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.
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.
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.
<img src="https://a-us.storyblok.com/f/1002378/4096x2160/722505ce95/pf0086-01_clip-1_bmdgen5_4k-5-36-53-16.jpg" alt="">
<a href="https://www.actionvfx.com/collections/man-crawling-in-burning-room">Download The Practice Footage</a>
<h3>1. Skip the Sim — Use Real Fire Footage</h3>
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.
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.
<h3>2. Start With a Solid Camera Track</h3>
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.
The goal is to lock your fire to the world, not the frame. Even slight parallax issues will break the illusion.
<h3>3. Roto Your Foreground — It’s Worth It</h3>
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.
Pro tip: keep your roto loose if the fire is fast-moving. It adds to the realism and saves time.
<h3>4. Relight the Subject — This Is What Sells It</h3>
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.
How to do it?
First, the footage was brought into DaVinci Resolve Studio, where a Depth Map was generated to isolate the subject from the background.
<ol>
<li>
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.
</li>
<li>
Back in After Effects, each relight map was placed above the footage and set to Add blend mode.
</li>
<li>
Each layer was tinted with a warm fire hue (orange/yellow) to match the flame source.
</li>
<li>
Then a wiggle expression was applied to the opacity, simulating the chaotic, unpredictable flicker of real fire.
</li>
</ol>
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.
<img src="https://a-us.storyblok.com/f/1002378/4096x2160/da3a589628/pf0086-01_clip-1_bmdgen5_4k-5-36-53-16-trer.jpg" alt="">
<h3>5. Don’t Skip the Glow Pass</h3>
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.
It anchors the fire to the environment and makes it feel like it’s really pushing out light and heat.
<h3>6. Distortion, Sparks, and Smoke — Fire’s Real Behavior</h3>
To go beyond just “looking hot,” your fire composite needs environmental reaction.
In this shot, that includes:
<ul>
<li>Heat distortion: subtle warp to mimic rising heat</li>
<li>Floating embers: drifting sparks give a sense of atmosphere and movement</li>
<li>Smoke layering: softens edges and fills the volume</li>
</ul>
Use distortion sparingly — too much can ruin your plate — but it’s essential for high-heat shots.
<h3>7. Match Your Grade (Then Grade It Again)</h3>
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.
This brings everything into the same color space, simulates lens behavior, and helps your composite feel like one shot, not layers stacked together.
<h3>Assets Used</h3>
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
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.
<h3>Watch the Full Breakdown</h3>
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.
<img src="https://a-us.storyblok.com/f/1002378/1280x720/6b0261a5f3/makefirevfxlookreal.jpg" alt="">
🔥 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.

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.

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.
Intro to ComfyUI for VFX
<a href="https://bit.ly/3IR8kBm">Sign-up Now for Early Bird Discount of 30% Off! </a>
Exclusively on ActionVFX Academy.
<h3>This Isn’t Just Another AI Tutorial</h3>
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 Doug Hogan, 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.
<h3>What You’ll Actually Be Able To Do After This Course</h3>
By the end of the course, you’ll be able to:
<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>
Everything is structured to build a modular, production-ready AI workflow that you can plug into your own projects, no matter the budget.
<blockquote>
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.
Doug Hogan, Course Instructor.
</blockquote>
<h3>Designed for Artists Who Refuse to Fall Behind</h3>
This course is built for those who need clarity, control, and creative freedom in a rapidly evolving landscape:
VFX Artists &amp; Compositors with Node-Based Experience
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.
Students Preparing for a Changing Industry
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.
Supervisors &amp; Leads Looking to Stay Strategic
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.
Independent Creators &amp; Freelancers Navigating New Terrain
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.
<h3>Made by Artists.</h3>
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.
<h3>Sign-Up Now</h3>
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, Intro to ComfyUI for VFX, is your starting point.
<a href="https://bit.ly/3IR8kBm">Sign-up now and get 30% Off</a>
Built for artists. Structured for production. Backed by ActionVFX.

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

ActionVFX's First Ever Course!

Introduction to ComfyUI For VFX By Doug Hogan

We're spotlighting <a href="https://www.actionvfx.com/c/vfx-magic">VFXMagic</a>, a passionate creator who’s turned their fascination with destruction into a high-impact, hyper-usable new collection: <a href="https://bit.ly/44Ga7So">Concrete Wall Cracks</a>.
<h2>The Need For Wall Cracks</h2>
<blockquote>
“I've always been passionate about VFX and love exploring high-quality real-life footage. ActionVFX has been my go-to source for top-tier elements across all kinds of effects. Since it has played such a big role in my creative workflow, I’m excited for the chance to give back and contribute to the platform that’s inspired and supported so much of my RnD work.”
</blockquote>
That mindset, driven by curiosity and creative momentum, is exactly what makes this collection stand out. Inspired by a recurring problem in many destruction scenes, <a href="https://www.actionvfx.com/c/vfx-magic">VFXMagic</a> set out to fill a real gap in the market… by quite literally creating cracks in the wall.
<blockquote>
“As an Artist, I often found the need for clean, realistic wall crack elements that could integrate easily into destruction scenes. This inspired me to create a wall crack simulation in Houdini that captures the kind of detail and realism often missing from standard stock footage.”
</blockquote>
<h2>Made In Houdini</h2>
This isn’t your typical crack decal or basic fracture pass. The attention to detail and usability shows from the very first frame.
<blockquote>
“I created this in Houdini, starting by hand-drawing the cracks. I then fractured the geometry based on the crack areas and paid special attention to debris breakup, edge details, and surface realism. Once the simulation was finalized, I rendered the footage with a clean background to ensure it’s easy to composite into any pipeline.”
</blockquote>
Even better? The collection includes options built specifically to support different workflows.
<blockquote>
“The selection pass to isolate the inside crack or falling debris is what I find most useful, it makes it easy to interact and blend with any footage.”
</blockquote>
The end result is a set of assets that are easy to drop in, adaptable to a wide range of environments, and crafted with realism from the start.
<img src="https://a-us.storyblok.com/f/1002378/1152x648/411c89e04d/wallcrack.gif" alt="">
<h2>Built for Filmmakers, Compositors, and Storytellers</h2>
VFXMagic didn’t just make these assets for themselves, they made them for anyone telling stories with damage, destruction, or atmospheric decay.
<blockquote>
“This product is ideal for VFX artists, filmmakers, and content creators who need quick-to-use, realistic wall damage or destruction layers. I imagine it being used in action scenes, architectural breakdowns, or to enhance sets with environmental storytelling.”
</blockquote>
Whether you’re crafting a Hollywood-level collapse or subtly aging a background wall in a short film, this collection has the range and flexibility to do both. It’s cinematic, clean, and surprisingly efficient to use.
<h2>What Makes ActionVFX Different?</h2>
Many platforms offer a place to upload assets. But very few make contributing feel like a true creative collaboration.
<blockquote>
“Its focus on high-quality, production-ready assets that are curated specifically for VFX artists. As someone who works on complex simulations, I appreciate the consistency, realism, and variety that make integrating their elements into professional workflows seamless.”
</blockquote>
<blockquote>
“I must say, they are very open to ideas, and it’s a pleasure working with them. The program helped me turn my creative experiments into valuable resources for other artists, while also motivating me to maintain high production standards in my personal work.”
</blockquote>
This is what we’re proud of. Our contributor platform is giving artists a reason to keep creating. A place to turn technical play into polished product. And a global audience that sees the value in every frame.
<h2>The Value of Sharing Your Work</h2>
At ActionVFX, we often hear from contributors that just knowing their work might be used in something larger is a massive creative motivator. For VFXMagic, that impact is deeply personal:
<blockquote>
“It’s an incredible feeling to know that my work could become part of films, games, or commercials seen around the world. As an artist, there’s nothing more rewarding than seeing your efforts contribute to storytelling on a global scale.”
</blockquote>
And while the <a href="https://bit.ly/44Ga7So">Concrete Wall Cracks</a> collection hasn’t hit the big screen just yet, they’re watching closely.
“Not yet, but I’m really looking forward to seeing how other artists use it. That’s the most exciting part, watching your work become a small piece in someone else's big creative vision.”
<h2>Filling the Gaps</h2>
At its core, the ActionVFX library exists to fill production gaps — and this collection nails that goal.
<blockquote>
“There aren’t many clean, high-quality wall crack simulations that are easy to composite and come with flexibility like selection passes. This kind of asset saves time for artists who want destruction details without building everything from scratch.”
When we say &quot;crafted by artists, for artists,&quot; this is what we mean.
</blockquote>
<h2>What’s Next from VFXMagic?</h2>
The creative momentum isn’t slowing down. VFXMagic already has plans to expand their contributions with more types of destruction and realism-rich elements.
<blockquote>
“If given the chance, I’d love to create a collection featuring glass cracks, metal tearing, cloth tearing, and large-scale earthquake-style destruction. These elements add a lot of impact and realism to action scenes and are always in demand across different types of projects.”
</blockquote>
<h2>Become a ActionVFX Contributor</h2>
So if you’re a VFX artist who’s passionate about sharing your tools with the community — just like VFXMagic, we’d love to hear from you. Until then, take a look at what they’ve built.
👉 Download the <a href="https://bit.ly/44Ga7So">Concrete Wall Cracks Collection</a> and see what happens when detail, usability, and creative intent come together.
High-quality VFX elements, crafted by artists for artists

