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<p>The use of miniature models in film dates back to 1902 when French filmmaker Georges Méliès used a model rocket for the now-iconic moon landing scene in <a href="https://www.imdb.com/title/tt0000417/">A Trip to the Moon</a>. When Star Wars came out in 1977, the use of miniature models took the grand ideas of George Lucas and made them a reality.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1024x792/f2c56e2943/a-trip-to-the-moon-le-voyage-dans-la-lune-34e45f-1024-1.jpg" alt=""></p>
<p>Today's tutorial is intended to help VFX Supervisors, compositors, and filmmakers understand the process of shooting with miniatures on a green screen. We use a miniature and VFX collections like <strong><a href="https://www.actionvfx.com/collections/windy-snow-stock-footage">Windy Snow</a></strong> and <strong><a href="https://www.actionvfx.com/collections/free-snow-fx-stock-footage">free snow FX</a></strong> to create a Star Wars-style shot of the Millennium Falcon in Nuke and Unreal Engine.</p>
<p><strong>You'll learn:</strong></p>
<ul>
<li>How to shoot miniatures for the best result in post</li>
<li>What to look out for when compositing miniatures</li>
<li>How to composite miniatures in a CG environment</li>
<li>How to create a realistic CG environment in Unreal Engine (using <a href="https://quixel.com/">Quixel</a> assets)</li>
<li>Creating accurate textures and shadows on the miniature</li>
<li>Realistically compositing the live-action and CG footage in Nuke</li>
</ul>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/aeE7nokr07U" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p><strong>ActionVFX Assets Used:</strong></p>
<ul>
<li><a href="https://www.actionvfx.com/collections/windy-snow-stock-footage">Windy Snow</a></li>
<li><a href="https://www.actionvfx.com/collections/free-snow-fx-stock-footage">Free - Snow FX</a></li>
<li><a href="https://www.actionvfx.com/collections/free-snow-textures-stock-footage">Free - Snow Textures</a></li>
<li><a href="https://www.actionvfx.com/collections/ice-and-frost-stock-footage">Ice &amp; Frost</a></li>
<li><a href="https://www.actionvfx.com/collections/atmospheric-smoke-fog-stock-footage">Atmospheric Smoke &amp; Fog Vol. 1</a></li>
<li><a href="https://www.actionvfx.com/collections/atmospheric-smoke-fog-vol-2-stock-footage">Atmospheric Smoke &amp; Fog Vol. 2</a></li>
<li><a href="https://www.actionvfx.com/collections/steam-jets-stock-footage">Steam Jets</a></li>
</ul>
<p>If you found this tutorial helpful, help us on our road to 150K subscribers on YouTube!</p>
<p><strong><a href="https://www.youtube.com/@ActionVFXofficial">Subscribe on YouTube</a></strong></p>


Learn the pre-shoot, on-set, and compositing stages of a Star Wars shot using miniatures, Nuke, and Unreal Engine.

Miniatures in Production & Compositing (ft. Star Wars)

<p><strong>NO SPOILERS!</strong></p>
<h2>Why Environment Matters</h2>
<p>The Upside Down is a great example of how <a href="https://www.actionvfx.com/blog/how-to-composite-atmospheric-smoke-fog">environment</a> VFX can impact the tone of a story. Across all five seasons of <em>Stranger Things</em>, the Upside Down is one of the most iconic environments of any show I can think of. It &quot;<a href="https://www.netflix.com/tudum/articles/the-secrets-behind-designing-the-multiverse-of-stranger-things">looks like your worst nightmare</a> — but also mind-bendingly mirrors the characters’ reality.&quot;</p>
<p>The team built the Upside Down with a mix of practical FX and a lot of VFX. Here's CoSA's breakdown from Season 1:
<iframe width="560" height="315" src="https://www.youtube.com/embed/pO9d0q_Agw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p>(P.S. The VFX artists had some help from ActionVFX in later seasons!)</p>
<p>In this After Effects tutorial, Danasa teaches how to <a href="https://www.actionvfx.com/blog/how-i-recreated-dune-part-two-vfx-in-my-at-home-studio">creatively combine practical VFX elements</a> to build an environment inspired by the Upside Down.</p>
<h2>Tutorial Resources</h2>
<p>You can follow along for free by downloading the project files <strong><a href="https://cms.actionvfx.com/rails/active_storage/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBBcndJIiwiZXhwIjpudWxsLCJwdXIiOiJibG9iX2lkIn19--08b8a1e2acfe5f3f6ebbccb20e15a8f3ef389f4f/Upside%20Down%20Project%20Files.zip">here</a></strong>.</p>
<p>What's included:</p>
<ul>
<li>Background plate</li>
<li>Assets from <a href="https://www.actionvfx.com/collections/smoldering-surfaces-stock-footage">Smoldering Surfaces</a></li>
<li>Assets from <a href="https://www.actionvfx.com/collections/air-particles-stock-footage">Air Particles</a></li>
<li>Assets from <a href="https://www.actionvfx.com/collections/atmospheric-smoke-fog-vol-2-stock-footage">Atmospheric Smoke &amp; Fog Vol. 2</a></li>
</ul>
<h3>Collections Used:</h3>
<ul>
<li><a href="https://www.actionvfx.com/collections/smoldering-surfaces-stock-footage">Smoldering Surfaces</a></li>
<li><a href="https://www.actionvfx.com/collections/free-burn-mark-textures-vol-1-stock-footage">Free - Burn Mark Textures Vol. 1</a></li>
<li><a href="https://www.actionvfx.com/collections/atmospheric-smoke-fog-vol-2-stock-footage">Atmospheric Smoke &amp; Fog Vol. 2</a></li>
<li><a href="https://www.actionvfx.com/collections/air-particles-stock-footage">Air Particles</a></li>
<li><a href="https://www.actionvfx.com/collections/foreground-smoke-fog-stock-footage">Foreground Smoke &amp; Fog Vol. 1</a></li>
</ul>
<h2>What You'll Learn:</h2>
<ul>
<li>How to use <strong>Nodal pan camera tracking</strong> to composite elements into the shot</li>
<li>How to create glowing portal FX</li>
<li>How to add floating atmospheric particles in post</li>
<li>How to create fake vine FX using <a href="https://www.actionvfx.com/blog/three-practical-uses-for-noise-the-swiss-army-knife-of-vfx">fractal noise</a></li>
</ul>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/iKo7NGaeBOY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p>If this was helpful, be sure to <strong><a href="https://www.youtube.com/@ActionVFXofficial">subscribe to our YouTube channel</a></strong> and hit the notification bell so you don't miss any tutorials!</p>


In this tutorial, you'll learn how to combine VFX assets to create an environment like the Upside Down in Stranger Things.

Stranger Things Upside Down Environment VFX | After Effects Tutorial

<p>The Nuke you know is evolving  and Nuke 17 is shaping up to be one of the biggest updates for 3D compositors in years. The Foundry has rethought how artists work inside the 3D environment, introducing a new level of control, speed, and integration. From USD import tools to motion blur tailoring and real-time material projection, this version isn’t just an upgrade, it’s a serious workflow shift.
And yes, we’ve already been testing it.</p>
<h3>A New Era for 3D in Nuke</h3>
<p>One of the most exciting aspects of Nuke 17 is how it reshapes 3D scene management. The GeoNode ecosystem, now out of beta, gives artists powerful tools to work with USD and Alembic files natively in Nuke. From import to refinement, the process is smoother, more visual, and customizable.
Need to isolate a mesh, apply a change, then reapply global tweaks? Use the new GeoMask and GeoClearMask nodes to surgically apply modifications without turning your script into spaghetti. Plus, thanks to the scene graph filtering, you can quickly select, isolate, or re-import elements based on your evolving needs — perfect for large, multi-pass workflows.
This directly supports artists who work with complex model-based assets, like those in our Humvee Collection, which was used in this walkthrough to demonstrate the update’s flexibility.</p>
<h3>Lighting and Cameras That Actually Behave</h3>
<p>Nuke 17 introduces streamlined support for camera and light data, both of which can now be pulled directly from your USD scene with a few clicks. This is made possible by the GeoImport system, which automatically populates camera and light values into Nuke, cutting down setup time significantly.
Better still, the lights now show up visually in the 3D viewer with color-coded interfaces, making it easy to tweak, identify, and balance them without diving through metadata. Reflection and visibility issues can be corrected with basic shader overrides, a big win for realism, especially when compositing real-world fire, explosion, or surface interaction footage.</p>
<h3>ACES 2.0 &amp; TBI Upscaler: Faster, Smarter, Sharper</h3>
<p>Color management gets a lift with <strong>ACES 2.0 now supported natively</strong>, giving studios working in HDR and wide color gamut a stronger baseline. The updated TBI scaler also unlocks faster image upscaling, boasting 98x GPU and 26x CPU performance improvements. These aren’t just impressive benchmarks, they translate to real-time playback and faster client approvals.</p>
<h3>Hello Ray Depth.</h3>
<p>Need to parent a digital card to a moving 3D object (like attaching smoke to a vehicle exhaust)? The new <strong>GeoTransform</strong> and <strong>GeoConstrain</strong> nodes let you snap to mesh vertices and bake or preserve animation. Whether you're tracking ActionVFX assets into your scene or anchoring digital dust trails to a destruction sim, these tools give you options. You can now iterate without redoing setups every time an animation changes.</p>
<h3>MaterialX Support &amp; Future-Proofing</h3>
<p>While still in beta, the early MaterialX integration gives Nuke a clearer future in modern DCC pipelines. You can now bring in Autodesk standard shaders directly into Nuke, which is a strong move for teams working between Maya and Nuke, especially for previews, look-dev, or quick material testing.</p>
<h3>Tailored Motion Blur</h3>
<p>Scanline Render also got an upgrade. You can now apply selective motion blur, adjusting which objects receive blur, how much, and how it’s calculated. This is huge for precision in fast-cut sequences or stylized shots where control matters more than realism.</p>
<h3>Watch Our Hands-On Nuke 17 Review</h3>
<p>Want to see these features in action?
We walked through the Nuke 17 beta using real assets from our <strong>Humvee</strong> collection to show exactly how the new tools work in a production-style comp. From scene graph filtering to practical lighting integration, it’s all in there.
Watch the full review here and see how Nuke 17 performs where it matters most: inside a real shot.
<iframe width="560" height="315" src="https://www.youtube.com/embed/vFT6DBGP7FY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h3>Ready to Try It?</h3>
<p>The public beta for Nuke 17 is out now. Download it, experiment, and see how it changes your workflow.
And if you’re looking for assets that let you make the most of these new tools, you’ll find everything from fully 3D vehicles to multi-light practical fire, damage overlays, and AI-ready source clips in the ActionVFX library.
Build your scene faster with studio-grade assets → <a href="https://bit.ly/BF_Products">Explore the Library</a></p>


