How to Create Futuristic HUDs in After Effects

“Creating futuristic HUDs in After Effects is super easy with these handy tutorials from around the web.

Image above courtesy of Ash Thorp

After Effects is a fantastic program when it comes to creating fun HUD designs. The simple shape editor and layer-based structure makes After Effects ideal for creating Iron Man-style graphics. Plus, new integrations with Cinema 4D make HUD design even more advanced in After Effects.” – Caleb Ward | RocketStock

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Blackmagic Design Fusion 8


The world’s most advanced visual effects
and motion graphics solution!

Fusion is the world’s most advanced compositing software for visual effects artists, broadcast and motion graphic designers and 3D animators. With over 25 years of development, Fusion has been used on over 1000 major Hollywood blockbuster feature films! Fusion features an easy and powerful node based interface so you can construct complex effects simply by connecting various types of processing together. That’s super easy and extremely fast! You get a massive range of features and effects included, so you can create exciting broadcast graphics, television commercials, dramatic title sequences and even major feature film visual effects!

Hollywood’s Biggest Blockbusters

Thousands of Hollywood’s biggest blockbusters and hit television shows use Fusion to create their groundbreaking visual effects. Fusion has been used on feature films like Thor, The Amazing Spiderman 2, and The Hunger Games, as well as hit television shows like Orphan Black, Breaking Bad, Grimm, Adventure Time, Downton Abbey and the Emmy award winning Battlestar Galactica.


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cineSync customer showreel

“A huge thanks goes out to all cineSync users who continually impress us with their breathtaking visual effects and attention to detail. You can take out a free 7 day trial and learn more about cineSync at

Customer footage kindly provided by: Luma Pictures, MPC, Anibrain, Intelligent Creatures, Territory, Image Engine, Titmouse, Shade VFX, Iloura, Orbit VFX, Cineaste” – Cospective

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Rushes UI Screen Graphics Reel // SPECTRE

“Rushes were tasked with designing and creating all on-set UI screen graphics for SPECTRE. Over a 13 month period of working on the 24th Bond film, from pre-production through to post, in total Rushes created more than an hours’ worth of unique animations and motion graphic sequences that furnished over 300 screens, across 23 scenes in the film.” – Rushes

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Red Giant Films “Go Bag”

Portland, OR – January 12, 2016 – Red Giant Films today released “Go Bag,” a brand new short film written and directed by award-winning filmmaker Seth Worley. A high-paced action film packed with stunts, practical effects and CGI VFX, “Go Bag” tells the story of a spy who must fight for her life using only the contents of a stranger’s carry-on bag. Created by Red Giant Films, post production for “Go Bag” used every suite from Red Giant, including the Trapcode Suite 13 for muzzle flashes, sparks, smoke, debris, and the film’s cinematic end title sequence; the Keying Suite for green screen and compositing; and Magic Bullet Suite 12.1 for color correction.

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How to Avoid Sepia Looks While Warming Up Footage

“When warming up footage in post, many inexperienced colorists will take a wrong turn and wind up giving their footage a sepia look. Here’s how to avoid that issue entirely.

It’s surprisingly common to find poorly colored independent films that inadvertently feature sepia-like tones in many scenes. This is almost always a result of poor technique in the color suite — and can scream amateur to any audience with a trained eye.

More often than not, this issue is a result of pushing too much warmth into an image while color grading (in the shadows, mids, and highlights) and then desaturating the image afterwards — usually in an attempt to offset the overdone color work. This is a perfect recipe for a sepia look (if that’s what you’re going for) but a very poor approach to adding warmth to your image in a more general sense.

In order to achieve a more natural warm look in your shots (without completely draining your footage of any other tones or colors) these are the steps you need to take:” – Noam Kroll | Premium Beat

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Hemlock Grove Behind the Scenes Werewolf Transformation

What is lurking within the city limits of Hemlock Grove? Werewolf transformations of course!

Netflix has released an all-new exclusive clip showcasing the behind-the-scenes of this fan-favorite moment of Season two! The clip features new Season two executive producer/showrunner Charles “Chic” Eglee  as well as cast members Landon Liboiron and newcomer Madeline Brewer discussing how these special effects came to life!

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DaVinci Resolve 12.2 Now Available!

The Blackmagic Design DaVinci Resolve 12.2 update adds support to the latest color science tech, H.265 QuickTime files on OS X, and more, plus it’s free.

What’s new in DaVinci Resolve 12.2

  •     Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on OS X
  •     Support for HDR Hybrid Log Gamma using Resolve Color Management
  •     Inclusion of Hybrid Log Gamma conversion LUTs
  •     Updated ST 2084 HDR color science
  •     ACES IDTs for Canon C300 MkII clips
  •     Import support for NewBlue Titler Pro titles using Media Composer AAF sequences
  •     Reveal in Media Storage now supports mattes
  •     ProRes 4444 with alpha channel now defaults to straight mode
  •     Power Window opacity and invert settings are now retained when converting to Power Curve Windows
  •     Improved QuickTime render performance on Linux

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