VFXMagic’s Concrete Wall Cracks collection shows what’s possible when artists create with production in mind. Learn how it was made.

Creating Concrete Wall Cracks 

A personal project into a go-to damage asset for filmmakers—plus why it’s easier than you think to do the same with ActionVFX

When the ActionVFX team kicked off our recent asset production, we were focused on solving a real production gap. Artists were having to warp flat wounds, animating stills, or leaning on time-consuming paint overs just to sell a burn. We knew we could offer something smarter: realistic, animated practical burn wounds that react and disturb. That’s how we came to create the <a href="https://bit.ly/4nJ0BoR">Burning Flesh collection</a>:
<blockquote>
&quot;We knew we could do something that would be animated and grotesque and would just get something really fresh and new that would fit well with like a body on fire or burn wounds&quot;.
Zac VanHoy, ActionVFX’s Asset Development Supervisor.
</blockquote>
Our goal was to create an asset that integrates into real workflows across horror, action, sci-fi — and sells the pain.
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/7ff69b64ae/burningflesh.gif" alt="">
<h2>These Wounds Move</h2>
Burn wounds in VFX are more than surface damage. They ripple, crackle, bubble. They respond to trauma, heat, movement. We built the <a href="https://bit.ly/4nJ0BoR">Burning Flesh collection</a> to do the same.
They’re fully animated practical elements, shot with blistering realism in high-resolution and designed to live inside your composite. Some assets pulse. Others shred or peel. All of them are deeply textured and deeply uncomfortable.
This makes them perfect for:
<ul>
<li>Body-on-fire shots</li>
<li>Explosive aftermaths</li>
<li>Horror reveals</li>
<li>Sci-fi weapon burns</li>
<li>or supernatural attacks</li>
</ul>
Because the elements are already reacting to heat and light, they comp in naturally. You spend less time selling the effect and more time building the story.
<h2>Filming Practical Burning Flesh FX</h2>
Making this collection meant committing to the kind of practical shoot you don’t fake.
<blockquote>
“We also used some mixtures that you might would find in like a school project volcano… to get some fizzing and bubbling as well.”
Zac VanHoy, ActionVFX’s Asset Development Supervisor.
</blockquote>
<img src="https://a-us.storyblok.com/f/1002378/2000x1333/453ec359fe/fx-pros.jpg" alt="">
Collaborating with FX pros to build layered prosthetics and heat-reactive materials that would behave like burning flesh.
This shoot required full precision: prosthetics were timed to deform under heat; lighting rigs were calibrated to expose the wound textures at multiple burn stages. With controlled fire sources, blistering compounds, and high-speed capture, we were able to simulate how skin bubbles, splits, and chars in intense scenarios.
<blockquote>
“It definitely gives you something that you're not going to be able to easily simulate in CG.”
Zac VanHoy, ActionVFX’s Asset Development Supervisor.
</blockquote>
<h2>Realistic Burn FX</h2>
Burning Flesh is built for the kinds of moments that leave an audience stunned.
We made this because we saw too many burn effects fall flat. Zac VanHoy, our Asset Development Supervisor, led this project from early tests through to post-production. What came out of it is a toolset that bridges creativity and technical control.
<blockquote>
&quot;It’s something that is shot for real which always is a leg up… real fire, real explosions that we film… there’s still little nuances that you are going to get, imperfections that you're going to see when using and filming real objects and assets.&quot;
</blockquote>
It hits that rare sweet spot: gross enough for horror, controlled enough for feature work, flexible enough for game cinematics, shorts, or commercial VFX.
Ready to Use
The Burning Flesh collection is live now. Every clip is built with artists in mind, designed to work across After Effects, Nuke, Resolve, Fusion, Unreal, or whatever your pipeline calls for.
Explore the collection: 👉 <a href="https://www.actionvfx.com/collections/burning-flesh-stock-footage?position=1&amp;query_id=73d3235494df8cd40fcb756b62dc08f1">Burning Flesh Stock Footage Collection</a>
Tag us #MadeWithActionVFX with your results, we love seeing how you use the assets.
If your next shot calls for trauma, tension, or something that makes people flinch — ActionVFX has the assets you need.

