<div>This is for all article related to post-production in the industry.</div>

Post-Production

<h1>AI Workflows for VFX Artists Are Here. Are You Ready for Them?</h1>
<p>Pre-sales for <em>Advanced AI Workflows for VFX Artists</em> open April 7th. Here's why this course exists — and why now matters.</p>
<hr>
<p>In 1993, the VFX industry changed in a way no one fully predicted.</p>
<p>Digital compositing replaced optical. Software replaced darkrooms. Studios had to retrain entire departments, and the artists who moved quickly — who treated the disruption as an opportunity rather than a threat — became the foundation of the modern VFX workforce.
The artists who waited? Many didn't make it through the transition.</p>
<p>We're in a similar moment.</p>
<p>AI tools are no longer experimental. They're inside real productions, being used by working compositors and supervisors at major studios right now. Relighting with AI-generated utility passes. Cleanplating with diffusion models. Face replacement workflows that would have taken a full team weeks, completed in days. The technology isn't coming — it arrived. The question now is whether VFX artists understand how to use it professionally, or whether they're still watching from the sidelines.</p>
<p>That's the gap this course was built to close.
<img src="https://a-us.storyblok.com/f/1002378/3840x2160/ce01a78d17/comfyui-for-vfx_actionvfx.jpg" alt=""></p>
<hr>
<h2>Introducing: Advanced AI Workflows for VFX Artists</h2>
<p><em>Advanced AI Workflows for VFX Artists</em> is the latest course from ActionVFX Academy — and it's unlike anything we've offered before.</p>
<p>This isn't an introduction to AI tools. It isn't a surface-level overview of what's trending. It's a production-grade course that treats AI as what it actually is: a set of tools that, when understood properly, make skilled artists more capable, not redundant.</p>
<p>The course is built around a single complete cinematic shot — constructed from scratch using a hybrid AI and traditional pipeline. Students won't just watch techniques in isolation. They'll build something real, making the same kinds of technical decisions a compositor would face on an actual production.</p>
<p>By the end, you'll know how to:</p>
<ul>
<li>Relight shots using depth, normals, and lighting passes generated with LLM-assisted tools</li>
<li>Handle cleanplates, matte paintings, and face replacements within a structured comp</li>
<li>Track shots in 3D and integrate elements in Nuke's 3D space</li>
<li>Build custom nodes and automate pass assembly with Python and LLM-assisted tooling</li>
<li>Make confident decisions about when AI helps the shot — and when it doesn't</li>
</ul>
<p>The course also includes optional sidequests covering sky replacement and de-aging workflows for artists who want to go deeper.</p>
<hr>
<h2>Meet Your Instructor</h2>
<p><img src="https://a-us.storyblok.com/f/1002378/1393x864/552a1d0ed6/doug-hogan-actionvfx.webp" alt="">
Doug Hogan has spent 20 years at the intersection of VFX and emerging technology. His credits include <em>Space Jam: A New Legacy</em>, <em>G-Force</em>, <em>Scoob!</em>, and <em>Free Birds</em>. He currently serves as Senior Creative Technologist at Groove Jones, consults for ComfyUI on studio-grade features, and is sponsored by both Dell and The Foundry for his work in AI and Nuke.</p>
<p>He also teaches ActionVFX's <em>Introduction to ComfyUI for VFX</em> — the recommended foundation for this course.</p>
<p>Doug isn't teaching AI workflows from a research perspective. He's teaching them from inside the industry, at a studio actively integrating these tools into production. That context matters. The difference between knowing how a tool works and knowing how it fits into a real pipeline is significant — and it's exactly what this course delivers.</p>
<hr>
<h2>Who This Course Is For</h2>
<p><em>Advanced AI Workflows for VFX Artists</em> is designed for working compositors who already know Nuke at an intermediate to advanced level. Some familiarity with ComfyUI is beneficial, as is basic Python knowledge for Nuke tool creation — though neither is a hard requirement to get value from the material.</p>
<p>If you've completed <em>Introduction to ComfyUI for VFX</em>, this is the natural next step.</p>
<p>One important note: most tools used in this course are free or have free tiers. Paid tools like DaVinci Resolve Studio, Beeble, Runway, Kling, and Veo are optional — project output media is provided so you can follow along without purchasing anything additional.</p>
<p>This isn't a course designed to sell you a software stack. It's designed to make you better at your job.
<img src="https://a-us.storyblok.com/f/1002378/1280x720/2f015fe05a/advanced_ai_workflows-actionvfx_course2.jpg" alt=""></p>
<hr>
<h2>Sign-Up For Discounted Price</h2>
<p>Pre-sales open on <strong>April 7th</strong>, and early-bird pricing is only available for a limited window before the course goes to general sale.</p>
<p>The artists who sign up first are, almost by definition, the ones already thinking about this. They're not waiting to see how things shake out. They're investing in understanding before the understanding becomes mandatory.</p>
<p>That's the same instinct that separated the compositors who thrived in 1993 from those who didn't.</p>
<p>If you've been watching AI change the industry and wondering what your place in it looks like — this is a direct answer to that question.</p>
<hr>
<h2>Secure Your Early-Bird Pricing</h2>
<p>Sign up now to be notified the moment pre-sales go live and lock in discounted pricing before it's available to the public.</p>
<p><strong>→ <a href="https://bit.ly/47x5DOE">Save your spot at early-bird pricing</a></strong></p>
<p><em>Advanced AI Workflows for VFX Artists</em> — Pre-sales begin April 7th.</p>


