December 5, 2012

Damage Pack from VidMuze, the First Ever 4K Visual Effects Package

The cinema of 4K is happening. And why not? I always say, the sooner we hit the ceiling of detail resolvable by the human eye on a display of x size at y distance, the better, right? Storage and hardware are getting cheaper and more powerful by the moment, acquisition options are already in place (and expanding), 4K home media is on the horizon -- and with all this comes more and more tools for producing content at that level. Mike Gentilini, founder of multi-faceted video resource VidMuze, has recently brought one such offering to the 4K table -- in this case, aimed at those heavy visual effects creators and enthusiasts. If you don't have the budget to stage and shoot Michael Bay-style eye-poppery, war scenes, or any other combustible sort of excitement, you'll want to give VidMuze's Damage Pack a look.

Here's the promo video for the 4K Damage Pack Visual Effects Library by VidMuze, Suttlefilm & Media, and Cine Foundry -- demonstrated with proper, fittingly high-octane delivery:

VidMuze also offers all kinds of software tutorials, gear breakdowns and reviews, as well as original content, so be sure to check out that material too. Here's VidMuze on the full features of the VFX package:

  • 4K(up to 4096 x 2160) Resolution video files **With 4K library only**
  • 10 Epic Categories
  • Over 275 Assets (video & audio)
  • Effects Length of Time: 5 – 65 seconds
  • Many of the effects stay within frame
  • Available in 3 versions, 4K, 2K and 720p
  • Pre-Keyed – Alpha channel is embedded in video file (“drag and drop” ready)
  • 120 FPS – Slow motion (choice to change speed to realtime)
  • Video Previews for fast playback
  • Bonus Content (Muzzle Flashes (1080p), Sound Effects & Dirty Lens Pack)
  • Compatible with Adobe Premiere Pro, After Effects, Nuke, Final Cut, Avid and more

Here's a humorous video in which Mike demonstrates the types of effects that can be achieved with the Damage Pack -- though it's important to note, as he does here in explaining the difference between 'special' and 'visual' effects, that things like explosions should be used in conjunction with practical elements (such as flashes or strobes) for ideal results. If bloody zombie violence offends you at all, beware of the next two clips.

The Damage Pack also includes some bonuses, such as PNGs of dirt and grime to recreate a 'dirty lens' effect, demonstrated here in Mike's emulation of The Walking Dead's opening title sequence:

The 720p version of the package goes for $100, but for a mere $30 more, the full-on 103GB 4K monster version is all yours. VidMuze estimates a nine hour download time for the 4K media, though for an additional $75 you purchase a drive with the material you've selected shipped and pre-loaded. 120fps 4K pre-keyed alpha channel effects layers is no joke, so if you think this suits your needs, be sure to check out Mike's full post on the Damage Pack, and follow VidMuze for future updates, expansions, and tutorials!

Link:

Your Comment

18 Comments

Obviously following in the footsteps of Video CoPilot but who cares? 4K elements at 120fps takes what Action Essentials 2 did well and updates it. Like that the elements stay in frame too, always found that to be an issue with AE2. Very cool pack! Might just pick it up.

December 5, 2012

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I don't care about rosolution, all I'm happy about is the fact that we don't have to see the same goddam video copilot stock footage in films.

December 5, 2012

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Tyler

Tell me about it. I started writing Royalty Free music just because I couldn't stand the sound of Pro Scores being used three years after release. Same goes for these elements.

December 5, 2012

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Exactly. Videocopilot is awesome, but is a victim of it's popularity. I can't stand hearing pro scores, or seeing that bloody car explosion anymore ! Hello 4k damage pack !

December 5, 2012

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Save your money, get the 2K version :) nobody will be finishing anything in 4K.

December 5, 2012

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Marcus

Normally I'm against any reframing of 4K material, but when it comes to stock footage, 4k would be immensely helpful for positioning the elements. I'd say if you were going to finish at 4k, your stock elements would ideally be 8K. 4K elements is perfect for 1080p and 2K.

December 5, 2012

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Arthur

Well, mostly what you want it to scale the element down to fit in your scene. good element databases come in full screen in 2k which is the most you gonna need for a HD delivery. The indiscriminate use of these elements you are suffering a serious risk to have your material looking cheap anyhow. My personal opinion: its overkill, in this case I'd save 30 bucks and bandwidth by purchasing the 2k version, but again thats just me.