Realistic burning flesh VFX assets—filmed practical effects to save time, boost realism, and outperform CG in fire and burn scenes.

BTS: How We Created the Burning Flesh Collection for VFX Artists

Whether you’re comping a post-explosion trauma shot or a body-on-fire horror sequence, nothing kills the realism faster than a wound that just sits there, unreactive to heat, motion, or lighting. The market is filled with flat textures, static decals, or digital paintovers that fall apart once you try to bring them to life.  So we built something new.

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.
Yeah. I was sick of that too.
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.
Here’s how you can do it using just two free plugins and a couple free ActionVFX assets.
You'll want to watch the video for a full walkthrough and to get the why behind the techniques I use. But I went ahead and put a summary of each step below so you have that for reference.
<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>
<h2>Step 1: Plugins You’ll Need</h2>
This whole trick depends on two things:
<ul>
<li><a href="https://bit.ly/normal-mapper-for-ae">Normal Mapper for AE</a> (free on aescripts—but I encourage you to donate to the creator)</li>
<li><a href="https://bit.ly/normality-plugin">Normality</a> by Stefan Minning (also free)</li>
</ul>
<h2>Step 2: The Setup</h2>
Everything I used is included with your ActionVFX subscription, but you can also follow along with free assets too:
<ul>
<li><a href="https://bit.ly/4jUWfJ7">Smoke Plume:</a> from the Free Smoke Plumes Collection</li>
<li><a href="https://bit.ly/3SC81fa">Practice Plate:</a> from the Practice Footage Library</li>
</ul>
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>.
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>.
<h2>Step 3: Precomposing the Smoke</h2>
Precomp the smoke layer and call it Relit Smoke. From here, there are two ways you can go:
<ul>
<li>Option 1: Leave all attributes in Master Comp – better for static shots or stationary lights (like a fire).</li>
<li>Option 2: Move all attributes into new comp – better if you have moving lights (like headlights sweeping across).</li>
</ul>
For this walkthrough, I started with Option 1.
<h2>Step 4: Building the Normal and Depth Maps</h2>
Inside the Relit Smoke comp, duplicate the smoke layer 4 times:
<ul>
<li>Normality (top)</li>
<li>Depth Map</li>
<li>Normal Map</li>
<li>Texture</li>
</ul>
Each of these layers gets its own treatment:
<ul>
<li>Depth Map: Invert → Curves → Adjust until clipping shows in the highlights.</li>
<li>Normal Map: 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>Texture: 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>
On the Normality layer apply:
<ul>
<li>Invert → Unmult → Normality plugin</li>
</ul>
Set it to 3D (even though Normality doesn’t recommend it) because it gives you better falloff and placement.
Then assign:
<ul>
<li>Normal Map from the precomp</li>
<li>Depth Map from the comp</li>
</ul>
Make sure Effects &amp; Masks is checked.
Invert the Depth Map so thinner smoke appears brighter (as it should when light passes through it).
<h2>Step 6: Lighting the Smoke</h2>
Now for the fun part: lighting.
Create a Point Light, set it to white, and position it where the fire would realistically be.
Then duplicate it and move the second one to the opposite side for more natural coverage.
To make the lights feel alive (like fire), add wiggle expressions:
<ul>
<li>Y Position: wiggle(3,60)</li>
<li>Z Position: wiggle(2,100)</li>
</ul>
Copy those expressions to both lights. The result? Lights that move organically like a fire would—casting shadows and highlights across the smoke dynamically.
<h2>Step 7: Making It Fit the Scene</h2>
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.
You might notice the smoke is now moving too slow compared to the fire—so use Time Stretch on the precomp and set it to 30.
<h2>Step 8: Coloring the Smoke with Firelight</h2>
Here’s where it really sells.
Duplicate the relit smoke precomp and add a Fill effect to the bottom one (set to black for black smoke).
Then duplicate the fire layer, apply a glow (I used Deep Glow V2, but standard Glow works too), set the Source Opacity to 0, and then track matted the glow layer to the relit smoke using Luma Matte.
Boom. Orange-tinted smoke that shifts color with the flickering fire.
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.
<h2>Step 9: Bonus Lighting</h2>
Need moonlight on the smoke too? Easy.
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 Alt while you drop it on top of the relit smoke layer to swap them.
Set the blending mode to Screen, add a Tint, and now you’ve got moonlight hitting your smoke too.
<h2>Final Touches</h2>
From there it’s all about dialing it in:
<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>
You’re not locked into anything. The beauty of this method is it’s totally tweakable.
<h2>Why This Method Works</h2>
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.
And if you’re working on tight timelines or client work that doesn’t justify the Houdini pipeline? This will save you.
Give it a shot and drop a comment in the video if it helps!
<h2>High-Quality Smoke &amp; Fire Assets</h2>
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.
<a href="https://www.actionvfx.com/products">Explore our library</a>
ActionVFX socials:
<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>

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

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.
That’s also a great way to make the audience go, “Oh... that’s fake.”
Which is also a great way to make your client or supervisor go, “Hey, you’re fired.”
So let’s fix that.
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.
<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>
<h2>Use a Properly Lit Green Screen</h2>
Before you even touch your software, the most important factor in getting a clean key is how your footage was shot.
First rule: make sure your green screen is evenly lit. 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.
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.
<blockquote></blockquote>
Bonus: 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.
<h2>When to Use a Blue Screen Instead of a Green Screen</h2>
In most cases, green screens are the go-to. They tend to key out cleanly in daylight scenes and play nice with natural lighting.
But there are times when blue makes more sense:
<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>
So if green’s giving you trouble, it might not be your fault. Switch colors when it makes sense.
<h2>How to Use Keylight in After Effects</h2>
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.
Here's a quick breakdown:
<ul>
<li>Screen Colour: Use the eyedropper to select your background.</li>
<li>Screen Gain: Controls how aggressive the key is. Higher = more background removal (and more danger to your subject).</li>
<li>Screen Balance: Helps fix uneven lighting by adjusting the color channels.</li>
<li>Clip Black / Clip White: Fine-tune the matte edges. Clip Black removes leftover junk; Clip White locks in the solids.</li>
<li>Screen Matte View: 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>
Take your time here. Zoom in. Toggle between modes. This is where “meh” keys become production-ready.
<h2>Kill the Spill</h2>
Even with solid footage and a clean matte, green spill happens — especially around hair, fabric edges, or shiny surfaces.
<ul>
<li>Keylight has built-in spill suppression controls. Use them.</li>
<li>Tweak these after 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>
Garbage mattes help your keyer focus only on the subject. That means:
<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>
Once your key is mostly working, flip back to Screen Matte View and check your edges.
<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>
This last step takes time, but it’s the difference between “that’s obviously keyed” and “wait... that’s composited?”
<h2>Practice Green Screen Keying</h2>
Want to practice? Download a few clips from the <a href="https://www.actionvfx.com/practice-footage">Practice Footage Library</a> (500+ professionally-shot practice clips for compositors) and give it a try!
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).
<a href="https://actionvfx.com/products">Explore our library</a>
ActionVFX socials:
<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>