Get a first look at Nuke 17’s biggest features

Nuke 17 review

Nuke 17 Beta Is Here! 

<p>If you’ve ever tried converting VFX elements into game-engine-ready assets, you know it can be… painful.</p>
<p>That’s why DJ from Undertone FX teamed up with ActionVFX to streamline the entire process. This video <a href="https://youtu.be/hbqYcgj1ZCY?si=8g_luchDNphBwwMA">tutorial </a>walks through how to take high-quality ActionVFX stock footage, like our Dirt Blasts collection, and turn them into clean, optimized flipbooks ready for Unreal Engine.</p>
<p><strong>Spoiler:</strong> We have a <a href="https://bit.ly/47swKuT">After Effects template</a> that does the heavy lifting.</p>
<p>It starts with importing your ActionVFX element — in the tutorial, DJ uses an asset from our Dirt Blasts collection, but the process works for any of our elements. From there, he walks through a smart technique for fading the edges of the VFX using a noise-based mask and gradient ramp. This isn’t just a visual polish; it prevents your flipbook from creating distracting hard edges when rendered in-engine.</p>
<p>Every frame of the element is also carefully centered to ensure that when it’s triggered in Unreal, it feels grounded and accurate. DJ explains how to make subtle alignment shifts so the core of the explosion hits exactly where you need it in gameplay — which makes a real difference in how immersive the final result feels.</p>
<p>Ground removal is handled with clean matte passes and masks, making it easy to isolate only the parts of the effect you need. Once everything’s isolated and cleaned, DJ moves on to scale and resolution — breaking down how to match your comp to power-of-two dimensions like 2048x1024, which are optimal for game engine integration. This keeps assets consistent and optimized across production.</p>
<p>And then comes the part most artists dread: building the actual flipbook. But with the included After Effects template, this step is already automated. With built-in expressions, your sequence is automatically split into frames — 64, 128, 256, whatever fits your needs — and laid out in a clean tile grid. No spreadsheets. No hand-editing frames.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/8192x8192/fed9ae8175/actionvfx-in-unreal-engine.jpg" alt=""></p>
<p>The <a href="https://youtu.be/hbqYcgj1ZCY?si=8g_luchDNphBwwMA">tutorial</a> even covers how to generate a normal map for your asset using AE plugins — a huge bonus if you’re trying to add lighting and realism in-engine. Whether you’re outputting for mobile or cinematic games, this workflow gives you a system you can reuse and scale.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/hbqYcgj1ZCY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p>If you’ve been sitting on a library of great VFX assets but haven’t had time to convert them into usable flipbooks, this is the shortcut you’ve been waiting for. Whether you’re building your own internal library or prepping for live engine use, this process is faster, cleaner, and easier to control and it works beautifully with any ActionVFX clip.</p>
<p>We built this template so that you can get right to the creative part, without sacrificing quality or wasting time.</p>
<h3>Ready to build your own?</h3>
<p><a href="https://bit.ly/47swKuT">Download the free After Effects template</a> today and start converting your ActionVFX assets into game-ready Unreal flipbooks.</p>
<p>Want something pre-built? You can also find flipbook-ready collections on our <a href="https://bit.ly/3WFW7mM">Unreal Fab Store</a>.</p>
<p>Explore. Create. And start building VFX that feel like they were made for your engine, because now, they are.</p>


Turn ActionVFX elements into Unreal Engine flipbooks with our free After Effects template.

Create Realtime FX with Practically Filmed Assets

A step-by-step workflow for VFX footage into flipbooks for real-time production in Unreal Engine.

<p>In our latest tutorial, we break down practical techniques for compositing blood that actually feels grounded — whether it’s on walls, floors, props, or people. If you want your scene to hold up in motion and match the lighting and texture of the environment, these are the tricks you’ll need.</p>
<p>And yes — you’ll want to <a href="https://youtu.be/pqgueXVnspQ">watch the full tutorial</a>. But here are some key insights to get you started.</p>
<h3>1. Choose The Right Assets</h3>
<p>Not all blood elements are created equal.
If you’re using static textures or low-res clips, your shot will always feel flat.</p>
<p>ActionVFX blood assets are high-resolution and constantly moving, which means they ripple, spread, and distort in realistic ways. Whether you’re using pools or sprays, this movement is key to selling the effect — especially in slow motion or high-action sequences.</p>
<p>Looking for maximum flexibility? Go for the EXR collections, which offer:</p>
<ul>
<li>
<p>Lighting passes for realistic integration</p>
</li>
<li>
<p>Greater control over highlights and shadows</p>
</li>
<li>
<p>Scale flexibility without losing quality</p>
</li>
</ul>
<h3>2. Use the Right Color Space</h3>
<p>This might seem basic, but it’s often overlooked.</p>
<p>Each ActionVFX asset collection comes with a listed color space — make sure to match it inside your compositing software (Nuke, After Effects, Resolve, etc).</p>
<p>If you're in the wrong color space, your blood will either clip, crush, or look completely disconnected from the scene. Get this right early and save yourself the grade headaches later.</p>
<h3>3. Match Practical with Digital</h3>
<p>Whenever possible, try to add practical blood to your set — even just small amounts.</p>
<p>Why? Because matching your digital blood to real-world drips or stains helps anchor the effect. You’re no longer starting from a blank surface, you're blending, enhancing, and extending what's already there.</p>
<p>This makes your comp feel more like a clean extension than a bold insert.</p>
<h3>4. Integrate Lighting, Not Just Color</h3>
<p>Blood is reflective. It catches highlights. It shifts with ambient tone.</p>
<p>To push your realism, use lighting passes (available in EXR formats) or create your own with blend modes.
Here’s how:</p>
<ol>
<li>Duplicate your blood layer</li>
<li>Tint it with a soft red-orange glow</li>
<li>Add a wiggle expression to opacity</li>
<li>Set the blend mode to Add or Linear Dodge</li>
</ol>
<p>This gives your blood subtle specularity that responds to the light source, making it feel like it’s really on the surface, not floating above it.</p>
<h3>5. Break It Up — Avoid the “Sticker” Look</h3>
<p>Too often, blood elements are just slapped onto a surface with no integration.
To avoid that, try these:</p>
<ul>
<li>Use corner pinning to follow floor or wall angles</li>
<li>Add subtle warp/deform effects for pooling behavior</li>
<li>Mask edges with soft feathering and real-world grime</li>
<li>Match grain and motion blur to your plate</li>
</ul>
<p>Even better: use ActionVFX assets filmed from multiple angles, so you can pick the one that fits your shot’s perspective.</p>
<h3>Want to See It in Action?</h3>
<p>We cover all of this in the full tutorial, using blood pool elements, camera-tracked surfaces, and lighting passes to build a clean, believable composite from start to finish.</p>
<p>🎥 Watch the full tutorial now:
<iframe width="560" height="315" src="https://www.youtube.com/embed/pqgueXVnspQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h3>Enter the Goremania Giveaway</h3>
<p>While you’re here — don’t miss Goremania.
You could win the ENTIRE <a href="https://bit.ly/40etbW0">Blood &amp; Gore Category</a> plus $100 in ActionVFX store credit</p>
<p>Every action you complete earns you more entries.
Plus: all gore assets are 20% off for the entire month of October.
🎯 Enter now → https://bit.ly/goremania_part2</p>
<p>Want your shot to feel brutal, cinematic, and completely unskippable?
Start with smart compositing. And always choose the assets that hold up under pressure.</p>
<p><strong>#MadeWithActionVFX</strong></p>


Pro tips for realistic blood compositing in VFX—lighting, integration, and asset choice that sells the shot.

