FAST & Easy 3D Titles in After Effects, using AE controls (no new interface to learn)…Reflection mapping…3D Transparency…3D Displacement mapping…and let's not forget hardware rendering. Oh yeah, did I mention that it is FAST?
ShapeShifter AE has it all. Done deal. So that's the end of my review. Send the good folks at Mettle an e-mail and get yourself a demo copy of ShapeShifter AE, and make sure that you duct tape your jaw because it may drop on the floor.
Seriously now, you may be wondering, what does this plug-in compare to? I simply can't compare ShapeShifter AE with any other product out there because it would just not be fair. Fact of the matter is there's nothing that compares with it in combining these three areas:
- Speed (hardware rendering - check the recommended GPU's on mettle.com)
- Ease of use (no new interface to learn - all familiar AE controls)
- Flexibility (from 3D titles that use AE animated presets to particle generator using simple shape layers on anything with an alpha)
Imagine creating a 3D title in AE, checking out a few variations of depth and bevels how long would that take you? Now imagine the client wants to check out 10-15 fonts and about as many animation options, all in 3D, with reflection mapping and, cherry on the cake, maybe, possibly a change of focus along the titles how long would that take?
Now you could do all these on the fly with ShapeShifter AE.
Besides text + animation presets that ship with AE, you can use AE Shape Layers, Layer Masks, eps files, solids and imported images or movies with an alpha channel. Couple this with the built-in Generator and you can rest assured that many late nights of exploring the possibilities with SSAE are in your future. This plug-in is just a joy to work with!
Create DNA Strands quickly and easily:
ShapeShifter AE | Particular | DNA Strand by Mylenium
Use Presets that ship with AE. Presets like Pixelstorm:
ShapeShifter AE | AE Pixelstorm
Jazz up your title sequences quickly and easily:
ShapeShifter AE | Fierce Angel | Phil Bearman
A few more details worth mentioning:
- Hardware rendering
- Reflection mapping
- Depth Maps
- Animateable Deformation Lattice
- Bend, Bulge and Twist deformers via sliders
- 3D Transparency
- A built-in Generator
SSAE works with AE lights and cameras. Its Material Controls mimic those of an AE 3D layer, making for a tight integration into AE.
There is a 3D transparency option that will not increase render times in a significant way. This is amazing, as this would choke most dedicated 3D engines out there. The displacement mapping rivals and betters most full 3D apps, and is also generated on the fly. One last thing, the 3D distortion controls and deformation lattice are intuitive and can be animated.
To summarise, I consider ShapeShifter AE a tool worth having, with unrivalled speed and features that will save you lots of time and keep your clients happy. You must see for yourself how great this plug-in is to work with.
|Related Articles / Tutorials:|
Freeform Pro Gener8tor
In this tutorial we'll take a look at the generator functions in Freeform Pro and do things that could never be done in After Effects before. At the end, you can take the finished project file and make totally original in a few clicks. Feel free to ask questions!
Tutorial, Video Tutorial
FreeForm Pro: Setting new standards in After Effects for 3D Compositing & Visual Effects
"FreeForm Pro runs in its own proprietary 3D engine, and it is most definitely 3D," says Tudor "Ted" Jelescu. "FreeForm Pro uses Adaptive Tessellation, true 3D displacement, Reflection Mapping, and Renders Depth Maps for use with other plug-ins, like Trapcode's Particular and Frischluft's 'Lenscare'". Read for more information and Tudor's first-hand experience with this amazing product powered by Mettle.
|Recent Articles / Tutorials:|
Art of the Edit
TV Workflow Supervisor Kylee Peña: The Benefits of Pressure
TV workflow supervisor Kylee Peña (Jane the Virgin, Colony) visits Adobe's "Make It" talk show to chat with host Jason Levine about the evolution of motion picture workflows, from the days of film and tape to our modern digital world of crazy-high shooting ratios and constantly evolving technology. She also expounds on the upside to creative constraints and tight deadlines. And don’t miss the lightning round!!!
Feature, People / Interview
Grading The LEGO Batman Movie: Animal Logic and FilmLight
Following successful collaborations on The Matrix, Legends of the Guardians, and Happy Feet, Sydney's Animal Logic worked with Warner Bros on The LEGO Movie from pitch to proof of concept to post. Animal Logic has gone even further on the latest LEGO animated feature, The LEGO Batman Movie, where they were embedded with the production for over a year. The range of their work pushed every aspect of the Baselight system for editorial, VFX, and HDR not just for post, but for the entire production process.
An Editor's Epic Journey, by Katie Toomey
What do you do when your company folds and there's no local work? Whatever you have to. For Katie Toomey, that meant emptying her savings and heading 2000 miles west to Los Angeles, with no job in hand. The only options were make it or break it. The journey itself was difficult, but the hardest part may have been the only thing that made it all possible: asking for help. This is a truly inspiring story with tons of real-world examples of how to accomplish what feels impossible at the time.
Fairlight + Resolve, Part 1: The DAWn of a Resolved Era
Marco Solorio of OneRiver Media gives an introductory overview to the rebirth of the Fairlight digital audio workstation (DAW) that is now part of Blackmagic Design’s powerful DaVinci Resolve post-production system. Is this finally the solution to break away from the Pro Tools stronghold?
Review, Editorial, Feature
Bob Zelin's NAB Show, Take 2017
Longtime broadcast engineer, facilities designer, and workflow consultant Bob Zelin has been attending the NAB Show for years, and his legendary write-ups have gone to unparalleled lengths to bring you hidden gems from every corner of the floor. Bob is taking a slightly different approach this time, as he views the specifics through the lens of trends that have been emerging for quite some time, now bearing fruit in 2017. Sit back and enjoy another real-world, hype-free, anything-but-objective ride through the industry's biggest week of the year.
Guardians of the Galaxy Vol 2: Behind the Scenes with RED
Anticipation for Guardians of the Galaxy Vol. 2 was already heated up when director James Gunn announced that it was to be the first feature film captured with the RED WEAPON camera using an 8K RED DRAGON VV sensor. In this marvelous behind the scenes featurette courtesy RED Digital Cinema, James discusses the decision to use the RED WEAPON, and how it played out with director of photography Henry Braham, BSC. Both of them found the combination of the massive sensor and small form factor incredibly compelling, providing them the technology to capture the epic scale of the action, in a package small enough to allow them to get exceptionally close to the scenes of genuine intimacy that are this series' secret weapon. (See what we did there?)