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

You’ve seen it in blockbusters. You’ve seen it in high-end streaming shows. You’ve even seen it in commercials, trailers, and indie films.
You just didn’t know it.
That thing is VFX Stock Footage. No, not the cheesy kind with people with fake smiles drinking from an empty mug. We’re talking VFX Stock Footage: real, high-quality video elements designed for compositors. We're talking about real footage or renders of effects like fire, smoke, fog, rain, and debris that are built for easy use in visual effects shots.
VFX stock footage is one of the most widely used, yet least talked-about tools in VFX. And it’s not because it’s a shortcut. It’s because—when used well—it’s invisible.
<img src="https://a-us.storyblok.com/f/1002378/800x450/384711376a/rain_car_compv2.jpg" alt="">
Try to spot the VFX stock footage in this shot. If you can't, <a href="https://www.actionvfx.com/blog/after-effects-tutorial-how-to-create-realistic-rain-at-night">check out this video</a>.
In a recent video, ActionVFX founder Rodolphe Pierre-Louis breaks down what VFX stock footage is, how it’s used, and why the world’s top studios rely on it to meet deadlines, maintain quality, and stay under budget.
Here’s a look at what VFX stock footage is, how it's used, and why the world's top studios rely on it to meet deadlines, maintain quality, and stay under budget.
If you’re new to VFX, or a studio manager wanting to learn more about how your post-production works (or just wondering why these elements exist in the first place), this is for you.
<h2>So… What Is VFX Stock Footage?</h2>
It goes by a bunch of names—VFX elements, stock assets, compositing elements—but the idea is the same:
VFX stock footage is real footage or renders of effects like fire, smoke, fog, rain, and debris that are built for easy use in visual effects shots.
Usually they’re filmed practically. Other times they’re high-end simulations rendered out and prepped for compositing. The point is, they’re already built with post-production in mind.
You’re not starting from scratch. You’re starting from something ready to go.
<img src="https://a-us.storyblok.com/f/1002378/2000x1125/2d09b0068c/actionvfx-blood-vfx-bts.jpg" alt="">
<h2>Why Does Everyone Use It?</h2>
Here’s the thing: you could build every single VFX element yourself. You could simulate every flame, shoot every dust burst, or spend a few hours in Embergen tweaking ash trails.
But no one actually works like that—because it’s not realistic.
(P.S. That's true even when their marketing campaigns claim they did everything themselves. More on that later...)
<h3>Turnaround Times Matter</h3>
On real productions, time isn’t a vague concept. It’s a schedule. Deadlines are tight, shots pile up fast, and you need to move.
When you can grab a real explosion filmed from 10 different angles, comp it into your scene how you want it, and keep rolling? That’s a win.
<h3>Budgets Are a Thing</h3>
Even the biggest studios have limits. Simulations and FX-heavy shoot days aren’t cheap. If you can get the same visual result with a $100 asset instead of an $8,000 setup, that’s just good math.
Don't believe us? <a href="https://www.actionvfx.com/blog/godzilla-minus-one-vfx-oscar-on-a-budget">That's how Godzilla: Minus One got an Oscar for Best Visual Effects on a $15 million budget</a>—Shirogumi used ActionVFX stock footage.
You can watch our interview with the team at Shirogumi here:
<iframe width="560" height="315" src="https://www.youtube.com/embed/rocH7GZIll0" 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>
<h3>Flexibility Wins</h3>
Need three versions of the same fog pass? Want to test different explosion types in your comp? VFX stock footage gives you the ability to explore options without the overhead of reshoots or re-sims.
It’s not about cutting corners. It’s about working smarter.
<img src="https://a-us.storyblok.com/f/1002378/1920x994/d033c373d6/actionvfx-dust-explosion-bts.jpg" alt="">
Our team films the explosions for you. You just put them into your shot.
<h2>“But Isn’t That Cheating?”</h2>
Only if you believe building everything yourself is a badge of honor.
The truth is, stock assets are one of the most widely used tools in VFX—period. And for good reason. It helps you get better results, faster. And if you do it right, no one will know it was stock to begin with.
You’re not cheating. You’re being efficient.
And as Bryan Haines, Senior Compositor from Crafty Apes once put it:
“ActionVFX gets me home to see my family.”
Hard to argue with that.
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/589b8eae35/stranger-things-bts-vfx.jpg" alt="">
An ActionVFX muzzle flash asset in Stranger Things Season 4.
<h2>But What About CG vs. Real?</h2>
Let’s clear this up.
Most of our elements are shot practically—real fire, real smoke, real debris. Some others are simulated, rendered, and delivered in a way that gives you more control and consistency.
Both are valid. Both have their place. What matters is that they work in the shot.
<img src="https://a-us.storyblok.com/f/1002378/2048x1080/390d96c3dc/explosion-actionvfx-bts.jpg" alt="">
There’s a whole camp of people who love to say “we don’t use CGI” in their marketing videos, but the truth is… most of them do. They just don’t call it that. (Yes, we're looking at you, Tom Cruise...)
(If you don't know what we're talking about, sorry to burst your bubble, but <a href="https://www.youtube.com/watch?v=7ttG90raCNo&amp;list=PLgdTaHO8FLEve_XFiRBEcOSkRdd-Txjne">almost all the jets in Top Gun: Maverick are CG</a>.)
The best artists care less about how an element was created, and more about what it helps them say in the scene.
<h2>Where Do You Get This Stuff?</h2>
You can shoot it yourself. You can build your own sims. But if you’d rather skip that and get straight to the part where your shot looks good, there’s ActionVFX.
We’ve got:
<ul>
<li>Over 12,000 professional-grade elements</li>
<li>Most elements filmed practically</li>
<li>Everything built for compositors</li>
<li>New collections added every month</li>
</ul>
<img src="https://a-us.storyblok.com/f/1002378/1920x823/240438b0ca/free_vfx_and_pfl.jpg" alt="">
Whether you or your team is working in After Effects, Nuke, Blender, Resolve, or something else, these elements drop in and get the job done.
👉 <a href="https://actionvfx.com/products">Browse our library</a>
Watch our CEO's explanation here:
<iframe width="560" height="315" src="https://www.youtube.com/embed/3HrxAAcB2dM" 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>
ActionVFX socials:
<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>

Discover how VFX stock footage helps professional VFX artists create high-quality shots faster, cheaper, and more efficiently.