How To Composite Blood Like A Pro (Without the Mess)

Creating believable blood in VFX is about how you treat it in the shot.

<p>Creating realistic fire VFX doesn't have to mean expensive simulations or endless render times. With the right assets — and the right approach — you can build cinematic fire entirely in post. And if you’re just getting started or want a testbed to practice your comp, the <a href="https://bit.ly/3AAwUlL">ActionVFX Practice Footage Library</a> is a great place to start.</p>
<p>These free, production-style plates let you hone your skills on real-world footage without the licensing headaches — and they’re perfect for testing fire composites, light interactions, and scene-building workflows.</p>
<p>Now let’s break down what makes fire believable — and how to make it work in your shots using only ActionVFX stock elements.
<a href="https://youtu.be/lL2iH9TjNVw?si=nLnk-9iCv5nztVqk">Watch Full Tutorial</a> For Support.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/4096x2160/722505ce95/pf0086-01_clip-1_bmdgen5_4k-5-36-53-16.jpg" alt=""></p>
<p><a href="https://www.actionvfx.com/collections/man-crawling-in-burning-room">Download The Practice Footage</a></p>
<h3>1. Skip the Sim — Use Real Fire Footage</h3>
<p>Simulations can be time-consuming and unpredictable. If you’re working solo or on a tight deadline, pre-keyed fire footage saves you hours of work — and arguably delivers a more realistic result. That’s because these elements were captured in-camera, under real lighting, with natural physics baked in.</p>
<p>ActionVFX fire bursts, ground fire, embers, and smoke layers build a multi-depth composite. Real fire footage doesn’t just look better, it behaves better.</p>
<h3>2. Start With a Solid Camera Track</h3>
<p>This is crucial. If your scene has camera movement — especially handheld — a 2D planar track isn’t enough. Fire needs to move with the environment. In this shot, the artist used a full 3D camera solve via SynthEyes, but most software (After Effects, Blender, Nuke, Resolve) has built-in 3D tracking tools.</p>
<p>The goal is to lock your fire to the world, not the frame. Even slight parallax issues will break the illusion.</p>
<h3>3. Roto Your Foreground — It’s Worth It</h3>
<p>Even if you’re not doing face replacement or keying, rotoscoping is essential in fire composites. Without it, your flames sit awkwardly on top of the subject, destroying the depth of your scene. In this tutorial, the subject was rotoscoped using a simple mask — enough to let fire elements slip behind and “live” inside the shot.</p>
<p><strong>Pro tip</strong>: keep your roto loose if the fire is fast-moving. It adds to the realism and saves time.</p>
<h3>4. Relight the Subject — This Is What Sells It</h3>
<p>This is where most fire composites fall apart — the fire is there, but the subject doesn’t react to it. Real fire is dynamic. It flickers, it wraps, and it casts light that moves. If your character isn’t being lit by the flames, the whole illusion breaks.</p>
<p><strong>How to do it?</strong>
First, the footage was brought into DaVinci Resolve Studio, where a Depth Map was generated to isolate the subject from the background.</p>
<ol>
<li>
<p>Using that depth information, the scene was exported as two relight maps — one from the left and one from the right — to simulate firelight wrapping around the actor.</p>
</li>
<li>
<p>Back in After Effects, each relight map was placed above the footage and set to Add blend mode.</p>
</li>
<li>
<p>Each layer was tinted with a warm fire hue (orange/yellow) to match the flame source.</p>
</li>
<li>
<p>Then a wiggle expression was applied to the opacity, simulating the chaotic, unpredictable flicker of real fire.</p>
</li>
</ol>
<p>This technique creates a reactive lighting effect that behaves more like practical on-set fire — shifting intensity and casting realistic color back onto the actor. It also allows you to control the timing and behavior of each light pass independently, adding nuance and depth.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/4096x2160/da3a589628/pf0086-01_clip-1_bmdgen5_4k-5-36-53-16-trer.jpg" alt=""></p>
<h3>5. Don’t Skip the Glow Pass</h3>
<p>This technique adds depth and scale. In the example, the artist uses a soft, warm glow just behind the masked subject to simulate light spill and ambient fire bloom.</p>
<p>It anchors the fire to the environment and makes it feel like it’s really pushing out light and heat.</p>
<h3>6. Distortion, Sparks, and Smoke — Fire’s Real Behavior</h3>
<p>To go beyond just “looking hot,” your fire composite needs environmental reaction.
In this shot, that includes:</p>
<ul>
<li><strong>Heat distortion</strong>: subtle warp to mimic rising heat</li>
<li><strong>Floating embers</strong>: drifting sparks give a sense of atmosphere and movement</li>
<li><strong>Smoke layering</strong>: softens edges and fills the volume</li>
</ul>
<p>Use distortion sparingly — too much can ruin your plate — but it’s essential for high-heat shots.</p>
<h3>7. Match Your Grade (Then Grade It Again)</h3>
<p>Trying to force each fire clip to match your plate can lead to inconsistency. Instead, build your composite first — fire, glow, light, smoke, distortion — then apply a unified color grade on top.</p>
<p>This brings everything into the same color space, simulates lens behavior, and helps your composite feel like one shot, not layers stacked together.</p>
<h3>Assets Used</h3>
<p>Every element in this shot came from ActionVFX:
🔥 <a href="https://bit.ly/46woqtQ">Fire Bursts</a>
🔥 <a href="https://bit.ly/46woqtQ">Ground Fire</a>
💨 <a href="https://bit.ly/3dDQhiJ">Smoke Plumes</a>
✨ <a href="https://bit.ly/3edgULF">Embers &amp; Sparks</a>
🌫 Heat Distortion Overlays</p>
<p>Whether you're in Nuke, After Effects, DaVinci Resolve, or Blender, these assets are drag-and-drop ready — built to integrate seamlessly with your workflow.</p>
<h3>Watch the Full Breakdown</h3>
<p>Want to see how this all comes together in action?
<a href="https://youtu.be/lL2iH9TjNVw?si=nLnk-9iCv5nztVqk">Watch Now</a>
We’ve put together a complete tutorial walking through every step — from 3D camera tracking to glow passes, heat distortion, and fire relighting using ActionVFX assets.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1280x720/6b0261a5f3/makefirevfxlookreal.jpg" alt=""></p>
<p>🔥 No simulations. No guesswork. Just practical, repeatable fire compositing that works.
👉 <a href="https://youtu.be/lL2iH9TjNVw">Watch the Tutorial Now</a> and start building better fire shots today.</p>


Discover how to build realistic fire scenes using VFX footage — no simulations needed. Learn tracking, relighting, glow, and distortion techniques in our latest tutorial.

Creating Realistic Fire Using VFX Stock Footage

Learn how to composite fire that feels real, all using ActionVFX assets.

