Last week, we began reviewing the Trapcode Suite 13 from Red Giant. Today we continue on with our journey within the Trapcode Suite. If you missed part one you can go back here to catch up. (Trapcode Suite Part 1).
TrapCode MIR 2.0
Trapcode MIR 2.0 works within After Effects, to give you the tools to create 3D surface, terrains, and wire effects. Trapcode MIR can also tap into Adobe After Effect’s 3D Camera and lights to seamlessly integrate with motion graphics and effects.
Trapcode MIR has slew of new features. Performance has been optimized and enhanced for 3 times the rendering speed and much improved VRAM management. This will be huge benefit for users who are upgrading, and new users.
The user interface is always where Red Giant shines. Trapped Mir provides you with customizable controls over Geometry, Fractal , Shader, Material , Texture, Reaper, and Visibility. All of these have drop down menus, that allow you change just about any feature. This frees up your mind to create your desired visual effect. In just a few moments, I was able to begin creating a a red alien background. I was amazed at how intuitive Trapcode MIR really felt.
Trapcode MIR has the ability to seamless loop fractal based backgrounds. This makes animating loops for vfx much easier than before. Fractals have been upgraded to feature Z-Range, which allows you to control the displacement minimum and maximums. This is useful for creating craters on the moon, or mountain ranges on an alien planet. Fractals can also be set to either Regular, Multi, SmoothRidge, Multi SmoothRidge for varying displacements of the mesh. The results greatly change the way your graphics look.
Trapcode MIR 2.0 has so much potential, it almost need an entire tutorial and review series. However, any seasoned Graphic / VFX artist will be off and running in no time. I was amazed at how simple it was to begin working without a heavy VFX background.
Trapcode Shine has been now updated to feature 3D light rays and the rays are 3D camera aware, meaning you can create stunning light rayed titles. There are 35 fully customizable presets within Trapcode Shine 2.0.
The user interface within After effects provides you with controls to control the the light rays source point, length and color. Trapcode Shine makes adding light almost any scene, incredibly easy. I was able to quickly add sunlight to a other wise gloomy cloudy day in matter of moments.
Trapcode Lux allows you to create 3D volumetric spot lights sources for within a scene. The effect is fully AE 3D camera-aware, and is customizable with control over intensity, falloff, and reach.
Trapcode Lux really works well when you need to create spot lights, or create light source points for text graphics of titles. Working with both Trapcode Shine and Trapcode Lux, allows you to create light vfx for just about any scene. Music video editors world really benefit from this, or filmmakers that need more spotlights for night club scene.
Trapcode 3D Stroke
Trapcode 3D Stroke provides tools for a motion graphic artist that works heavily in animated logos, and effects. Lines can be created to glow and taper through a 3D workspace.
Creating a logo within After Effects using Trapcode 3D Stroke proved to be very easy. There are several presets to choose from that are all customizable. Trapcode 3D stroke takes advantage of the camera to create lines drawn on to your footage to create the logo you require. The lines can also be changes by thickness, feather, taper and can even have some motion blur for better results.
Trapcode 3D Stroke allows you to create line paths from simple to the more complex and animate 3D shapes. Trapcode 3D Stroke also supports Adobe Premier Pro.
Coming Soon Part 3 of my review of Trapcode Suite 13