Learn how to integrate AI workflows into professional VFX production. Relighting, cleanplates, matte painting, and more

New Course Advanced AI Workflows For VFX Artists

Use AI In Actual Productions

<p>With the release of Nuke 17, Foundry has delivered one of the most substantial updates to its compositing tool in years. This iteration moves far beyond incremental tweaks; it rearranges how compositors interact with USD, 3D data, machine learning, performance, and core rendering, all in ways that matter in today’s production pipelines.</p>
<p>For artists and studios who depend on Nuke for high-end episodic and feature work, the value isn’t just in new nodes, it’s in workflow clarity, integration fidelity, and performance gains that scale from single shots to full sequences.</p>
<p>Below we break down the most impactful changes you’ll find in Nuke 17, explained for professionals who want to know not just what is new, but why it matters.</p>
<h3>A Modernized 3D System Built for USD</h3>
<p><img src="https://a-us.storyblok.com/f/1002378/1998x1124/e6fd45c97c/actionvfx-nuke-17-review.png" alt=""></p>
<p>At the heart of <strong>Nuke 17</strong> is a rebuilt USD-based 3D system that’s no longer experimental — it’s production-ready. This update brings greater control over scene graph data, more intuitive imported workflows, and tighter integration with real-world pipelines.
Selective Import and Scene Graph Control</p>
<p>In previous versions, importing USD scenes could be a heavy, all-or-nothing process. In Nuke 17, the GeoImport workflow now lets you preview and customize what gets loaded:</p>
<ul>
<li>Load or unload payloads</li>
<li>Activate or deactivate individual prims</li>
<li>Filter by primitive type</li>
<li>Set graph depth before import</li>
</ul>
<p>This prevents unnecessary data from slowing down your comp and gives you precision control over what parts of a complex USD scene actually matter for your shot.
Once imported, the new Scene Graph tab in GeoImport allows you to tweak your selection without re-importing. That’s a real time saver when iterating through layout changes or lighting revisions.</p>
<h3>Native Gaussian Splats — Volumetrics in the Viewer</h3>
<p>One of the stand-out additions in Nuke 17 is native support for Gaussian Splatting — a volumetric asset format that has gained traction in virtual production and environment capture workflows.
Gaussian Splats differ from traditional polygon or voxel representations by treating a scene as a dense field of radiance &quot;blobs.&quot; Each splat carries colour, opacity, and shape data and can be manipulated almost like geometry in the 3D system.</p>
<p>In practical terms:</p>
<ul>
<li>Splats can be imported via GeoImport or GeoReference nodes.</li>
<li>A new SplatRender node enables direct rendering with motion blur and depth outputs, which integrates cleanly into a composite.</li>
<li>Manipulating and masking volumetric splats uses new Field nodes — such as FieldShape, FieldCrop, FieldMix, and others — giving you non-destructive control over dense data inside the nodegraph.</li>
</ul>
<p>For environment work, set extensions, or reconstructions from photogrammetry and capture systems, this means you no longer need to round-trip splat assets through external tools. They can now live natively inside Nuke, be transformed, graded, merged, and composited alongside CG and live-action elements.</p>
<h3>USD Cameras, Lights, and Materials — Work Like the Rest of Your Pipeline</h3>
<p>Nuke 17 expands native support for USD workflows across cameras, lights, and materials, aligning compositing more closely with lookdev and lighting stages in other DCCs</p>
<p><strong>Cameras</strong>
The updated 3D system allows:</p>
<ul>
<li>Direct editing of USD cameras via a GeoEditCamera node.</li>
<li>Passthrough of live USD attribute data so camera changes in upstream packages propagate correctly.</li>
<li>Improved visualization and interaction with cameras inside Nuke’s 3D viewer.</li>
</ul>
<p>For VFX artists working with layout or previs data, this means more reliable matches between comp and upstream camera work, with fewer guess-correct cycles.</p>
<p><strong>Lights</strong>
New light workflows provide:</p>
<ul>
<li>Real-world terminology in light parameters</li>
<li>Direct editing of USD light prims inside Nuke</li>
<li>Expanded controls for intensity, falloff, colour temperature, and shadows.</li>
</ul>