<p>AI isn’t coming for the VFX. It’s already here.
And for artists who want to stay relevant, competitive, and creatively in control, it’s time to stop watching from the sidelines and start integrating it into your workflow.
That’s exactly what our new ActionVFX Academy course is built to help you do.</p>
<p><strong>Intro to ComfyUI for VFX</strong>
<a href="https://bit.ly/3IR8kBm">Sign-up Now for Early Bird Discount of 30% Off! </a>
Exclusively on ActionVFX Academy.</p>
<h3>This Isn’t Just Another AI Tutorial</h3>
<p>We’ve seen the YouTube thumbnails and the “prompt-to-magic” hype.
**That’s not what this is. **
This course is for compositors, technical artists, and VFX pros who care about real production quality, and want to understand how AI can support that work without replacing the fundamentals.
Taught by <strong>Doug Hogan</strong>, this is a structured, 15-module deep dive into ComfyUI — one of the most powerful AI tools in the VFX space right now. Whether you’re using it for lookdev, matte creation, clean plates, set extensions, or asset generation, this course gives you a repeatable, practical workflow that’s ready to plug into real-world shots.</p>
<h3>What You’ll Actually Be Able To Do After This Course</h3>
<p>By the end of the course, you’ll be able to:</p>
<ul>
<li>Install and configure ComfyUI for your local or cloud environment</li>
<li>Build and troubleshoot image generation workflows from scratch</li>
<li>Use ControlNets, LoRAs, IPAdapters, and inpainting techniques effectively</li>
<li>Generate usable mattes, clean plates, and utility passes</li>
<li>Extend sets, create stylized variants, and design objects for 3D workflows</li>
<li>Export EXRs properly and upscale images for final output</li>
</ul>
<p>Everything is structured to build a modular, production-ready AI workflow that you can plug into your own projects, no matter the budget.</p>
<blockquote>
<p>AI can’t feel like a slot machine. If we’re covering AI-based workflows, we explain what it’s doing, why it matters, and how to recreate it with confidence.
<em>Doug Hogan, Course Instructor.</em></p>
</blockquote>
<h3>Designed for Artists Who Refuse to Fall Behind</h3>
<p>This course is built for those who need clarity, control, and creative freedom in a rapidly evolving landscape:</p>
<p><strong>VFX Artists &amp; Compositors with Node-Based Experience</strong>
Especially valuable for Nuke users, this course digs into how AI integrates into established workflows—so you’re not left wondering if these tools are gimmicks or game-changers. You’ll learn how to implement them without breaking the visual continuity or pipeline conventions you already rely on.</p>
<p><strong>Students Preparing for a Changing Industry</strong>
Whether you're finishing a VFX degree or pivoting into the field, this course gives you a practical, grounded understanding of AI’s real role in production. You’ll gain insights that go beyond theory, skills studios are already starting to expect.</p>
<p><strong>Supervisors &amp; Leads Looking to Stay Strategic</strong>
If you're exploring where AI fits in your pipeline, this course presents concrete use cases and red flags. Learn how to evaluate tools not just for their novelty, but for how they can support efficiency, quality, and ethical production standards.</p>
<p><strong>Independent Creators &amp; Freelancers Navigating New Terrain</strong>
For those working solo or in small teams, AI can either be a shortcut or a stumbling block. We’ll show you how to use it responsibly and practically: saving time without compromising your voice or values.
If you’ve ever felt like AI tools are a black box of buzzwords and instability, this course pulls the curtain back. We’re teaching exactly how it works, how to use it, and how to know when to use something else.</p>
<h3>Made by Artists.</h3>
<p>We’re a studio-backed team of artists who believe that the more you understand your tools, the better your work becomes. This course is about helping our community stay sharp, confident, and ahead of the curve.
AI isn’t a threat to VFX, misunderstanding it might be. We’re here to bridge that gap, responsibly, clearly, and with full transparency. The more you understand how to use AI, the more you can use it your way.
This is essential core knowledge for artists looking to retool in a rapidly changing industry and unlock some exciting creative possibilities along the way.</p>
<h3>Sign-Up Now</h3>
<p>The full course drops September 2nd, but you can secure your access today.
Whether you’re looking to experiment, retool, or lead your team into the next chapter of VFX workflows, <strong>Intro to ComfyUI for VFX</strong>, is your starting point.</p>
<p><a href="https://bit.ly/3IR8kBm">Sign-up now and get 30% Off</a></p>
<p>Built for artists. Structured for production. Backed by ActionVFX.</p>


Announcing ActionVFX's First Course | Introduction To ComfyUI For VFX

ActionVFX's First Ever Course!

Introduction to ComfyUI For VFX By Doug Hogan

<p>You know that feeling when your smoke asset just sits there like a sad layer on top of your shot? No shadows, no light interaction.</p>
<p>Yeah. I was sick of that too.</p>
<p>Here's how to relight 2D smoke assets in After Effects so it actually reacts to fire. You get real lighting falloff, dynamic shadows, and it doesn’t look like you slapped it on in 30 seconds.</p>
<p>Here’s how you can do it using just two free plugins and a couple free ActionVFX assets.</p>
<p>You'll want to watch the video for a full walkthrough and to get the <em>why</em> behind the techniques I use. But I went ahead and put a summary of each step below so you have that for reference.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/pV8NCLWLefc" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>Step 1: Plugins You’ll Need</h2>
<p>This whole trick depends on two things:</p>
<ul>
<li><strong><a href="https://bit.ly/normal-mapper-for-ae">Normal Mapper for AE</a></strong> (free on aescripts—but I encourage you to donate to the creator)</li>
<li><strong><a href="https://bit.ly/normality-plugin">Normality</a></strong> by Stefan Minning (also free)</li>
</ul>
<h2>Step 2: The Setup</h2>
<p>Everything I used is included with your ActionVFX subscription, but you can also follow along with free assets too:</p>
<ul>
<li><strong><a href="https://bit.ly/4jUWfJ7">Smoke Plume:</a></strong> from the Free Smoke Plumes Collection</li>
<li><strong><a href="https://bit.ly/3SC81fa">Practice Plate:</a></strong> from the Practice Footage Library</li>
</ul>
<p>You can also get the fire asset I used with the code in the video until May 29th, 2025. <a href="https://bit.ly/430OA64">Just input the code here</a>.</p>
<p>I set everything up in After Effects using an ACES workflow. If you're not familiar with ACES in AE, <a href="https://www.actionvfx.com/blog/how-to-use-aces-in-after-effects">we’ve got a separate video walking you through that</a>.</p>
<h2>Step 3: Precomposing the Smoke</h2>
<p>Precomp the smoke layer and call it <strong>Relit Smoke</strong>. From here, there are two ways you can go:</p>
<ul>
<li><strong>Option 1:</strong> Leave all attributes in Master Comp – better for static shots or stationary lights (like a fire).</li>
<li><strong>Option 2:</strong> Move all attributes into new comp – better if you have moving lights (like headlights sweeping across).</li>
</ul>
<p>For this walkthrough, I started with Option 1.</p>
<h2>Step 4: Building the Normal and Depth Maps</h2>
<p>Inside the Relit Smoke comp, duplicate the smoke layer 4 times:</p>
<ul>
<li><strong>Normality</strong> (top)</li>
<li><strong>Depth Map</strong></li>
<li><strong>Normal Map</strong></li>
<li><strong>Texture</strong></li>
</ul>
<p>Each of these layers gets its own treatment:</p>
<ul>
<li><strong>Depth Map:</strong> Invert → Curves → Adjust until clipping shows in the highlights.</li>
<li><strong>Normal Map:</strong> Precomp it, then apply Normal Mapper and crank the strength to 100. Add a Fast Box Blur (~1.2–1.5) to clean up artifacts.</li>
<li><strong>Texture:</strong> Invert → Unmult → Invert again. Then adjust alpha with Curves and add a Tint to ensure grayscale.</li>
</ul>
<h2>Step 5: Bringing It All Together</h2>
<p>On the Normality layer apply:</p>
<ul>
<li>Invert → Unmult → <strong>Normality plugin</strong></li>
</ul>
<p>Set it to 3D (even though Normality doesn’t recommend it) because it gives you better falloff and placement.</p>
<p>Then assign:</p>
<ul>
<li><strong>Normal Map</strong> from the precomp</li>
<li><strong>Depth Map</strong> from the comp</li>
</ul>
<p>Make sure <strong>Effects &amp; Masks</strong> is checked.
Invert the Depth Map so thinner smoke appears brighter (as it should when light passes through it).</p>
<h2>Step 6: Lighting the Smoke</h2>
<p>Now for the fun part: lighting.</p>
<p>Create a <strong>Point Light</strong>, set it to white, and position it where the fire would realistically be.</p>
<p>Then duplicate it and move the second one to the opposite side for more natural coverage.</p>
<p>To make the lights feel alive (like fire), add wiggle expressions:</p>
<ul>
<li><strong>Y Position:</strong> wiggle(3,60)</li>
<li><strong>Z Position:</strong> wiggle(2,100)</li>
</ul>
<p>Copy those expressions to both lights. The result? Lights that move organically like a fire would—casting shadows and highlights across the smoke dynamically.</p>
<h2>Step 7: Making It Fit the Scene</h2>
<p>Back in the main comp, duplicate and offset the smoke to make it wider, covering more of the fire area. Relink the depth and normal maps for each instance.</p>
<p>You might notice the smoke is now moving too slow compared to the fire—so use <strong>Time Stretch</strong> on the precomp and set it to <strong>30</strong>.</p>
<h2>Step 8: Coloring the Smoke with Firelight</h2>
<p>Here’s where it really sells.</p>
<p>Duplicate the relit smoke precomp and add a <strong>Fill</strong> effect to the bottom one (set to black for black smoke).</p>
<p>Then duplicate the fire layer, apply a glow (I used Deep Glow V2, but standard Glow works too), set the <strong>Source Opacity to 0</strong>, and then track matted the glow layer to the relit smoke using <strong>Luma Matte</strong>.</p>
<p>Boom. Orange-tinted smoke that shifts color with the flickering fire.</p>
<p>You could technically just apply a Tint to the smoke and call it a day—but doing it this way means the light interacts dynamically with the smoke, based on the actual fire movement.</p>
<h2>Step 9: Bonus Lighting</h2>
<p>Need moonlight on the smoke too? Easy.</p>
<p>Just duplicate your relighting comp in the project panel, move the lights to match the moonlight position, and drag the duplicate into the main comp. Hold <strong>Alt</strong> while you drop it on top of the relit smoke layer to swap them.</p>
<p>Set the blending mode to <strong>Screen</strong>, add a <strong>Tint</strong>, and now you’ve got moonlight hitting your smoke too.</p>
<h2>Final Touches</h2>
<p>From there it’s all about dialing it in:</p>
<ul>
<li>Adjust curves, hue/sat, exposure.</li>
<li>Move lights around.</li>
<li>Edit the normal or depth map if something feels off.</li>
<li>Add glow, camera shake, you name it.</li>
</ul>
<p>You’re not locked into anything. The beauty of this method is it’s totally tweakable.</p>
<h2>Why This Method Works</h2>
<p>You’re taking 2D stock footage and tricking After Effects into treating it like 3D volumetrics—without ever leaving AE, and without needing full-on simulations.</p>
<p>And if you’re working on tight timelines or client work that doesn’t justify the Houdini pipeline? This will save you.</p>
<p>Give it a shot and drop a comment in the video if it helps!</p>
<h2>High-Quality Smoke &amp; Fire Assets</h2>
<p>At ActionVFX we house the world's largest library of  2D VFX stock elements, including fire and smoke assets regularly used in blockbuster movies and shows.</p>
<p><strong><a href="https://www.actionvfx.com/products">Explore our library</a></strong></p>
<p><strong>ActionVFX socials:</strong>
<a href="https://www.youtube.com/@ActionVFXofficial">YouTube</a> - <a href="https://www.facebook.com/actionvfx/">Facebook</a> - <a href="https://www.instagram.com/actionvfxofficial/">Instagram</a> - <a href="https://twitter.com/actionvfx?lang=en">X</a> - <a href="https://www.tiktok.com/@actionvfxofficial?lang=en">TikTok</a> - <a href="https://www.linkedin.com/company/actionvfx">Linkedin</a></p>


