iZotope Ozone Promo

The process of mastering ranges from correcting mistakes made in the mix to preparing a recording for target listening environments. Like a final coat of polish, mastering makes the difference between a good sounding mix and a professional sounding master. When you’re ready to master, Ozone is all you need.

Promo Information:

When you buy iZotope Ozone Advanced now through October 31st, 2014 you can get it for only $599.00 (40% off) and you will get Ozone v6 upon it’s coming release!

Visit Toolfarm.com to purchase iZotope Ozone!

Extreme Eye Closeup with Mettle FreeForm Pro

Wow… pretty amazing stuff here! This is a two part tutorial but it isn’t too difficult! 

Mettle FreeForm Pro is great for: 2D and 3D stereo conversion; 3D shape morphs; advanced image morphing, character animation; organic effects; water replacement. Create amazing 3D shape morphs via familiar 2D filters in After Effects FreeForm Pro generates all geometry on the fly, right in the AE comp window. FreeForm Pro is an excellent complement to Mocha Pro for 2D to Stereo 3D conversions.

Tutorial Part 1 | Tutorial Part 2

If you aren’t already using Mettle FreeForm Pro you can pick it up here for 5% off MSRP.

Also remember to visit www.toolfarm.com for all of your VFX needs!

How to create a 3D leak effect


“Technical artist Nicolas Wirrmann looks at how to make fluid leaks with Substance Designer’s mesh data baking tools. Texturing a 3D object most of the time consists of adding subtle details that would have been produced naturally by nature and the passing of time. Painting such details by hand is a time-consuming task and texture artists commonly use a variety of tools to help them with this process: ambient occlusion maps to simulate dirt accumulation, curvature maps to determine convex/concave areas, and so on.” - Nicolas Wirrman

Learn More on Nicolas’ Original Post

Red Giant 20% off – 36 hours only!


Sale Alert! For those of you who like savings the money! Go to Toolfarm.com and save 20% off anything from Red Giant! The sale won’t last long and it’s already begun! Hurry up and save!


Freebie: Plants Kit from Lauberks



Four exclusive Laubwerk Plants models, two medium-sized trees species, the compact field maple, and the distinctive Turkish pine and two colorfuly plant species, the common broom, a shrub with yellow flowers, and a small tropical tree, the beautiful red frangipani. Each perfect for ornamental purposes in parks and gardens.

Learn More and Download the Models Here

Free: Evermotion NOX Renderer


NOX is a free stand-alone, physically-accurate state-of-an-art renderer. Its engine is based on unbiased methods. Global illumination is evaluated using Path Tracing or Bidirectional Path Tracing. Light behavior is based on laws of physics, however some simplifications occur. Many post-production actions can be done in NOX internally, so no additional software is necessary. NOX works with scenes created and imported from 3ds Max, Blender and Cinema4D.

View Full Gallery

Download NOX

What Version Of Cinema 4D Should I Buy? – Greyscalegorilla

Nick Campbell is one of everyone’s favorite people, lets just all admit it at this point. Greyscalegorilla absolutely rules. With that being said, I’m pretty positive we can put some trust in  what he has to say about the world of 3D and VFX, especially when it comes to Maxon Cinema 4D. If you aren’t sure what version of C4D to buy let Nick Campbell guide you… he is like a C4D Obi-Wan Kenobi. Use the Stitch and Sew tool Luke…

“So, you are going to finally buy Cinema 4D? A real copy you can call your own? With support from the company and all the tools you need to do your job? Congrats! You earned it.

And why not? You have probably spent hours learning C4D already. Maybe you are becoming a freelancer, or you need it for your professional studio. Either way, it’s about time you got a real deal official version.

So, what version should you get?

  • Broadcast?
  • Studio?
  • Visualize?
  • Prime?

Let me get straight to the point. The Studio version has everything.

Buy the Studio edition.

Honestly, I don’t know why they even have the other versions available. People must buy the other versions, but almost everyone I talk with owns Studio.

You may be hoping for a huge comparison chart on what version of Cinema 4D to get. Maxon already has one. It’s long and full of every little feature. If you really want to get detailed about it, there you go.

I know, you were hoping for a big discussion about if the Studio features are worth it over the Broadcast version. Let me save you the trouble… They are.