December 5, 2012

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Marcus

no if youre gonna get this, don't be a fool, get the 4k. downsample your own 2k version from that. done

December 5, 2012

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dv

I will be.

December 6, 2012

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The cinema of 4K is happening. And why not? I always say, the sooner we hit the ceiling of detail resolvable by the human eye on a display of x size at y distance, the better, right?

I would say no...

Grain moving onto the film actually gives me the feel of a "re-presentation", telling me and comforting me in the idea of cinema. It gives me the possibility to be into the feature like the scene of a theatre, like the stand of a sculpture.

The loss of this, the "stillness of the picture" with digital is a pain. We don't need resolution we need movement to get moved.

December 5, 2012

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Hey Dont, while I feel your point is sort of a peripheral argument to make given the context in which I'm trying to discuss 4K here, it is a point well taken, and an important argument to make. This is why I actually like moving ground glass lens adapters... a sacrifice of resolution for texture is worth it in my mind -- this is just one example of why I would tend to agree with you. Moreover, I'd wait for what's up Aaton's sleeve before totally writing off digital... :)

December 5, 2012

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avatar
Dave Kendricken
Writer
Freelancer

Film grain is something that is only nostalgic to people 15 years of age or older. Maybe even 18. Maybe even 21.

Digital is all younger people will know and as THEY age get older and make their way into the industry, it will become a thing of the past. I personally like movement/grain in my shots as well and I always add grain in post.

This WILL become an outdated fad very very very quickly. Watch. Might be five years, might be ten. Eventually the idea that people "wanted grain in their video" will be preposterous and honestly...they will be right.

December 5, 2012

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Totally agree with this, the "filmic look" is ultimately the look of filmmakers' favorite films, the things that inspired them. As the new digital generation ages in, many of their favorite looks will have been shot on digital, and the cinematic look, will no longer be "filmic," it will be something like "vivid" or "digital sharp" or something. What's indisputable is that more resolution, more DR, and higher FPS will always be positive technological progress. More options = more creative art.

December 6, 2012

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ProgMan

Actually I think this more than just reproducing a filmic look, I believe this layer between the actors and my screen is like the stand of statue : something that let me contemplate it and not only see it.

Of course we can do digital cinema, but the stillness of the picture is a trap to me, and digital film with moving pictures often mimic the film look e.g. Drive Alexa but with a grain layer and I've many more examples.

Last funny thing : the last American Cinematographer I've read (like 2 month ago) 100% of the film AND series (!) were shot on film !

@ Dave Kendricken : I've seen 2 weeks ago unrealeased footage of Aton's Digital Penelope on a 2K Christie theater, it was really impressive. Skaters and Bmx shot by daylight with the "50asa shutter", motion were incredible, colors (ungraded) were stunning this is a gammut beast ! (Same sensor than Nasa's rover on mars)

December 6, 2012

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I prefer that sterilized sharp vivid no-grain look.

But hey, I never came into the whole cinema shebang until recently, so that's probably why I don't have a connection to the 'film look'

December 6, 2012

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"Grain moving onto the film actually gives me the feel of a “re-presentation”, telling me and comforting me in the idea of cinema. It gives me the possibility to be into the feature like the scene of a theatre, like the stand of a sculpture."

yep. the grain as a veil separating the viewer from the 're-presentation'. Also the dancing of the 'grain-particles' as a form of trance guiding you to the content.

Somekind of movies don´t need this. Others scream for it. Pi from Aronofsky or Eyes wide shut from Kubrick are two movies that would not feel 'right' without the veil of the grain.

the grain can have the function of verfremdungseffekt from bertold brecht´ stage plays. For example, Kubrick was very found of this principle in all of his later movies from dr.strangelove ´till the last one.

So grain, soft image, harsh highlights, sharp image, deep/shallow fields, flat, saturated, desaturated, 24fps, 48fps, 3Dglasses, etc, all is more and more like diferent effects that can be used for different tones in different ways of storytelling. If people don´t fall for the 'one solution for all', filmmaking will be as full of possibilities as painting is in the field of making still images.

of course we have a tendency to think the one we like the most is the right one.

the 'danger' is cinema ending like pop industrial music today, all the same, no variety, from the use of scales (equitemperate) to use of tones (defined from scales) to the melody construction... :D

December 6, 2012

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guto novo

Great to see a 4K effects pack hit the scene. I wonder whether the Kramer's will be releasing something soon also.

December 6, 2012

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Where is the 720p and 2k for download versions? I can only find the 4k

November 11, 2013

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Jason Bowdach