Learn how to create a normal map and relight 2D stock assets in After Effects using free plugins.

Create a Normal Map in AE to Relight 2D Smoke Like It's 3D

<p>If you’ve ever keyed out a green screen and ended up with your actor looking like they just stepped out of a toxic waste barrel — yeah, I’ve been there too.</p>
<p>That’s also a great way to make the audience go, <em>“Oh... that’s fake.”</em>
Which is also a great way to make your client or supervisor go, <em>“Hey, you’re fired.”</em></p>
<p>So let’s fix that.</p>
<p>If you want your composites to look realistic, getting a clean key is non-negotiable. In this tutorial, we’ll walk through 5 key tips (pun unfortunately intended) for better chroma key results — using After Effects and Keylight as our tool of choice.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/L1_Wx-IxsAA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>Use a Properly Lit Green Screen</h2>
<p>Before you even touch your software, the most important factor in getting a clean key is how your footage was shot.</p>
<p>First rule: <strong>make sure your green screen is evenly lit.</strong> No shadows, no bright spots, no weird gradients creeping across the background. Just a clean, flat green. Uneven lighting is one of the biggest causes of fringing and artifacts during keying.</p>
<p>Next, think about distance. The closer your subject is to the screen, the more green spill is going to bounce onto them. By giving your subject more space from the background, you cut down on that glow before it even starts — and your keyer will have a much easier time.</p>
<blockquote></blockquote>
<p><strong>Bonus:</strong> Need some properly shot green screen footage to practice with? We've got a free <a href="https://www.actionvfx.com/practice-footage">Practice Footage Library</a>. It has several green screen shots to help you practicing keying and compositing.</p>
<h2>When to Use a Blue Screen Instead of a Green Screen</h2>
<p>In most cases, green screens are the go-to. They tend to key out cleanly in daylight scenes and play nice with natural lighting.</p>
<p>But there are times when blue makes more sense:</p>
<ul>
<li>If your actor is wearing green, obviously.</li>
<li>If you’re shooting a nighttime or low-light scene — blue screens retain shadows better and preserve more detail in dark areas.</li>
</ul>
<p>So if green’s giving you trouble, it might not be your fault. Switch colors when it makes sense.</p>
<h2>How to Use Keylight in After Effects</h2>
<p>Once you’ve got solid footage, it’s time to key — and if you’re in After Effects, Keylight is your friend. It’s powerful, free, and built right in.</p>
<p>Here's a quick breakdown:</p>
<ul>
<li><strong>Screen Colour:</strong> Use the eyedropper to select your background.</li>
<li><strong>Screen Gain:</strong> Controls how aggressive the key is. Higher = more background removal (and more danger to your subject).</li>
<li><strong>Screen Balance:</strong> Helps fix uneven lighting by adjusting the color channels.</li>
<li><strong>Clip Black / Clip White:</strong> Fine-tune the matte edges. Clip Black removes leftover junk; Clip White locks in the solids.</li>
<li><strong>Screen Matte View:</strong> Flip to this mode to see your alpha channel. It’ll show you what’s really being keyed — which is super helpful for fixing trouble spots.</li>
</ul>
<p>Take your time here. Zoom in. Toggle between modes. This is where <em>“meh”</em> keys become production-ready.</p>
<h2>Kill the Spill</h2>
<p>Even with solid footage and a clean matte, green spill happens — especially around hair, fabric edges, or shiny surfaces.</p>
<ul>
<li>Keylight has built-in spill suppression controls. Use them.</li>
<li>Tweak these <strong>after</strong> your matte is dialed in.</li>
<li>Desaturate or rebalance the edges to neutral tones.</li>
<li>Watch out for skin tones — don’t trade green glow for zombie skin.</li>
</ul>
<h2>Garbage Mattes: Not Glamorous, But Super Useful</h2>
<p>Garbage mattes help your keyer focus only on the subject. That means:</p>
<ul>
<li>Faster rendering</li>
<li>Less chance of noise and edge errorsFinal Polish: Matte Cleanup &amp; Edge Refinement
Once your key is mostly working, flip back to Screen Matte View and check your edges.</li>
</ul>
<h2>Final Polish: Matte Cleanup &amp; Edge Refinement</h2>
<p>Once your key is mostly working, flip back to <strong>Screen Matte View</strong> and check your edges.</p>
<ul>
<li>Use Clip Black/White to tighten things up.</li>
<li>Look for semi-transparent fuzz or inconsistent edges — especially in hair or fine detail.</li>
<li>You want clean, solid separation. No gray halos. No crunchy outlines.</li>
</ul>
<p>This last step takes time, but it’s the difference between <em>“that’s obviously keyed”</em> and <em>“wait... that’s composited?”</em></p>
<h2>Practice Green Screen Keying</h2>
<p>Want to practice? Download a few clips from the <strong><a href="https://www.actionvfx.com/practice-footage">Practice Footage Library</a></strong> (500+ professionally-shot practice clips for compositors) and give it a try!</p>
<p>If you're unfamiliar with ActionVFX, we house the world's #1 trusted library of professional-grade VFX stock footage (things like fog, debris, explosions, fire, and more).</p>
<p><strong><a href="https://actionvfx.com/products">Explore our library</a></strong></p>
<p><strong>ActionVFX socials:</strong>
<a href="https://www.youtube.com/@ActionVFXofficial">YouTube</a> - <a href="https://www.facebook.com/actionvfx/">Facebook</a> - <a href="https://www.instagram.com/actionvfxofficial/">Instagram</a> - <a href="https://twitter.com/actionvfx?lang=en">X</a> - <a href="https://www.tiktok.com/@actionvfxofficial?lang=en">TikTok</a> - <a href="https://www.linkedin.com/company/actionvfx">Linkedin</a></p>


6 easy tips for cleaner green screen keys in After Effects—learn how to light, key, suppress spill, and clean up your matte for pro-level results.

