Here are a few questions users may have.

What are Hi-Tech Overlays?

It is an alternative solution to our Hi-Tech plugins for FCPX that provides users of software such as Premiere Pro, Avid Media Composer, After Effects, Motion, and Final Cut Pro a way to build Hi-Tech mographs for promos, sci-fi, music videos, news and sport, corporate productions, and more.

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I see that you implemented a new system for the users to access the product. Tell us about it.

Yes, all mographs and images are provided in full resolution and the user will download from our web site only what they need any time they wish, right from the moment of purchase. We started working on this new way of delivering a product in December 2013 and hope to provide the easiest and most convenient way for our users to access a vast library of interchangeable mographs and images.

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Will the library be based on a subscription that you pay monthly, or is there a lifetime license?

No monthly subscriptions to pay, but only a single lifetime license that people can easily purchase on our web site. The user will receive unique and safe login details shortly after completing the payment, and will be able to download both Hi-Tech default looks of effects like holograms, displays, sci-fi mographs, fractals, etc., and individual elements to customize and combine as desired. The library also includes High-Tech Elements Vol.1.

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I have issues with Quicktime on my PC. Is it possible to get the Overlays in a different format?

All files are delivered as .mov, so as long as the user has Quicktime correctly installed everything should work correctly.

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Will there be tutorials on how to achieve the results you showed in the demo?

Yes, we have already edited four of them and more will come. They show how to customize not only the elements, but also how to combine them creatively in order to create unique looks. The first four are available on VIMEO.

If I own the FCPX templates of this product, is there a way to get access to this library to get additional elements?

Hi-Tech Overlays is essentially a cross-platform alternative to Hi-Tech for FCPX that will work with more hosts. FCPX users would find in the library what they have already in the form of FCPX templates. There are, however, several advantages in using individual layers. We also intend to expand the library and add more and more elements for our users. Should FCPX users wish to access the library in order to handle individual layers, we recommend to email support@lucavisualfx.com with their request.

What manipulation options would allow you to get the best results with Hi-Tech Overlays (i.e color change, distortion, time remapping, etc.)?

There are tons of ways to modify the overlays. The only limit is one’s creativity. For example, with filters, the user can indeed change the color and distort (some examples can be seen on the demo) but also add glow, blur, and many other stylizations. Another way to create unique compositions is to combine individual elements taken from different categories (i.e. Holograms and sci-fi overlays or Screens and Fractals, you name it), use blend modes to create nice superimpositions and layers. Another great advantage that not even the FCPX template can offer in such extent is the use of any transition you can think of in order to create your own Build-In and Build-Out at the beginning and end of your composition. An example is shown at the very beginning of the demo where all elements come together in different ways. Possibilities are endless!

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Do these elements come with embedded alpha transparency? If they don’t, what would be the best practice for getting transparency?

Yes, absolutely, the alpha channel comes with every single element of Hi-Tech Overlays.

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Overall, I believe Hi-Tech Overlays will definitely be a product with infinite possibilities for the user. The amount of ways you can mix and match the elements will definitely draw the user to think outside the box when they apply mograph to their projects. I strongly recommend that you try experimenting with different colors and manipulation effects to see how far you can push each element. In the process, you may create a unique look that wasn’t thought of before.

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