Sure, you may be able to get away with not having some of the features of Studio. But soon you will have a client that requests a certain look or a tutorial we come out with that uses some of the Studio features.

If you are serious about using Cinema 4D, get Studio and have every tool Cinema 4D makes.

It’s probably not what you wanted to hear. It’s the most expensive one. But, if you are making a living off of this software and if you are as excited to play and make great work with Cinema 4D as much as I am, then you owe it to yourself to buy it all.

If you have ever watched my tutorials, you know that I constantly use tons of features that are in Studio only. If you want to follow along with all of our tutorials (over 260 so far), you should get Studio.

What Will I Miss If I Don’t Get Studio?

  • Dynamics! I put the biggest thing first. I use dynamics all the time.
  • Hair rendering. I’ve been using hair a LOT lately with X-Particles.
  • Most of the character tools are only in Studio.
  • You may want to play with Sketch and Toon. Studio only.
  • All the new sculpting tools are also only in Studio.
  • You won’t get all the great Content Browser stuff like free models and scene files.
  • You won’t have it ALL with anything but the Studio edition.

Listen. Software is cheap. To be able to build, design, model, animate, an entire world for under $4000 bucks is amazing.

If you are in any way making a living off of Cinema 4D, get studio and charge your clients for all the cool stuff you make.

Seriously, Just get Studio.”

Read more at Greyscalegorilla.com 

Free VHS Glitches

There is just something reminiscent about s VHS glitch for most of us above the age of 10. While it was a problem for most people in the past (remember twisting the tracking dial?) now it can be used as a cool effect for an authentic retro look!

Click here to access the download

Want something similar? Check out Data Glitch by Rowbyte!

Refining Black and White Imagery with Camera Calibration in Adobe Lightroom

It’s not too often that we touch base on design or photography related topics. It is, however, something that plenty of people are working with every single day even in the visual effects industry. So many new and exciting things are happening day in and day out concerning 3D software and new updates for video editing systems. It’s hard to remember that sometimes still imagery and design can often times be equally important as a video sequence. With that being said I wanted to dive into some quick tips for photography and photo editing; in this case we’ll look at black and white photography which has stood the test of time. To aid us we’re going to be using Adobe Lightroom 5.

Digital cameras and their accessibility have made it very easy for the average consumer to take some great photographs. Often times, with beginners, its by chance. One thing that can easily ruin these potentially great photos is poor editing. Some photographers believe that no editing should be required at all, which is admirable. However, there are plenty of us out there, myself included, that enjoy the ability to utilize technology and alter or enhance their photographs. And of course there are naturally going to be instances when you just didn’t focus properly, you over or underexposed something, or the photograph just turned out a little bit more blurry than expected. The point is, you will come across photographs that you take and even if they have a minor flaw that doesn’t mean that you need to can the photo all together.

One thing that I run into from time to time is ending up with a photograph where no matter what I do I just can’t seem to find myself satisfied with the image’s colors. Often times, in this case, I will see how the photo looks in black and white. I’d like to say that “black and white photography just looks good,” but it really isn’t the case. With black and white photography contrast and tones are much more noticeable than in color photography. If the image is too flat, the viewer’s brain picks up on it immediately. One thing I often notice in black and white photography is that people tend to neglect the ability to manipulate the saturation and hue of all of the elements in the original photograph. I think when people desaturate a photo they tend to leave it at that and start trying to adjust the photo through shadow and highlight adjustments, which are great but sometimes don’t deliver the desired affect on their own. What I think happens is that people often desaturate a photo in Adobe Lightroom, and when they do so with a preset, for instance, it makes it appear as if the ability to adjust colors is lost (as can be seen below).


You can see how the “vibrance” and “saturation” adjustment bars aren’t selectable now. I know the first time I used a black and white preset I was thrown off by this. This, pretty much, has no importance though if you are going to be editing a black and white photo. Whether or not you are using a preset or just manually dropping the vibrance and saturation what you will want to do is scroll down to the “Camera Calibration” panel. If you don’t see the Camera Calibration panel then right click (ctrl+click) and make sure that the option is selected.


Here is why using this tool can make or break your black and white photography. First I am going to show you a relatively vivid color photograph that I will be working with. There is a good range of very bright colors that work well amongst each other when viewed in color. However, when you drop the saturation from the image your lose a bit of that distinction that was previously there.  To note: I have never played with this photograph in black and white so all of the adjustments I make will be purely natural and how I would normally go about things.