How to Fix Bad Green Screen Footage | Pro Chroma Key Tips for Cleaner VFX

<p>You probably didn’t become a VFX artist because you love rotoscoping.</p>
<p><a href="http://actionvfx.com/blog/introduction-to-rotoscoping-in-nuke">Frame-by-frame roto</a> is one of the most tedious tasks in compositing—especially when dealing with hair, fast motion, or complex shapes. But what if Nuke could learn how to do it for you?</p>
<p>That’s where <strong>CopyCat</strong> comes in. With the right setup, you can train your own AI model to generate mattes automatically, saving hours of manual work.</p>
<h2>How to Train CopyCat for Rotoscoping</h2>
<p><a href="https://learn.foundry.com/nuke/content/reference_guide/air_nodes/copycat.html">CopyCat</a> works by analyzing a small set of hand-rotoscoped frames and learning to apply that same matte extraction across an entire shot. The key to getting great results? Training it properly. Here’s how:</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x1080/cb1d88a6da/nuke-node-graph-manual-rotoscope.jpg" alt=""></p>
<h3>1. Roto a Few Key Frames</h3>
<p>Before CopyCat can generate mattes, it needs training data—clean mattes that show it what to learn.</p>
<ul>
<li>Pick <strong>5–10 unique keyframes</strong> throughout your shot. Choose frames where the subject’s shape varies the most (e.g., different poses or angles).</li>
<li>Create precise mattes using Nuke’s standard roto tools. The better these keyframes, the better CopyCat will perform.</li>
</ul>
<p><em>Example</em>: If you’re rotoscoping a person running, choose frames where their legs are in different positions.</p>
<p>If you're still learning the basics of Nuke, here's a great intro to Nuke rotoscoping:
<iframe width="560" height="315" src="https://www.youtube.com/embed/ELg9ncl-0Wo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x1080/b5e590e72a/nuke-copycat-rotoscoping-nodes.jpg" alt=""></p>
<h3>2. Set Up and Train CopyCat</h3>
<p>Once you have your training frames, it’s time to set up the CopyCat node.</p>
<ul>
<li>Add a <strong>CopyCat node</strong> to your Nuke script.</li>
<li>Connect your original footage to the <strong>Input</strong> and your hand-made mattes to the <strong>Ground Truth</strong> input.</li>
</ul>
<p>Next, adjust your training settings:</p>
<ul>
<li>Start with low iterations (<strong>~1000-2000</strong>) for quick tests.</li>
<li>If the results are good, increase iterations.</li>
</ul>
<p>Click <strong>Start Training</strong>, and let Nuke process the data. Depending on your settings, training might take a few minutes to an hour.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x1080/389aa19741/nuke-inference-node-graph.jpg" alt=""></p>
<ol start="3">
<li>Apply It to the Full Shot
Once training is complete and you're happy with the results, it's time to apply it to the full shot.</li>
</ol>
<ul>
<li>Click <strong>Create Inference</strong> in the CopyCat node. This generates an Inference node, which is used to process the full sequence.</li>
<li>Connect your full clip to the new Inference node.</li>
<li>CopyCat will now <strong>auto-generate mattes</strong> for every frame, saving you hours of manual roto.</li>
</ul>
<p>If the results need improvement, refine your training frames, retrain the model, and apply again.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x1080/c4b95e2c0e/man-crawling-in-building-with-gun.jpg" alt=""></p>
<h2>Want to Practice? Download This Free Shot</h2>
<p>To get the best results, start with the right kind of footage. <strong>This free practice clip of a man crawling through a building is perfect for learning or showcasing your roto skills with CopyCat.</strong></p>
<p><strong><a href="https://www.actionvfx.com/practice-footage/man-crawling-in-burning-room">Download the free clip here</a></strong> and start automating your roto workflow!</p>
<p>Full tutorial from <strong>The Foundry</strong>:
<iframe width="560" height="315" src="https://www.youtube.com/embed/SMlt0T-3QRQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p>If you're interested in learning Nuke for free, check out our <strong><a href="https://www.actionvfx.com/blog/master-nuke-compositing-introduction-course">free 6-part introduction to Nuke course</a></strong>.</p>
<p><strong>ActionVFX socials:</strong>
<a href="https://www.youtube.com/@ActionVFXofficial">YouTube</a> - <a href="https://www.facebook.com/actionvfx/">Facebook</a> - <a href="https://www.instagram.com/actionvfxofficial/">Instagram</a> - <a href="https://twitter.com/actionvfx?lang=en">X</a> - <a href="https://www.tiktok.com/@actionvfxofficial?lang=en">TikTok</a> - <a href="https://www.linkedin.com/company/actionvfx">Linkedin</a></p>


Learn how to train Nuke’s CopyCat to automate rotoscoping for complex motion.

How to Rotoscope in Nuke with CopyCat

Learn how to train Nuke’s CopyCat to automate rotoscoping for complex motion

<p>If you want to build a career in high-end VFX compositing, learning The Foundry's Nuke is essential.</p>
<p>It’s the software used in major films, TV shows, and commercials because it’s built for high-end compositing. Unlike After Effects, where layers can get messy fast, Nuke’s node-based system gives you total control over every element of your shot.</p>
<p>To help you get started, we just launched a <strong>free Intro to Nuke course</strong>, led by <strong><a href="https://www.linkedin.com/in/doughogan/">Doug Hogan</a></strong>—a senior compositor with 18+ years of experience in the feature film industry. He’s worked on projects ranging from indie films to major productions, and in this 6-part course, he’ll guide you through the fundamentals of Nuke, breaking down complex concepts into clear, practical lessons.</p>
<p><em>&quot;One of the best Nuke comp tutorials on YouTube! Even more valuable than paid courses.&quot;</em> — Student, Introduction to Nuke Compositing by ActionVFX</p>
<p><strong>What this 6-part course covers:</strong></p>
<ul>
<li>Understanding Nuke’s interface and workflow</li>
<li>The four essential nodes that power every composite</li>
<li>Green screen keying, masking, and advanced compositing techniques</li>
<li>3D compositing and integrating VFX elements</li>
<li>Industry best practices for structuring node graphs</li>
</ul>
<p>Whether you're transitioning from After Effects or brand new to compositing, this course will teach you the right way to approach Nuke.</p>
<h2>Chapter 1: Understanding Nuke’s Workflow</h2>
<p>When you first open Nuke, it might feel overwhelming. The interface and workflow are vastly different from layer-based software like After Effects.</p>
<p><strong>In Chapter 1, Doug walks you through:</strong></p>
<ul>
<li>The Nuke interface and how to navigate it</li>
<li>How to set up your first project</li>
<li>Loading and converting image sequences</li>
<li>Why node-based compositing offers more control than layers</li>
</ul>
<p>📺 Watch Chapter 1:
<iframe width="560" height="315" src="https://www.youtube.com/embed/zRTDfuz8G80" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>CHAPTER 2: The Four Essential Nodes for Every Composite</h2>
<p>You don’t need to memorize hundreds of nodes to work in Nuke—most of your work will rely on just a few.</p>
<ul>
<li><strong>Read</strong> – Brings assets into Nuke</li>
<li><strong>Merge</strong> – Controls how layers interact</li>
<li><strong>Transform</strong> – Moves, scales, and rotates elements</li>
<li><strong>Grade</strong> – Adjusts color and exposure for seamless blending</li>
</ul>
<p>Master these, and you’re well on your way to building professional composites. <strong>In Chapter 2, Doug breaks down how each works, giving you the practical skills to start efficiently structuring your Nuke node graphs.</strong></p>
<p>📺 Watch Chapter 2:
<iframe width="560" height="315" src="https://www.youtube.com/embed/EgkScZEWoSk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>CHAPTER 3: Rotoscoping and Masking Essentials</h2>
<p>Rotoscoping and masking are foundational skills for every compositor, giving you the control needed to isolate elements and integrate them seamlessly into a shot.</p>
<ul>
<li><strong>Roto &amp; RotoPaint</strong> – Create and refine custom masks</li>
<li><strong>Animated Masks</strong> – Add movement for dynamic compositing</li>
<li><strong>Workflow Best Practices</strong> – Stay organized and efficient</li>
<li><strong>Machine Learning Tools</strong> – Speed up rotoscoping with machine learning tools</li>
</ul>
<p>Master these techniques, and you’ll be ready to tackle complex compositing challenges with precision. In Chapter 3, Doug walks you through these essential tools, ensuring you have the skills for roto and masking in Nuke.</p>
<p>📺 Watch Chapter 3:
<iframe width="560" height="315" src="https://www.youtube.com/embed/CFZZMB3x8hY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>CHAPTER 4: Gridwarp &amp; Depth Maps for Realistic Compositing</h2>
<p>In chapter 4, Doug teaches the tools that help you match elements to your scene with greater precision. You'll learn how to use Gridwarp and depth maps to control placement, add perspective, and build more realistic composites.</p>
<ul>
<li><strong>Element Integration</strong> – Add ActionVFX assets that feel like part of the shot</li>
<li><strong>Gridwarp Tool</strong> – Bend, distort, and animate elements with control</li>
<li><strong>Depth Maps</strong> – Use machine learning to generate accurate depth</li>
<li><strong>Atmospheric Effects</strong> – Add fog and haze that responds to your scene’s depth</li>
</ul>
<p>Doug breaks down how and when to use these tools so your shots feel cohesive and intentional. After this chapter, you’ll be ready to handle more complex composites with confidence.</p>
<p>📺 Watch Chapter 4:
<iframe width="560" height="315" src="https://www.youtube.com/embed/CO6dGaBiX84" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>CHAPTER 5: Color Matching for Seamless Composites</h2>
<p>In Chapter 5, Doug breaks down the color correction tools that make your elements blend naturally. You’ll learn how to match colors across your scene and make final adjustments that bring everything together visually.</p>
<ul>
<li><strong>Color Correction Tools</strong> – Use Grade, ColorCorrect, and HueShift nodes</li>
<li><strong>Element Matching</strong> – Balance colors across different layers for realism</li>
<li><strong>Final Adjustments</strong> – Refine contrast, saturation, and black points</li>
<li><strong>Organic Touches</strong> – Add subtle camera shake for a natural finish</li>
</ul>
<p>By the end of this chapter, your composites will look cleaner, more cohesive, and ready for final delivery.</p>
<p>📺 Watch Chapter 5:
<iframe width="560" height="315" src="https://www.youtube.com/embed/rE_0JINOWYY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>CHAPTER 6: Final Polish, Rendering, &amp; Professional Delivery</h2>
<p>In Chapter 6, Doug shows you how to bring everything together into a fully polished shot. You’ll finalize your composite, fix visual issues, and add the last details that make your work feel studio-ready.</p>
<ul>
<li><strong>Final Touches</strong> – Clean up your composite and fix any errors</li>
<li><strong>Color &amp; Effects</strong> – Apply subtle tweaks for consistency</li>
<li><strong>Rendering</strong> – Export a finished sequence for review or delivery</li>
<li><strong>Sound Design</strong> – Use machine learning tools to add immersive sound</li>
</ul>
<p>This chapter ties it all together so your composite is ready for the big screen.</p>
<p>📺 Watch Chapter 6:
<iframe width="560" height="315" src="https://www.youtube.com/embed/Rlp2TcBMNLU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p>Each chapter builds on the last, taking you step by step into the world of professional compositing. Be sure to <strong><a href="https://www.youtube.com/@ActionVFXofficial">subscribe to our channel</a></strong> so you don't miss upcoming tutorials!</p>
<h2>Start Learning Nuke for Free</h2>
<p>If you’re serious about VFX, this is your chance to learn from an industry expert at no cost.</p>
<p><strong>Have any questions?</strong> Drop a comment in the videos and one of our artists will get back to you!</p>
<p><strong>ActionVFX socials:</strong>
<a href="https://www.youtube.com/@ActionVFXofficial">YouTube</a> - <a href="https://www.facebook.com/actionvfx/">Facebook</a> - <a href="https://www.instagram.com/actionvfxofficial/">Instagram</a> - <a href="https://twitter.com/actionvfx?lang=en">X</a> - <a href="https://www.tiktok.com/@actionvfxofficial?lang=en">TikTok</a> - <a href="https://www.linkedin.com/company/actionvfx">Linkedin</a></p>