<p>These adjustments help compositors simulate lighting conditions that match set photography or CG lighting more faithfully, without needing to fake or approximate values.</p>
<p><strong>MaterialX and the MtlXStandardSurface Node</strong></p>
<p>For the first time in Nuke, a MaterialX Standard Surface shader node lets you preview and render materials with a consistent shader model, visible in the Hydra viewer and rendered through ScanlineRender2.
This confirms a shift toward USD- and MaterialX-aligned lookdev workflows, reducing the friction when moving between lookdev/render packages and Nuke.</p>
<h3>BigCat: Scaling Machine Learning in Production</h3>
<p><img src="https://a-us.storyblok.com/f/1002378/1157x692/dab8a3fe46/bigcat25_actionvfx.png" alt=""></p>
<p>Nuke 17 also introduces BigCat, an extension of the existing CopyCat system that scales ML workflows beyond single-shot training.
While CopyCat lets you train models for matte or task generation on a per-shot basis, BigCat is designed to train across tens or hundreds of images, supporting:</p>
<ul>
<li>Data augmentation</li>
<li>Validation workflows</li>
<li>Custom loss functions for better model quality</li>
</ul>
<p>This is a meaningful upgrade for studios looking to create reusable AI tools trained on their own data — for example, training a model on a full film’s rotoscoping plates to automate cleanup across similar sequences.</p>
<h3>Graph Scope Variables: Live Control Throughout the Node Graph</h3>
<p>Graph Scope Variables (GSVs) — the backbone of multishot workflows introduced earlier — get a production-ready update in Nuke 17. They now support 3D nodes and allow Python callbacks and API hooks that can be triggered by variable events.
This unlocks dynamic content changes inside a comp:</p>
<ul>
<li>Swap geometry</li>
<li>Swap textures</li>
<li>Swap cameras</li>
</ul>
<p>…based on variable logic without duplicating scripts or nodes.
For multi-view or multi-variant editorial sequences, GSVs provide a powerful way to manage complex variations efficiently.</p>
<h3>New Annotation System: Streamlined Review and Collaboration</h3>
<p>Collaboration and review workflows see substantive improvements in Nuke Studio:</p>
<ul>
<li>A new Annotations Panel centralises all notes and comments across playback.</li>
<li>Annotation brushes get pressure-sensitive controls and blending modes.</li>
<li>Timeline markers now show contextual frames and allow easy navigation.</li>
</ul>
<p>These refinements help compositors and reviewers communicate intent visually without leaving the timeline or viewer.</p>
<h3>Performance Gains and Core Pipeline Updates</h3>
<p>Beyond bells and whistles, Nuke 17 brings performance improvements that matter on real sequences:</p>
<ul>
<li>Deep compositing renders up to 1.88× faster to both disk and viewer.</li>
<li>GPU upscaling via the TVIScale node can be up to 98× faster than previous builds.</li>
<li>Native ACES 2.0 support out of the box for both Studio and CG colour workflows, aligning with modern HDR/SDR pipelines.</li>
<li>OFX plugins run without artificial resolution limits — performance now depends on hardware.</li>
<li>New codecs and format support like NotchLC and YCbCr MOV handling across platforms.</li>
</ul>
<p>These optimisations are the type of upgrade that speeds up day-to-day work, especially on large multi-shot compositing tasks.</p>
<h3>What This Means for Your Workflow</h3>
<p>Integrating more USD control, native volumetric support, scalable machine learning, and more intuitive 3D workflows means:</p>
<ul>
<li>Less guesswork</li>
<li>Fewer workarounds</li>
<li>Higher fidelity outputs</li>
<li>Stronger alignment with upstream pipeline tools</li>
</ul>
<p>For studios and senior artists, these changes reduce friction between departments and keep more of your work inside a single compositing context, but without compositing at the expense of control. That’s a real shift in how a node-based tool serves modern VFX production.</p>
<h3>See It in Action</h3>
<p>Want a deep dive into how these features behave on real shots?
🎥 Watch our full <a href="https://youtu.be/zPFuUzfxw0I">Nuke 17 overview tutorial </a>
<iframe width="560" height="315" src="https://www.youtube.com/embed/zPFuUzfxw0I" 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>In it, we take real-world examples and show these updates where they matter most: in clean integration with practical elements, lighting consistency, and scalable workflows that hold up under review.</p>