What is VFX Stock Footage?

You probably didn’t become a VFX artist because you love rotoscoping.
<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?
That’s where CopyCat comes in. With the right setup, you can train your own AI model to generate mattes automatically, saving hours of manual work.
<h2>How to Train CopyCat for Rotoscoping</h2>
<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:
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/cb1d88a6da/nuke-node-graph-manual-rotoscope.jpg" alt="">
<h3>1. Roto a Few Key Frames</h3>
Before CopyCat can generate mattes, it needs training data—clean mattes that show it what to learn.
<ul>
<li>Pick 5–10 unique keyframes 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>
Example: If you’re rotoscoping a person running, choose frames where their legs are in different positions.
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>
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/b5e590e72a/nuke-copycat-rotoscoping-nodes.jpg" alt="">
<h3>2. Set Up and Train CopyCat</h3>
Once you have your training frames, it’s time to set up the CopyCat node.
<ul>
<li>Add a CopyCat node to your Nuke script.</li>
<li>Connect your original footage to the Input and your hand-made mattes to the Ground Truth input.</li>
</ul>
Next, adjust your training settings:
<ul>
<li>Start with low iterations (~1000-2000) for quick tests.</li>
<li>If the results are good, increase iterations.</li>
</ul>
Click Start Training, and let Nuke process the data. Depending on your settings, training might take a few minutes to an hour.
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/389aa19741/nuke-inference-node-graph.jpg" alt="">
<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 Create Inference 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 auto-generate mattes for every frame, saving you hours of manual roto.</li>
</ul>
If the results need improvement, refine your training frames, retrain the model, and apply again.
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/c4b95e2c0e/man-crawling-in-building-with-gun.jpg" alt="">
<h2>Want to Practice? Download This Free Shot</h2>
To get the best results, start with the right kind of footage. This free practice clip of a man crawling through a building is perfect for learning or showcasing your roto skills with CopyCat.
<a href="https://www.actionvfx.com/practice-footage/man-crawling-in-burning-room">Download the free clip here</a> and start automating your roto workflow!
Full tutorial from The Foundry:
<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>
If you're interested in learning Nuke for free, check out our <a href="https://www.actionvfx.com/blog/master-nuke-compositing-introduction-course">free 6-part introduction to Nuke course</a>.
ActionVFX socials:
<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>

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

If you want to build a career in high-end VFX compositing, learning The Foundry's Nuke is essential.
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.
To help you get started, we just launched a free Intro to Nuke course, led by <a href="https://www.linkedin.com/in/doughogan/">Doug Hogan</a>—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.
What this 6-part course covers:
<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>
Whether you're transitioning from After Effects or brand new to compositing, this course will teach you the right way to approach Nuke.
<h2>Chapter 1: Understanding Nuke’s Workflow</h2>
When you first open Nuke, it might feel overwhelming. The interface and workflow are vastly different from layer-based software like After Effects.
In Chapter 1, Doug walks you through:
<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>
📺 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>
<h2>CHAPTER 2: The Four Essential Nodes for Every Composite</h2>
You don’t need to memorize hundreds of nodes to work in Nuke—most of your work will rely on just a few.
<ul>
<li>Read – Brings assets into Nuke</li>
<li>Merge – Controls how layers interact</li>
<li>Transform – Moves, scales, and rotates elements</li>
<li>Grade – Adjusts color and exposure for seamless blending</li>
</ul>
Master these, and you’re well on your way to building professional composites. In Chapter 2, Doug breaks down how each works, giving you the practical skills to start efficiently structuring your Nuke node graphs.
📺 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>
<h2>CHAPTER 3: Rotoscoping and Masking Essentials</h2>
Rotoscoping and masking are foundational skills for every compositor, giving you the control needed to isolate elements and integrate them seamlessly into a shot.
<ul>
<li>Roto &amp; RotoPaint – Create and refine custom masks</li>
<li>Animated Masks – Add movement for dynamic compositing</li>
<li>Workflow Best Practices – Stay organized and efficient</li>
<li>Machine Learning Tools – Speed up rotoscoping with machine learning tools</li>
</ul>
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.
📺 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>
<h2>CHAPTER 4: Gridwarp &amp; Depth Maps for Realistic Compositing</h2>
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.
<ul>
<li>Element Integration – Add ActionVFX assets that feel like part of the shot</li>
<li>Gridwarp Tool – Bend, distort, and animate elements with control</li>
<li>Depth Maps – Use machine learning to generate accurate depth</li>
<li>Atmospheric Effects – Add fog and haze that responds to your scene’s depth</li>
</ul>
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.
📺 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>
<h2>CHAPTER 5: Color Matching for Seamless Composites</h2>
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.
<ul>
<li>Color Correction Tools – Use Grade, ColorCorrect, and HueShift nodes</li>
<li>Element Matching – Balance colors across different layers for realism</li>
<li>Final Adjustments – Refine contrast, saturation, and black points</li>
<li>Organic Touches – Add subtle camera shake for a natural finish</li>
</ul>
By the end of this chapter, your composites will look cleaner, more cohesive, and ready for final delivery.
📺 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>
<h2>CHAPTER 6: Final Polish, Rendering, &amp; Professional Delivery</h2>
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.
<ul>
<li>Final Touches – Clean up your composite and fix any errors</li>
<li>Color &amp; Effects – Apply subtle tweaks for consistency</li>
<li>Rendering – Export a finished sequence for review or delivery</li>
<li>Sound Design – Use machine learning tools to add immersive sound</li>
</ul>
This chapter ties it all together so your composite is ready for the big screen.
📺 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>
Each chapter builds on the last, taking you step by step into the world of professional compositing. Be sure to <a href="https://www.youtube.com/@ActionVFXofficial">subscribe to our channel</a> so you don't miss upcoming tutorials!
<h2>Start Learning Nuke for Free</h2>
If you’re serious about VFX, this is your chance to learn from an industry expert at no cost.
Have any questions? Drop a comment in the videos and one of our artists will get back to you!
ActionVFX socials:
<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>