Learn Nuke in this free 6-part course by Doug Hogan, starting with the fundamentals and building up to professional techniques.

Master Nuke Compositing: Free Introduction Course to Nuke

<p>If you’re an ActionVFX user working in Adobe After Effects, you might have run into issues with certain assets in the DRAGONcolor2 / REDgamma4 color space. Since After Effects doesn’t natively support this format, getting the most out of these assets requires a few extra steps.</p>
<p>In this guide, we’ll walk you through how to properly <strong>interpret, transform, and composite DRAGONcolor2 assets</strong> while keeping all the original data intact.</p>
<h2>Why Some Assets Use DRAGONcolor2 / REDgamma4</h2>
<p>Many of our older assets were filmed on RED DSMC2 cameras, which used DRAGONcolor2 / REDgamma4 to retain as much data as possible. While this was a great choice for quality, Adobe After Effects doesn’t play nice with this color space—meaning your assets may look washed out or incorrect when imported. You might notice this on our older pyro collections like Window Fire or Gas Explosions Vol. 1, among a few others.</p>
<p><strong>The good news? There's an easy way to fix this thanks to our friends at RED.</strong></p>
<p><img src="https://a-us.storyblok.com/f/1002378/900x506/61233150cf/red-camera-bts.jpg" alt=""></p>
<h2>The Fix: Custom LUTs from RED</h2>
<p>To solve this issue, RED developed <strong>custom LUTs specifically for ActionVFX users</strong>. These LUTs convert different RED gammas into a more usable format, making compositing in After Effects much easier.</p>
<p>🔥 <strong>Pro Tip:</strong> You can <a href="https://s3.us-east-1.amazonaws.com/uploads.actionvfx.com/public_downloads/REDGammaLUTs_64x_v02.zip">download these LUTs for free here</a>.</p>
<p><strong>Before you get started</strong>, if you're not familiar with ACES color management and how it streamlines compositing, you'll need to check out our <strong><a href="https://actionvfx.com/blog/how-to-use-aces-in-after-effects">ACES guide</a></strong> first.</p>
<h2>How to Set Up DRAGONcolor2 / REDgamma4 Assets in After Effects</h2>
<p>Follow these steps to properly set up your assets and maintain full color accuracy.</p>
<p>You can follow step-by-step along with Sam in our tutorial:
<iframe width="560" height="315" src="https://www.youtube.com/embed/q249a3SH320" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p><strong>1. Set the Correct Input Color Space</strong></p>
<ul>
<li>Right-click your asset in the Project Window → <strong>Interpret Footage &gt; Main</strong></li>
<li>Go to the <strong>Color Tab</strong></li>
<li>Under Override Media Color Space, select: <strong>Input/RED/Input - RED - Linear - DRAGONcolor2</strong></li>
</ul>
<p>At this point, the colors will still look off—but don’t worry, we’re about to fix that.</p>
<p><strong>2. Apply the RED LUT in Lumetri</strong></p>
<ul>
<li>Add the <strong>Lumetri Color</strong> effect to your asset</li>
<li>Under <strong>Basic Correction</strong>, locate the <strong>Input LUT</strong> option</li>
</ul>
<p>Instead of using the default presets, we need to add one of the custom LUTs:</p>
<ul>
<li>Open <strong>File Explorer</strong></li>
<li>For Windows, navigate to: <strong>Local Disk &gt; Program Files &gt; Adobe &gt; Adobe After Effects &gt; Support Files &gt; Lumetri &gt; LUTs &gt; Technical</strong></li>
<li>For Mac navigate to: <strong>Macintosh HD &gt; Applications &gt; Adobe After Effects &gt; Adobe After Effects.app (right click to “Show Package Contents”) &gt; Lumetri &gt; LUTs &gt; Technical</strong></li>
<li>Drag and drop the <strong>RG4_2_LIN_64.cube LUT</strong> from the RED LUT pack into this folder</li>
<li>Restart After Effects</li>
<li>Now, in Lumetri’s <strong>Input LUT</strong> section, select <strong>RG4_2_LIN_64</strong></li>
</ul>
<p>Once applied, your footage will now display correctly in <a href="https://actionvfx.com/blog/how-to-use-aces-in-after-effects">ACES</a>, retaining all of its original data for proper compositing. Once the LUT is added to the correct folder, it will always be available in future projects.</p>
<h2>Making This Process Even Faster</h2>
<p>If you’re working with a lot of our DRAGONcolor2 / REDgamma4 assets in the same project, you can <strong>save time by applying your initial footage interpretations to multiple files at once.</strong></p>
<p><strong>Use “Remember Interpretation”</strong></p>
<ul>
<li>After setting up one asset, right-click it in the Project Window</li>
<li>Select <strong>Interpret Footage &gt; Remember Interpretation</strong></li>
<li>Now, apply this interpretation to multiple assets at once by selecting them, right-clicking, and choosing <strong>Apply Interpretation</strong></li>
<li>Add Lumetri once the asset is in your Comp</li>
<li>Select your <strong>RG4_2_LIN_64 LUT</strong> as your Input LUT</li>
</ul>
<p>Final Thoughts
By following this workflow, you’ll ensure your DRAGONcolor2 / REDgamma4 assets composite seamlessly into your After Effects projects without any color issues.</p>
<p>Need high-quality VFX assets? ActionVFX has <strong>over 11,000 professional-grade elements](https://actionvfx.com/products)</strong>, from fire, smoke, rain, and explosions to muzzle flashes and debris—all designed to integrate smoothly into your workflow.</p>
<p>👉 <strong><a href="https://actionvfx.com/products">Check out our library and start compositing with the best assets available!</a></strong></p>


How to use RED's custom LUT to fix color issues with DRAGONcolor2 REDgamma4 assets in After Effects.

