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They all work on AE (both Mac and PC) and three work within Premiere from CC 2017 onwards. Inside Trapcode there are 11 completely different effects – mainly for motion graphics. Use particle emitters to create fire, water, smoke, snow and other organic visual effects, or create technological marvels and user interfaces with immortal particle grids and 3D forms. Trapcode Suite brings the power of 3D particle systems right into After Effects. In no particular order (and the usefulness will depend on what you do and what NLE and motion graphics program you use): So let’s see what Red Giant Complete gets you: It seems the only way to get these is to subscribe. I should point out that each suite is still available to purchase outright individually but you won’t be eligible for upgrades as and when these are released. Yes, only OK due to what they’re asking for it, which we’ll come on to later. So is it worth it? If you look at it that way it’s … OK. (And I might use them more in future of course.) But like paying for all of Adobe’s Creative Cloud, the programs you have to treat as ‘free’ are the ones you don’t use every day. I rarely have the need to use the others but they’re nice to have. I use Universe, PluralEyes and Magic Bullet suite most. They say that it’s ‘been available to our volume customers for years … and now due to popular demand … to all our customers.’
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Every piece of software they produce is included – but on subscription.
So now Red Giant has launched Red Giant Complete. And a few Creative Cloud releases ago, I would have agreed with you. Of course, the cynical might say that this funding model also allows the software companies to use their subscribers as beta-testers. In other words, it attempts to avoid the boom/bust cycle of (say) video games and other pieces of software that are rather more ‘one off’ events. From all-encompassing platforms like SAP to specialized academic software with just a few hundred users worldwide, subscriptions allow companies to continuously develop their products whilst having a degree of certainty about whether they can afford to pay the help at the end of the month. Software on subscription is a popular financial model in the B-to-B environment.
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And according to Red Giant I’m one of over 250,000 people regularly using their products in the film and TV industry. From the earliest iterations of Magic Bullet to what has now become a very comprehensive set of plug-ins for most popular NLEs, I’ve rarely had to look past what their software offers to find a cool creative look or a pragmatic solution to whatever I’ve been trying to ‘fix in the edit’. I’ve been using Red Giant software for over 10 years now.
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