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

The Dune films have some of the most visually stunning effects in modern cinema, so when I saw Dune: Part Two nominated (and winning!) Best Visual Effects at the Oscars, I knew I had to make something inspired by it.
Armed with a few simple materials, a green screen, and some <a href="https://actionvfx.com/products">assets from ActionVFX</a>, I created my own Dune-inspired shot in my at-home studio. Here’s how I did it.
<iframe width="560" height="315" src="https://www.youtube.com/embed/Hw7r4Dwg3TE" 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>
<h2>Step 1: Building the Filt Plug for the Stillsuit</h2>
If you’ve seen Dune, you’ll recognize the Filt Plug— the small black tube that connects from the back of the head to the nostrils in the stillsuit. You can buy them for cosplay, but I wanted the challenge of making one myself.
So, I took a trip to Lowe’s and found exactly what I needed: flexible tubing and a 90-degree connector. Back at my workspace, I:
<ul>
<li>Cut the tubing a little longer than necessary.</li>
<li>Trimmed the sharp point off the connector.</li>
<li>Heated and molded the tubing to fit my face (without burning myself, thankfully).</li>
<li>Adjusted the fit by bending it over my ear and trimming the excess.</li>
</ul>
With that, the Filt Plug was done! Next, I grabbed my shemagh from my airsoft days, and it was time to set up the shot.
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/d0d5cb2e8c/dune-diy-filt-plug.jpg" alt="">
<h2>Step 2: Lighting and Filming</h2>
Lighting plays a massive role in selling the illusion. To match the Dune aesthetic, I set up:
<ul>
<li>A strong light over my shoulder to mimic the harsh desert sun.</li>
<li>An LED panel with a softbox in front of me for subtle fill lighting.</li>
<li>Tube lights to evenly light the green screen.</li>
<li>A box fan to add a little movement for realism.</li>
</ul>
To create the effect of dried skin from the desert air, I relied on my lack of a skincare routine—finally, a benefit! With everything in place, I recorded multiple takes, eventually choosing the most natural-looking performance.
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/5edb56b313/dune-diy-vfx-bts.jpg" alt="">
<h2>Step 3: Keying and Compositing the Shot in After Effects</h2>
Once filming was done, I moved into After Effects to composite everything together. Here’s how I built the scene:
<ul>
<li>Pre-composing – The footage was shot in 6K, but working at that resolution isn’t practical or fast. I pre-composed it so After Effects would treat it as 2K when applying effects.</li>
<li>Keying the Green Screen – Using the built-in Keylight plugin, I removed the background and adjusted the alpha contrast.</li>
<li>Flipping the Background for Lighting Consistency – Since my highlights were on the left and the background’s were on the right, I flipped the desert plate horizontally to match.</li>
</ul>
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/c6ee29e26e/dune-movie-bts.jpg" alt="">
<h3>Adding the Sandstorm</h3>
To create the iconic dust storms of Arrakis, I had to get creative. By repurposing <a href="https://www.actionvfx.com/collections/blizzard-snow-stock-footage">Blizzard Snow</a> assets from ActionVFX, I got exactly what I was looking for. With a few adjustments:
<ul>
<li>I flipped them horizontally to match the wind direction.</li>
<li>Used Unmult to remove the black background.</li>
<li>Tinted the snow an orange-brown hue.</li>
<li>Staggered multiple layers with different scale, color, and luminance to add depth.</li>
</ul>
To maintain visibility of the dunes, I duplicated the background, brought it above some of the Blizzard Snow layers, masked only the bottom, and feathered it. This helped blend everything seamlessly.
<h3>Creating the Spice Particles</h3>
No Dune-inspired shot is complete without spice floating in the air. I used ActionVFX <a href="https://www.actionvfx.com/collections/dust-particles-stock-footage">Dust Particles</a> and:
<ul>
<li>Tinted them red-orange to match the look of spice.</li>
<li>Set the blending mode to Add for a glowing effect.</li>
<li>Adjusted speed and opacity for a more organic look.</li>
</ul>
<h2>Step 4: Enhancing the Shot with the Blue Eyes Effect</h2>
In the Dune universe, exposure to spice turns a person’s eyes blue. To achieve this, I:
<ul>
<li>Motion-tracked my eyes to keep the effect locked in place.</li>
<li>Used an <a href="https://www.actionvfx.com/collections/eye-textures-stock-footage">eye texture</a> from ActionVFX to enhance the vibrancy.</li>
<li>Created a blue solid layer and set it to Color blending mode.</li>
<li>Masked and feathered the eyes for a natural transition.</li>
</ul>
This process required a lot of manual <a href="https://www.actionvfx.com/blog/how-to-do-motion-tracking-with-mocha-ae-beginner-friendly-after-effects-tutorial">tracking</a>, but the result was worth it!
<h2>Step 5: Final Touches – Noise, Lens Flares, and Camera Shake</h2>
To make the shot feel even more immersive, I added:
<ul>
<li>Organic Dust Motion – Using directional blur and noise textures, I made the foreground Blizzard Snow layers feel more like sand particles, and simulated the chaotic movement of dust particles in the wind.</li>
<li>A Lens Flare – I used an <a href="https://www.actionvfx.com/collections/Icon-anamorphic-lens-flares-stock-footage">Icon: Anamorphic Lens Flare</a> from ActionVFX, tweaking the contrast and hue for a warm, cinematic glow.</li>
<li>Subtle Camera Shake – Added a slight handheld effect for realism.</li>
<li>Final Color Grade – Using DaVinci Resolve, I fine-tuned the colors for a more cohesive desert look.</li>
</ul>
<img src="https://a-us.storyblok.com/f/1002378/1920x1080/d8474aea51/dune-vfx-shot.jpg" alt="">
<h2>The Final Result</h2>
After all these steps, the shot was complete! What started as a small room with a green screen became an intense, cinematic sandstorm straight out of Arrakis.
If you’re working on a project and need high-quality, ready-to-use VFX assets, ActionVFX has you covered. Whether it’s fire, rain, debris, or even spice-filled sandstorms, you can <a href="https://actionvfx.com/products">find the right assets</a> to bring your vision to life.
Now go make something awesome! And if you use any of these techniques in a project, drop a comment in the video—who knows, maybe you will be the next ActionVFX user accepting an Oscar. (P.S.<a href="https://www.actionvfx.com/blog/godzilla-minus-one-vfx-oscar-on-a-budget">You wouldn't be the first!</a>)
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Armed with a few simple materials, a green screen, and some assets from ActionVFX, I created my own Dune-inspired shot in my at-home studio.

How I Recreated Dune: Part Two VFX in My At-Home Studio

Armed with a few simple materials, a green screen, and some assets from ActionVFX, I created my own Dune-inspired shot in my at-home studio with After Effects.