Fix Color Issues in After Effects with FREE LUTs

<p>Have you ever struggled to get VFX elements to blend seamlessly into your scene? The key to pro-level compositing isn’t just <a href="https://www.actionvfx.com/blog/after-effects-quick-tip-how-to-light-your-vfx-elements-using-normal-pass">lighting</a> or effects—it’s understanding color spaces.</p>
<p>In our latest video, Sam breaks down how color spaces impact your composite and why ACES (Academy Color Encoding System) is a game-changer for standardizing colors across different assets.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/pYzN_g-1N_w" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<h2>Why Color Spaces Matter</h2>
<p>Cameras, monitors, and software all interpret colors differently. If you’re using footage from multiple sources, mismatched color spaces can cause assets to look completely out of place. That’s where ACES comes in—it acts as a universal translator, ensuring all your elements exist in a consistent color space.</p>
<p>To understand this a little deeper, you can check out our blog on <a href="https://www.actionvfx.com/blog/the-difference-between-linear-and-logarithmic-color-space-and-why-you-should-care">linear and logarithmic color spaces</a>.</p>
<h2>How ACES Works in Compositing</h2>
<p>ACES uses input and output transforms to standardize footage:</p>
<ul>
<li>Input Transform – Converts your footage’s original color space into ACES.</li>
<li>Output Transform – Converts ACES footage back into the final deliverable color space.</li>
</ul>
<p>The best part? All major compositing software, including After Effects and Nuke, have the ACES workflow system built-in. You can preview your composite in your final delivery format while still working with high-quality data.</p>
<p>🔥 Pro Tip: After Effects doesn’t have a built-in transform for DRAGONcolor2 / REDgamma4 assets. <a href="https://actionvfx.com/blog/fix-color-issues-in-after-effects-free-luts">Check out our other blog to learn how to set it up properly.</a></p>
<h2>Setting Up ACES in After Effects</h2>
<p><strong>1. Change Project Settings</strong></p>
<ul>
<li>Go to <strong>File &gt; Project Settings &gt; Color</strong> and switch to <strong>OCIO Color Managed</strong>.</li>
</ul>
<p><strong>2. Set the Footage Input Color Space</strong></p>
<ul>
<li>Right-click footage → <strong>Interpret Footage &gt; Main &gt; Color tab</strong></li>
<li>Select the correct input transform (e.g., <strong>REDWideGamutRGB / REDLog3G10</strong>).</li>
</ul>
<p><strong>3. Blend Different Color Spaces Seamlessly</strong></p>
<ul>
<li>When working with multiple assets (e.g., <strong>Rec.709, DRAGONcolor2</strong>), use the correct transforms to unify their look.</li>
</ul>
<p><strong>4. Render in the Original Color Space</strong></p>
<ul>
<li>When exporting, set the Output Color Space to match your footage for easier grading.</li>
</ul>
<h2>Why ActionVFX Assets Are Built for ACES</h2>
<p>At ActionVFX, we provide assets in multiple color spaces—Rec.709, Linear, ACEScg, DRAGONcolor2, and more—so you can get the best data for your composite. We even list the color space on each product page, making it easy to match your workflow.</p>
<p>🔥 Pro Tip: Always check an asset’s color space before starting your composite. Otherwise, Sam might show up at your house to fix your input transform himself. (You’ve been warned.)</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1739x978/d74ca4eb31/actionvfx-asset-specs.jpg" alt=""></p>
<h2>Watch the Full Video for a Hands-On Walkthrough</h2>
<p>Sam walks through ACES setup in After Effects, including how to interpret footage, apply helpful LUTs, and ensure every asset blends perfectly. He even shares a trick for copying and applying <strong>Interpret Footage</strong> settings across multiple assets.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/pYzN_g-1N_w" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p>Need premium assets for your next project? Check out the ActionVFX library! We're proud to house what's widely considered the world's best VFX library for professional compositing.</p>
<p><strong><a href="https://actionvfx.com/products">Explore our library</a></strong></p>
<p><strong>ActionVFX socials:</strong>
<a href="https://www.youtube.com/@ActionVFXofficial">YouTube</a> - <a href="https://www.facebook.com/actionvfx/">Facebook</a> - <a href="https://www.instagram.com/actionvfxofficial/">Instagram</a> - <a href="https://twitter.com/actionvfx?lang=en">X</a> - <a href="https://www.tiktok.com/@actionvfxofficial?lang=en">TikTok</a> - <a href="https://www.linkedin.com/company/actionvfx">Linkedin</a></p>


ACES standardizes color spaces across different assets, all assets in your shot blend naturally. Learn how to set it up in After Effects.

How to Use ACES in After Effects (& Why Color Spaces Matter)

<p>The <em><a href="https://www.youtube.com/watch?v=a0JMSj5xdFk">Captain America: Brave New World</a></em> trailer showed off some intense action, including Red Hulk making a fiery entrance. In this tutorial, our very own Wyatt turned himself into Red Hulk in After Effects.</p>
<p>Learn how to make Hulk's glowing eyes, red skin, expanding hands, and ground-shattering impact.</p>
<p>The best part? You can do it all for just <strong>five credits or less</strong> using the ActionVFX library.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/3SdkmysscnI" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p>
<p><strong>Here's a quick rundown:</strong></p>
<h3>Step 1: Turning Your Skin Red</h3>
<p>The first thing we need to do is change skin color. Using After Effects, you can create this effect by:</p>
<ul>
<li>Duplicating your base footage</li>
<li>Using the <a href="https://www.actionvfx.com/blog/when-should-i-use-after-effects-roto-brush-tool">Roto Brush Tool</a> to isolate skin areas</li>
<li>Applying a Tint effect and mapping black/white values to a deep red</li>
<li>Adjusting brightness, contrast, and blending modes to make it look natural</li>
</ul>
<p>By keyframing the effect, you can make the transformation happen gradually, just like in the movies.</p>
<h3>Step 2: Adding Glowing Red Eyes</h3>
<p>No Hulk transformation is complete without those intense glowing eyes. Here’s how to do it:</p>
<ul>
<li>Mask out your eyes so they stay unaffected by the red skin tone</li>
<li>Import an ActionVFX <a href="https://www.actionvfx.com/collections/eye-textures-stock-footage">iris texture</a> (included in the Essentials Catalog)</li>
<li>Scale and position it over the eye and set the blend mode to Overlay</li>
<li>Use <a href="https://www.actionvfx.com/blog/how-to-do-motion-tracking-with-mocha-ae-beginner-friendly-after-effects-tutorial">Mocha tracking</a> to lock it in place</li>
<li>Add a glow effect to make them pop</li>
</ul>
<p>This technique makes the eyes look alive and dynamic, rather than just color overlays.</p>
<h3>Step 3: Creating a Ground-Smashing Impact</h3>
<p>This is where things get destructive. When Red Hulk smashes the ground, you'll need:</p>
<ul>
<li>Ground cracks</li>
<li>Burning steel wool effects to simulate fire spreading (<a href="https://actionvfx.com/redeem">redeem for free</a> with code &quot;HULK&quot;)</li>
<li>Steam and <a href="https://www.actionvfx.com/collections/free-dust-wave-stock-footage">dust waves</a> help sell the impact</li>
</ul>
<p>To make it work seamlessly:</p>
<ul>
<li>Track the ground plane so the cracks match the perspective</li>
<li>Use <a href="https://www.actionvfx.com/blog/how-blending-modes-work-in-after-effects">blending modes</a> like Overlay or Screen to integrate the effects</li>
<li>Add motion blur to enhance realism</li>
<li>Keyframe opacity changes so the fire and smoke evolve naturally over time</li>
</ul>
<h3>Bringing It All Together</h3>
<p>With these elements in place, you can refine the scene by:</p>
<ul>
<li>Layering <a href="https://www.actionvfx.com/collections/atmosphere/category">atmospheric effects</a> like embers, sparks, and dust</li>
<li>Adding subtle <a href="https://www.actionvfx.com/collections/free-camera-shake-presets-stock-footage">camera shake</a> for extra impact</li>
<li>Fine-tuning depth of field to make everything feel cinematic</li>
</ul>
<h2>Try It Yourself (Free Asset Included!)</h2>
<p>Ready to give it a shot? Watch the full tutorial and <strong>grab a free burning steel wool asset in the video description before February 26th.</strong></p>
<p><strong><a href="https://www.youtube.com/watch?v=3SdkmysscnI">Watch the full tutorial</a></strong></p>
<h3>MCU-Trusted VFX Assets</h3>
<p>We're proud that our assets were trusted by some of the world's best VFX artists to help make the MCU a reality. These same assets are available to you, whether you're part of a large studio or are a freelance artist!</p>
<p>Build your own subscription plan:</p>
<ul>
<li>All subscribers get access to the <a href="https://www.actionvfx.com/products/essentials-catalog">Essentials Catalog</a>, which contains over 3,000 Hollywood-quality VFX assets (new additions every month).</li>
<li>Access the rest of our library with credits. Choose discounted recurring credits or buy the exact number you need with credit packs.</li>
<li>Choose to receive monthly rollover credits, or get all of your credits upfront with a discounted annual plan.</li>
<li>Plans start at just <strong>$29/mo</strong></li>
</ul>
<p><strong><a href="https://actionvfx.com/pricing">Get started</a></strong></p>
<p><strong>ActionVFX socials:</strong>
<a href="https://www.youtube.com/@ActionVFXofficial">YouTube</a> - <a href="https://www.facebook.com/actionvfx/">Facebook</a> - <a href="https://www.instagram.com/actionvfxofficial/">Instagram</a> - <a href="https://twitter.com/actionvfx?lang=en">X</a> - <a href="https://www.tiktok.com/@actionvfxofficial?lang=en">TikTok</a> - <a href="https://www.linkedin.com/company/actionvfx">Linkedin</a></p>


Wyatt turned into Red Hulk from Captain America: Brave New World using After Effects and a low budget.