Nuke 17 adds Gaussian Splats, deeper USD integration, BigCat ML, and performance upgrades

Nuke 17 Release

(and Why It Matters for VFX Pipelines)

The top AI tools for VFX pipelines Artists and Studios should use in 2026.

Top 10 AI Tools Transforming VFX Workflows in 2026

Upgrade your VFX Production with these AI VFX Tools

<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 most VFX libraries, fire stands still.
With <a href="https://bit.ly/4nQwfAr">Windy Fires</a>, it doesn’t.</p>
<p>This new collection from ActionVFX was built specifically for shots in motion; explosions racing past camera, fire rolling across vehicles, or flames reacting to atmospheric re-entry.
49 practical elements, captured in real-world wind conditions, <a href="https://bit.ly/4nQwfAr">Windy Fires</a> brings cinematic movement that CG can’t fake.</p>
<p>But what makes it work is it's authenticity.</p>
<p>We sat down with Zac VanHoy, Asset Development Supervisor, to talk about the production behind this collection and what makes these elements different.</p>
<h3>Fire in Wind</h3>
<p><em>“I wanted to bring something fresh to our library that I've never seen done anywhere else,”</em> Zac says.</p>
<p>Where simulations struggle to deliver natural variance, practical fire reacts in unexpected ways. That’s exactly what makes it feel real and why we knew we had to shoot it live.
It was about solving a visual gap many artists face: stock fire that doesn’t respond to motion.</p>
<h3>Why Film Practically?</h3>
<p>“CG has its place, but real fire gives you behaviour you’d never design on your own” Zac explains.</p>
<p>With a full FX team on set and a pyrotechnician leading the fire rigs, we dialed in specific fuel types and wind speeds to push flame behavior across a wide range — all while maintaining safety and control.</p>
<p><em>&quot;The biggest challenge we faced was getting the fire to burn large enough and long enough in the high winds. Simply putting fuel on a surface wasn't going to work. Our pyrotechnician brought some great ideas to the table and helped us solve this problem using specific types of fuel and foam to soak in the fuel and give us a longer burn time in the strong winds.&quot;</em>
<img src="https://a-us.storyblok.com/f/1002378/2000x1333/1d0df22ac7/actionvfx-assets-filmed-practically.jpg" alt=""></p>
<h3>Capturing Fire That Feels Dangerous</h3>
<p>Filmed with the RED V-RAPTOR 8K, every element was captured with cinematic exposure, controlled motion blur, and high-speed slow motion where needed. ND filters were key to preserving detail while maintaining depth of field and clean ISO ranges.
<em>&quot;The benefit of filming real fire is that you don't have to worry about it not looking real, because that's impossible.&quot;</em></p>
<p><strong>The collection includes:</strong></p>
<p>6 angles (including at-camera shots)</p>
<p>Multiple wind intensities</p>
<p>Real-time and slow-motion options</p>
<p>Pre-keyed EXR, ProRes 4444, and R3D</p>
<p>2K, 5K, and 6K resolutions</p>
<p>Paired with smart compositing, real fire offers depth and light play that’s hard to fake. And when you’re building sequences under tight timelines, that realism helps speed up creative approvals and reduce the need for simulation clean-up.</p>
<h3>Final Thoughts from Zac</h3>
<p><em>&quot;I hope they feel excited and thankful for time saved. I hope they feel the excitement because the assets help them take there shot to a level that exceeds their expectations and I hope they feel thankful because the assets help save them time and money from having to do sims or higher on-set pyrotechnicians.&quot;</em></p>
<h3>Explore the Collection</h3>
<p><a href="https://bit.ly/4nQwfAr">Windy Fires</a> is available now.
Grab production-ready fire that moves with your shot.</p>
<p>View the Collection → <a href="https://bit.ly/4nQwfAr">Windy Fires</a></p>
<p>49 clips. Pre-keyed. Cinematic motion. Real wind.</p>
<p>Now available in EXR, ProRes, and R3D — in 2K, 5K, and 6K.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/2000x1333/0aa67089f0/windy-fires-production.jpg" alt=""></p>