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.
In this guide, we’ll walk you through how to properly interpret, transform, and composite DRAGONcolor2 assets while keeping all the original data intact.
<h2>Why Some Assets Use DRAGONcolor2 / REDgamma4</h2>
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.
The good news? There's an easy way to fix this thanks to our friends at RED.
<img src="https://a-us.storyblok.com/f/1002378/900x506/61233150cf/red-camera-bts.jpg" alt="">
<h2>The Fix: Custom LUTs from RED</h2>
To solve this issue, RED developed custom LUTs specifically for ActionVFX users. These LUTs convert different RED gammas into a more usable format, making compositing in After Effects much easier.
🔥 Pro Tip: 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>.
Before you get started, if you're not familiar with ACES color management and how it streamlines compositing, you'll need to check out our <a href="https://actionvfx.com/blog/how-to-use-aces-in-after-effects">ACES guide</a> first.
<h2>How to Set Up DRAGONcolor2 / REDgamma4 Assets in After Effects</h2>
Follow these steps to properly set up your assets and maintain full color accuracy.
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>
1. Set the Correct Input Color Space
<ul>
<li>Right-click your asset in the Project Window → Interpret Footage &gt; Main</li>
<li>Go to the Color Tab</li>
<li>Under Override Media Color Space, select: Input/RED/Input - RED - Linear - DRAGONcolor2</li>
</ul>
At this point, the colors will still look off—but don’t worry, we’re about to fix that.
2. Apply the RED LUT in Lumetri
<ul>
<li>Add the Lumetri Color effect to your asset</li>
<li>Under Basic Correction, locate the Input LUT option</li>
</ul>
Instead of using the default presets, we need to add one of the custom LUTs:
<ul>
<li>Open File Explorer</li>
<li>For Windows, navigate to: Local Disk &gt; Program Files &gt; Adobe &gt; Adobe After Effects &gt; Support Files &gt; Lumetri &gt; LUTs &gt; Technical</li>
<li>For Mac navigate to: 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</li>
<li>Drag and drop the RG4_2_LIN_64.cube LUT from the RED LUT pack into this folder</li>
<li>Restart After Effects</li>
<li>Now, in Lumetri’s Input LUT section, select RG4_2_LIN_64</li>
</ul>
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.
<h2>Making This Process Even Faster</h2>
If you’re working with a lot of our DRAGONcolor2 / REDgamma4 assets in the same project, you can save time by applying your initial footage interpretations to multiple files at once.
Use “Remember Interpretation”
<ul>
<li>After setting up one asset, right-click it in the Project Window</li>
<li>Select Interpret Footage &gt; Remember Interpretation</li>
<li>Now, apply this interpretation to multiple assets at once by selecting them, right-clicking, and choosing Apply Interpretation</li>
<li>Add Lumetri once the asset is in your Comp</li>
<li>Select your RG4_2_LIN_64 LUT as your Input LUT</li>
</ul>
Final Thoughts
By following this workflow, you’ll ensure your DRAGONcolor2 / REDgamma4 assets composite seamlessly into your After Effects projects without any color issues.
Need high-quality VFX assets? ActionVFX has over 11,000 professional-grade elements](https://actionvfx.com/products), from fire, smoke, rain, and explosions to muzzle flashes and debris—all designed to integrate smoothly into your workflow.
👉 <a href="https://actionvfx.com/products">Check out our library and start compositing with the best assets available!</a>

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

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.
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.
<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>
<h2>Why Color Spaces Matter</h2>
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.
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>.
<h2>How ACES Works in Compositing</h2>
ACES uses input and output transforms to standardize footage:
<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>
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.
🔥 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>
<h2>Setting Up ACES in After Effects</h2>
1. Change Project Settings
<ul>
<li>Go to File &gt; Project Settings &gt; Color and switch to OCIO Color Managed.</li>
</ul>
2. Set the Footage Input Color Space
<ul>
<li>Right-click footage → Interpret Footage &gt; Main &gt; Color tab</li>
<li>Select the correct input transform (e.g., REDWideGamutRGB / REDLog3G10).</li>
</ul>
3. Blend Different Color Spaces Seamlessly
<ul>
<li>When working with multiple assets (e.g., Rec.709, DRAGONcolor2), use the correct transforms to unify their look.</li>
</ul>
4. Render in the Original Color Space
<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>
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.
🔥 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.)
<img src="https://a-us.storyblok.com/f/1002378/1739x978/d74ca4eb31/actionvfx-asset-specs.jpg" alt="">
<h2>Watch the Full Video for a Hands-On Walkthrough</h2>
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 Interpret Footage settings across multiple assets.
<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>
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.
<a href="https://actionvfx.com/products">Explore our library</a>
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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)

The <a href="https://www.youtube.com/watch?v=a0JMSj5xdFk">Captain America: Brave New World</a> 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.
Learn how to make Hulk's glowing eyes, red skin, expanding hands, and ground-shattering impact.
The best part? You can do it all for just five credits or less using the ActionVFX library.
<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>
Here's a quick rundown:
<h3>Step 1: Turning Your Skin Red</h3>
The first thing we need to do is change skin color. Using After Effects, you can create this effect by:
<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>
By keyframing the effect, you can make the transformation happen gradually, just like in the movies.
<h3>Step 2: Adding Glowing Red Eyes</h3>
No Hulk transformation is complete without those intense glowing eyes. Here’s how to do it:
<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>
This technique makes the eyes look alive and dynamic, rather than just color overlays.
<h3>Step 3: Creating a Ground-Smashing Impact</h3>
This is where things get destructive. When Red Hulk smashes the ground, you'll need:
<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>
To make it work seamlessly:
<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>
With these elements in place, you can refine the scene by:
<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>
Ready to give it a shot? Watch the full tutorial and grab a free burning steel wool asset in the video description before February 26th.
<a href="https://www.youtube.com/watch?v=3SdkmysscnI">Watch the full tutorial</a>
<h3>MCU-Trusted VFX Assets</h3>
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!
Build your own subscription plan:
<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 $29/mo</li>
</ul>
<a href="https://actionvfx.com/pricing">Get started</a>
ActionVFX socials:
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Wyatt turned into Red Hulk from Captain America: Brave New World using After Effects and a low budget.

