In this tutorial, Graham Quince uses Video Copilot Orb, CC Particle World, Turbulent Displace, Vector Blur and CC Radial Blur to create a 3D comet.
In this tutorial I use Video Copilot Orb, CC Particle World, Turbulent Displace, Vector Blur and CC Radial Blur to create a 3D comet.
My use of Turbulent Displace is probably a little controversial, in that I use it to distort Orb’s perfect sphere. Obviously if you have Video Copilot’s Element 3D you’d use that instead, but if you don’t have any extra money then I think this is a more practical option than making a rock in Cinema4D Lite.
I also take a look at creating a 2D version you would see in the sky.
I also need to thank Comet Neowise for making comets news-worthy in July 2020. Great timing!
By building this entirely in Adobe After Effects, I was also able to make a 360 version just for fun. If you have any VR set up that can play YouTube 360 videos, then you can check it out here:
VR / 360 / Google Cardboard: https://youtu.be/7Kk0-QoWvFM
In need of high end, Hollywood sounding swishes, impacts and other great sounds? You know, the same sound effects traditionally found in high end movie trailers and promos? Let Creative COW Contributing Editor Stephen Smith point you towards a must have sound effects album, Designer Sound FX.
You may have great storytelling chops, but it doesn’t matter if you can't help your client tell theirs. Nobody knows this better than Rob Shore, who began his filmmaking career in 2005, honing his skills as a creative director with an in-house video team in Washington D.C. before establishing his own video production company, Picture This Productions in 2015. Adobe's Eric Philpott spoke to Rob about the challenges of storytelling when it’s someone else’s story.
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To an editor/creator, there is nothing more frustrating than a timeline that won’t respond quickly when scrubbing or one that won’t play in real time. Join Adobe's Dave Helmly for an inside look at how their UI designers came up with color and badge indicators on the Timeline to give you that “over the shoulder” view of how Premiere Pro is reading the formats and what kind of performance you should expect.
Editing video is a creative task, observes Adobe Senior Product Marketing Manager Eric Philpott. Yet most tutorials skew toward the practical functions of the software, with less emphasis on the art of storytelling itself. Read on to learn how you can raise your creative editing game in five daily challenges hosted online at Adobe Live, happening the week of August 17-21. Hosted by Adobe's Jason Levine, you'll download free assets to help learn the specifics of multicam editing, color grading, repurposing your work for social sharing, and much more, followed by sharing your results online and talking about the process with other editors.
Following the huge response to parts one and two of independent filmmaker Cody Pyper's Adobe Photoshop and After Effects tutorial series, "Put Yourself In Any Movie!", here is the truly EPIC series finale, which is the most complete single keying tutorial we've ever seen. It's all here, including Red Giant's Primatte Keyer, Premiere Pro's Lumetri Color Panel, AE's Keylight filter, everything you need to know about curves and levels, realistic blurs, shadows and VFX, and more! Did we mention that this is epic? EPIC!
"What’s the best system for Premiere Pro and After Effects?" This is a question that any editor or content creator has to go through every few years as technology changes. Dave Helmly is the Head of Strategic Development for Professional Video - Broadcast at Adobe, and gets asked this question almost daily by broadcast IT departments, filmmakers, and YouTubers. Before laying out the answers about the right system for you, Dave lays out the additional questions that you need to ask first.