Go behind the scenes of Windy Fires with Zac VanHoy and discover how ActionVFX captured real fire in high wind for cinematic, production-ready VFX assets.

Windy Fires: The Most Dynamic Fire VFX Assets We’ve Ever Created

Fire in motion brings a different kind of intensity.

<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>There’s a shift happening in the industry and no, it’s not about replacing artists with AI.
It’s about supporting artists with tools that make their work faster, cleaner, and more creative.</p>
<p>That’s exactly what the <a href="https://courses.actionvfx.com/comfyui-for-vfx">Introduction to ComfyUI for VFX</a> course was built to do.</p>
<h3>Launched as the first official course from ActionVFX Academy</h3>
<p>It’s already helped hundreds of artists and studios streamline their compositing workflows using ComfyUI — a free, powerful, node-based interface for Stable Diffusion.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/3840x2160/702f35b208/rotoscoping-comfyui-vfx.jpg" alt=""></p>
<p>Whether you’re dealing with digital cleanup, relighting, roto, or just want a better way to prototype complex looks, this course gives you a system to integrate AI into your existing VFX pipeline — without losing control or quality.</p>
<h3>What Is ComfyUI, and Why Should VFX Artists Care?</h3>
<p>ComfyUI is a node-based interface for AI image generation using Stable Diffusion. But while most people use it for concept art and image-to-image stylization, this course shows how to use it for production-level tasks, like:</p>
<p>You’ll learn how to generate clean plates without frame-by-frame painting, create smart mattes with ControlNet, relight subjects using depth maps, build image-based set extensions through inpainting, and export layered EXRs ready for compositing in Nuke, After Effects, or Resolve.</p>
<p>If you’ve ever found yourself spending hours patching backgrounds, painting out crew, or building masks by hand, this course gives you real alternatives that scale.</p>
<h3>Built for Working Artists</h3>
<p>Plenty of tutorials explain how to generate “cool-looking” AI images. But Introduction to ComfyUI for VFX is designed to help working professionals solve real problems — like delivering clean comps under pressure.
You’ll learn how to:</p>
<p>In this course, you'll build a ComfyUI workflow designed for VFX—not just AI art—using LoRAs, IP Adapters, and ControlNet to handle real production tasks, automate tedious cleanup without losing precision, export clean EXRs for your comp app, and use AI as a creative assistant, not a replacement.</p>
<p>The course is structured across 15 modules, each building toward a system you can use across clients, short films, game cinematics, and professional VFX shots.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/3840x2160/706f8ae2d6/comfyui-for-vfx-nuke.jpg" alt=""></p>
<p>What Students Are Saying</p>
<p>The feedback has been overwhelmingly positive — not just in reviews, but in how artists are already applying what they’ve learned.</p>
<p><em>“Taking Intro to ComfyUI for VFX was a great experience. Starting with no prior knowledge, the course gave me a solid foundation and showed the real potential of ComfyUI to simplify heavy tasks and free up more time for the creative side of compositing.”</em>
— Alejandro Laviada, Digital Compositor</p>
<p><em>“I came to this course knowing nothing at all about Comfy. I’ve found it to be a great introduction to the possible workflows, and it was all explained in a very understandable way.”</em>
— Leo Weston, VFX Supervisor</p>
<p>These aren’t one-off comments. They reflect what so many artists have said: this is practical AI for VFX.</p>
<h3>Why Learn ComfyUI Now?</h3>
<p>Studios are already integrating AI tools into their pipelines — not to replace artists, but to reduce the manual burden of repetitive work.
And whether you're in commercials, feature films, or game cinematics, being able to create AI-assisted mattes, background replacements, and set extensions is becoming a valuable skill.</p>
<p>This course gives you a future-proof advantage by showing how to use AI tools the way a professional compositor would, with control, quality, and accountability.</p>
<h3>Less Guesswork, More Creative Time</h3>
<p>The future of VFX won’t be defined by who knows the most buttons — but by who uses their time best.</p>
<p>That’s what this course is about: giving you your time back. Less brute-force masking. Less frame-by-frame cleanup. More creative direction. More actual compositing.</p>
<p>Whether you’re freelancing, managing a pipeline, or just trying to stay ahead of the curve — Introduction to ComfyUI for VFX will change how you work.</p>
<p>👉 Enroll now and start learning the AI workflow VFX artists actually use:
<a href="https://courses.actionvfx.com/comfyui-for-vfx">https://courses.actionvfx.com/comfyui-for-vfx</a></p>