Alright… lets get rid of the color.


All I did so far was pull the saturation bar down to a value of “zero” and its pretty dull. Right off the bat a few things I would like to stand out a bit more are things like the definition between the blue sky and the clouds, for the foliage on the ground pop out a bit more as it did when it was green, for skin tones to blend into the background and clothing less; just to name a few! After making my primary adjustments in the Camera Calibration panel I will do a couple finishing touches with highlight and shadow adjustments. First lets get some more definition in the sky. I’d like more contrast so what I will do is boost some of the saturation in my blues and maybe cool it down a bit more by shifting the hue to something deeper.


I pumped the hue up a bit as well as the saturation. Once I found an area I liked as far as contrast goes I pulled it down a bit and here is why. One thing to keep in mind is that when you go and adjust these colors they all interact with one another a little bit. For instance, I am going to go in and adjust my reds next and it will alter the changes I just made to the sky above. So in order to compensate for the changes that I know will be coming when I adjust the reds, I toned down some of the adjustments I made to the blues. Reds and blues interact with each other much more than when adjusting your green primaries. You have a bit more freedom when adjusting your greens. In this case that will be great because I really want the green area below to pop and create contrast between the edge of the skatepark’s coping and the skater’s board. Alright, lets get into the reds. These adjustments will primarily be for dialing in his t-shirt and skin tone to have a bit more definition and distinction from their surroundings.


Above is an example of what I am trying to avoid. In the original image the difference between the color in his t-shirt and pants is night and day. I want to create that same effect in the black and white version as well. I boosted both the red saturation and the red hue but I didn’t get quite the desired affect I wanted, it also made the blue sky a bit darker than I prefer, it looks unnatural. So in this situation I am going to keep the saturation a bit higher because I don’t want the shirt to look white. However instead of boosting the hue upwards I am going to roll it back into a deeper tone because thats going to give me the contrast I am looking for.


Now, as you can see I have the definition and contrast between the shirt and the pants that I was looking for. Much more so than before. Not only that but I now have the sky a bit closer to where I wanted it in the first place. Aside from that I also went in and shifted the greens to get a bit more pop without going too overboard. One thing I’d like to say, however, is don’t be afraid to adjust those bars quite a bit. As you can see I am going back and forth relatively heavy on all of the separate options. You aren’t going to end up with the effect you’re looking for if you are afraid to push the boundaries. Overall I have the tones where I would like them to be right now. It’s time for a couple finishing touches to get this photograph looking how I envision it. As it stands its a bit dark through the whole image. I don’t want to lose a lot of the contrast I have set in place so I will be making some minor adjustments in the blacks, whites, highlights, and shadows.


What I ended up doing was taking the highlights up just a tiny amount and pushing the whites up a little bit so that the grey areas didn’t look as dull. If I would have pushed the highlights up more I would have really made the already pure white areas look completely overexposed. I pumped the blacks up quite a bit because I wanted to get a bit more definition in some of the darker areas throughout the image. In doing so however I ended up losing some of the contrast I had worked to develop. To remedy this all you have to do is take the shadows down a little bit so that the really dark areas still help their lighter surroundings stand out. You can see more of this effect in the foliage towards the bottom of the image, as well as in the underside of the bridge to the subject’s right.


Comparatively side by side you can see some of the differences right away. Overall the final product is lighter and by simply making some adjustments in the Camera Calibration feature that Adobe Lightroom has to offer, we were able to create more distinction between all of the separate elements of the photograph. We see the world in color and its easy for us to distinguish between everything around us with the human eye. This is why I think one of the biggest challenges with black and white photography is making your photographs look natural. Luckily, for those of us who don’t take a perfect photo every time we press down on the shutter button there are many options and routes we can take to correct our mistakes!  These options are really only the beginning when dealing with photography and design. Today there are unlimited options and solutions when you are faced with a problem (Click here to view a few).  Of course the actions you take will be different depending on each individual photograph but these basic steps, that are often overlooked, can help you out a great deal and save you tons of stress.

Most importantly just don’t give up one your projects. There is always a solution and the best way to learn is to keep trying!