Become Red Hulk | After Effects VFX Tutorial

Last Updated: Jan 27, 2025
We’re excited to announce that we just launched the first wave of improvements to the <a href="https://actionvfx.com/pricing">ActionVFX subscription</a>! Here’s what’s new:
<h2>Custom Credit Packs</h2>
Credit packs are available for subscribers to scale their plan by purchasing additional credits as they need them. Previously, users were restricted to preset credit packs of 5, 10, and 20. However, this resulted in subscribers needing to purchase unnecessary credits and artists having difficulty passing costs down to clients.
Subscribers are now able to purchase the exact number of credits they need to download assets, without restrictions. Additionally, subscribers still get bulk discounts on larger credit purchases.
<img src="https://a-us.storyblok.com/f/1002378/2048x1270/e199bb9558/actionvfx-custom-credit-packs.jpeg" alt="">
<h2>Essentials Plan Now Available</h2>
After launching the ActionVFX subscription, we quickly realized that not every user benefits from month-over-month credit accumulation. Some users, especially hobbyists or freelancers, don't do enough compositing to justify this cost, or only require assets from the <a href="https://www.actionvfx.com/products/essentials-catalog">Essentials Catalog</a>. We're excited to launch a new plan that caters to the best interest of these artists.
We just introduced the Essentials Plan, a new low-cost plan designed with freelancers in mind. Here’s what subscribers get with the Essentials Plan:
<ul>
<li>20 daily downloads from the Essentials Catalog - a selection of 3,000 premium assets from over 90 collections.</li>
<li>The ability to purchase custom credit packs of any amount at any time.</li>
<li>Download in 4K and 6K from the Practice Footage Library.</li>
</ul>
If you typically need less than 2-3 paid collections (or less than 30-50 individual assets) per year, this plan is a great option for you!
For individuals, the Essentials Plan costs just $29/month (billed annually) or $39/month (billed monthly). For small teams and studios, the plan costs $99/month billed annually or $139/month billed monthly.
<a href="https://actionvfx.com/pricing">Purchase the Essentials Plan</a>
<img src="https://a-us.storyblok.com/f/1002378/1687x1091/e04bd90622/actionvfx-essentials-plan.jpeg" alt="">
<h2>The Essentials Catalog Just Became Substantial</h2>
If the new Essentials Plan piqued your interest or if you’re currently subscribed to one of our Plus plans, you’ll be happy to know that we doubled the size of the Essentials Catalog to include 3,000 premium assets from 91 collections. These assets are available to all subscribers on a paid plan.
Some of the top collections now in the Essentials:
<ul>
<li><a href="https://www.actionvfx.com/collections/dust-waves-vol-2-stock-footage">Dust Waves Vol. 2</a></li>
<li><a href="https://www.actionvfx.com/collections/exploding-debris-stock-footage">Exploding Debris Vol. 1</a></li>
<li><a href="https://www.actionvfx.com/collections/ground-fire-stock-footage">Ground Fire Vol. 1</a></li>
<li><a href="https://www.actionvfx.com/collections/fire-sparks-close-stock-footage">Fire Sparks - Close</a></li>
<li><a href="https://www.actionvfx.com/3d/ah-64-apache-helicopter-3d-model">AH-64 Apache Helicopter 3D Model</a></li>
</ul>
<a href="https://www.actionvfx.com/products/essentials-catalog">Explore the Essentials Catalog</a>
<img src="https://a-us.storyblok.com/f/1002378/2048x1152/29aa470feb/essentials-catalog-assets-actionvfx.jpeg" alt="">
<h2>Monthly Additions to the Essentials Catalog</h2>
We're excited to announce that we'll be adding new collections to the Essentials Catalog on the first of each month. These collections, which normally cost credits, will be available to download without credits from the Essentials Catalog all month.
The first monthly Essentials Catalog collection will be added on February 1st!
<h2>Other ActionVFX Updates:</h2>
<ul>
<li>Licenses are now available as PDFs for easier proof-of-licensing for your clients.</li>
<li><a href="https://www.actionvfx.com/collections/free-vfx/category">Free assets</a> are now available on your “My Downloads” page after downloading.</li>
</ul>
If you have more feedback on how we can improve the ActionVFX subscription, please reach out to our team at support@actionvfx.com. We are in the process of developing our next wave of improvements, so we are eager to consider your ideas!
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<a href="https://actionvfx.com/pricing">Explore our pricing plans</a> or <a href="https://actionvfx.com/products">browse the library.</a>

Here's what's new to the ActionVFX subscription, including custom credit packs, Essentials Catalog expansions, and more!

Exciting First Wave of Subscription Improvements

We all know by now that <a href="https://youtu.be/7ttG90raCNo?feature=shared">Tom Cruise kind of lied to us</a> about their use of CG in Top Gun: Maverick. If you're one of the <a href="https://www.imdb.com/title/tt1745960/fullcredits">761 CG and VFX artists</a> who worked on the film, we appreciate your hard work!
Well the good news for VFX artists is that you don't need a pilot's license to make a Top Gun quality movie. In fact, all you really need is <a href="https://www.actionvfx.com/blog/a-comprehensive-guide-to-the-best-3d-vfx-software">good 3D and compositing software</a> and an <a href="https://actionvfx.com/pricing">ActionVFX subscription</a>.
I recreated a scene from Top Gun: Maverick spending only 10 credits (<a href="https://actionvfx.com/pricing">$69.30 during Black Friday!</a>) at ActionVFX. No, it's not quite Top Gun quality (I threw it together in less than a week), but you get a pretty good idea of what's possible with high-quality VFX assets.
Here's the full tutorial:
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This Tutorial Covers:
<ul>
<li>Importing and animating 3D jet models in Blender.</li>
<li>Creating missile trails using Blender's particle systems.</li>
<li>Simulating handheld camera movements using Blender noise modifiers.</li>
<li>Using HDRIs and Sky Textures for realistic lighting in Blender.</li>
<li>Rendering <a href="https://www.actionvfx.com/blog/learn-how-to-use-exr-files-like-the-pros-ae-quick-tips-tutorial">EXR</a> multi-pass outputs for compositing in After Effects.</li>
<li>Compositing explosions, debris, and heat distortion effects in After Effects.</li>
</ul>
Assets Used in Tutorial:
<ul>
<li><a href="https://www.actionvfx.com/3d/f-15e-strike-eagle-fighter-jet-3D-model">F-15 Strike Eagle Fighter Jet</a> (4 credits)</li>
<li><a href="https://www.actionvfx.com/3d/f16-fighter-jet-3d-model">F-16 Fighter Jet</a> (4 credits)</li>
<li><a href="https://www.actionvfx.com/collections/steam-jets-stock-footage">Steam Jets</a> (free for subscribers)</li>
<li><a href="https://www.actionvfx.com/collections/gun-smoke-stock-footage">Gun Smoke Vol. 1</a> (free for subscribers)</li>
<li><a href="https://www.actionvfx.com/collections/falling-ashes-stock-footage">Falling Ashes</a> (free for subscribers)</li>
<li><a href="https://www.actionvfx.com/collections/jet-flames-stock-footage">Jet Flames</a> (free for subscribers)</li>
<li><a href="https://www.actionvfx.com/collections/aerial-explosions-vol-2-stock-footage/8273">Air Explosion</a> (1 credit)</li>
</ul>
If you're new to ActionVFX, we are considered the <a href="https://actionvfx.com/testimonials">industry's best VFX library</a>. Our almost 12,000 assets (and counting!) are regularly used in blockbuster movies, shows, and games like Godzilla Minus One, Avengers: Endgame, The Ballad of Songbirds and Snakes, Stranger Things, and Call of Duty.
<a href="https://actionvfx.com/products">Explore our library</a>
You can try out our assets with a Free Forever Plan, or access our entire library with credits starting at $59!
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We remade a scene from Top Gun: Maverick in Blender and After Effects using ActionVFX assets. Follow along!

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