Learn how VFX artists are using ComfyUI to speed up cleanup, roto, and relighting. A practical, production-ready AI course built for real workflows.

ComfyUI For VFX

A Smarter Way to Composite: Why VFX Artists Are Turning to ComfyUI

<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>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’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.</p>
<p>You just didn’t know it.</p>
<p>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.</p>
<p>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.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/800x450/384711376a/rain_car_compv2.jpg" alt="">
<em>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>.</em></p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<h2>So… What <em>Is</em> VFX Stock Footage?</h2>
<p>It goes by a bunch of names—VFX elements, stock assets, compositing elements—but the idea is the same:</p>
<p><strong>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.</strong></p>
<p>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.</p>
<p>You’re not starting from scratch. You’re starting from something ready to go.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/2000x1125/2d09b0068c/actionvfx-blood-vfx-bts.jpg" alt=""></p>
<h2>Why Does Everyone Use It?</h2>
<p>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.</p>
<p>But no one actually works like that—because it’s not realistic.</p>
<p>(P.S. That's true even when their marketing campaigns claim they did everything themselves. More on that later...)</p>
<h3>Turnaround Times Matter</h3>
<p>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.</p>
<p>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.</p>
<h3>Budgets Are a Thing</h3>
<p>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.</p>
<p>Don't believe us? <strong><a href="https://www.actionvfx.com/blog/godzilla-minus-one-vfx-oscar-on-a-budget">That's how <em>Godzilla: Minus One</em> got an Oscar for Best Visual Effects on a $15 million budget</a></strong>—Shirogumi used ActionVFX stock footage.</p>
<p>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></p>
<h3>Flexibility Wins</h3>
<p>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.</p>
<p>It’s not about cutting corners. It’s about working smarter.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x994/d033c373d6/actionvfx-dust-explosion-bts.jpg" alt="">
<em>Our team films the explosions for you. You just put them into your shot.</em></p>
<h2>“But Isn’t That Cheating?”</h2>
<p>Only if you believe building everything yourself is a badge of honor.</p>
<p>The truth is, <strong>stock assets are one of the most widely used tools in VFX—period.</strong> 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.</p>
<p>You’re not cheating. You’re being efficient.</p>
<p>And as Bryan Haines, Senior Compositor from Crafty Apes once put it:
<em>“ActionVFX gets me home to see my family.”</em></p>
<p>Hard to argue with that.</p>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x1080/589b8eae35/stranger-things-bts-vfx.jpg" alt="">
<em>An ActionVFX muzzle flash asset in Stranger Things Season 4.</em></p>
<h2>But What About CG vs. Real?</h2>
<p>Let’s clear this up.</p>
<p>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.</p>
<p>Both are valid. Both have their place. <strong>What matters is that they work in the shot.</strong></p>
<p><img src="https://a-us.storyblok.com/f/1002378/2048x1080/390d96c3dc/explosion-actionvfx-bts.jpg" alt=""></p>
<p>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...)</p>
<p>(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>.)</p>
<p>The best artists care less about how an element was created, and more about what it helps them say in the scene.</p>
<h2>Where Do You Get This Stuff?</h2>
<p>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.</p>
<p>We’ve got:</p>
<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>
<p><img src="https://a-us.storyblok.com/f/1002378/1920x823/240438b0ca/free_vfx_and_pfl.jpg" alt=""></p>
<p>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.</p>
<p>👉 <strong><a href="https://actionvfx.com/products">Browse our library</a></strong></p>
<p>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></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>


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

What is VFX Stock Footage?

<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.