Photorealistic 3D Grenade Model – Download

Download the Mk2 Grenade 3D  Model here.

Every action movie needs a grenade, and our asset library is the perfect resource to help you out with it!

Our recent launch of RenderCrate, a collection of production-ready 3D models, now features a wide collection of weapons. One of our favourite additions is the high-quality photorealistic grenade model for our Pro users.

Whether you’re wanting a slow-motion flyby, or just don’t have a grenade prop, a 3D grenade model is perfect for filling in what practical effects cannot.

The model has been built with a careful balance between a high level of detail as well as a clean adjustable mesh. A benefit of this is that you can use this model in simulations while keeping the processing time at the lowest possible. If you want to tweak the model in any way, that will also be a hassle-free task!

3D Grenade Model Download

The model is provided in a .obj format, which is the most widely accepted 3D format. Almost all programs support it, with Blender, Cinema4D, Element3D, 3ds Max and Maya being just a few. In most cases, you will just need to drag and drop the .obj grenade into your program viewport, and the software will handle the rest!

This comes along with a .mtl file, which will automatically create a basic material for the grenade. However, if you look in the maps folder provided with all of our 3D content, you will often find there are even more textures for you to make use of. For this model, we provide:

  • Diffuse
  • Ambient Occlusion
  • Height
  • Reflection
  • Roughness

These are a powerful set of texture maps that can bring your render to a photorealistic level, with each coming at a 4096 x 4096 resolution.

Each segment of the grenade, such as the pin, have also been separated into their own object elements. This means that you will be able to detach them if needed and animate them however you wish.

3D Grenade Model Download

We’re excited to see what incredible renders you can create with this grenade model! If you’re looking for more 3D content, check out our amazing rock models.

Download HD Looping Ocean Effects for your Videos

Download Ocean VFX Matte-painting assets here

We’re proud to see our matte-painting library help artists create stunning landscapes for their movies to take place in.

Most of our set-extension resources come from GraphicsCrate, a collection of over 1000 professionally built images that can be stacked together to build whatever comes to the imagination. Combining these matte-painting assets with FootageCrate effects creates a unique combination that brings your scene to life, especially with the introduction of our newest ocean assets!

These are a powerful tool that can make adding the sea to your VFX shot a simple one-click process, helping streamline your compositing workflow and save you time.

To ensure that these ocean effects are flexible, there are several variations to choose from. From here, you find the asset which best fits your setting, whether that is a sunset or a clear day.

Download HD Looping Ocean and Sea Video Effects

One exceptional highlight is that these HD ocean effects are loopable. This means that no matter how long your shot lasts, the waves will continue to move in a natural seamless motion without any visible stutters. Just take a look at it in action and see if you can figure out where the cut is!

Download HD Looping Ocean and Sea Video Effects

We’re excited to see what you manage to create with these ocean effects. If you want to see what else you can create with GraphicsCrate, check out our latest Nebula collection.

Mixing For Horror Films

How I Mix Audio For Horror Films

Using Logic Pro X Featuring Excerpts From The New SoundsCrate Horror SFX Library. While I use Logic Pro X you can replicate these techniques in other audio-editing software.

In this article, I’d like to highlight some of my favorite features and benefits of Logic Pro X as it pertains to sound design, particularly mixing for horror films with the new SoundsCrate SFX library.

Getting Started: Organizing The Session

To start I’ll set up some basic tracks starting with Instrument tracks for my MIDI and software synths, and audio tracks for my imported or recorded audio. For some of the screenshots in this article I’ll also enable the Quick Help button which is the question mark on the top left (right below where you close or minimize the session window). The Quick Help function shows which menus you’re looking at as you hover your mouse over them. If you’re less familiar with navigating Logic it can be very useful.

horror sfx design in logic


Let’s use the Horror Scene Setting SFX to begin building our first mix. The sound effect called “Demons” is a good place to start. Pull it into an audio file by simply dragging it from the Finder directly into the session. If you’re trying to save time when building your session, one of the fastest ways to create new tracks is to simply right-click or two-finger click in the tracks view to the left of the main window.


Maintain consistency in your Logic workflow by saving your sessions as templates. Going further you can save your channel strip settings so that you can duplicate them across your sessions. This way you can spend more time browsing the SoundsCrate library and less time organizing (see the screenshot on the left)!



Stereo Spread

I want to spread out this stereo track to create more impact for the listener and give a sense of space. By navigating to the Inspector view on the left I’m able to access the track’s parameters; Channel Strip settings, EQ, input and output settings  and Audio FX. Now I can choose the Stereo Spread effect, which is in the Imaging menu of the Audio FX.


It would sound better if I focused on the higher frequencies because I want to minimize low-frequency rumble across my stereo image, but I also want to emphasize the more shrill and unsettling sounds. I’ll leave the Order function at 12, which is the number of frequency bands the effect is divided into, in order to fine-tune it more. I set the Lower Intensity to about 50% and the Lower Freq. to drop off at about 60hz.



There are also presets which can help get you started, and you can even save your own setting as presets.



(Before Stereo Spread)

(After Stereo Spread)

Looping And Duplicating With The Cycle Function

The “Demons” track is a little shorter than what I want. I’d like to make it a little longer but I also want a smooth transition into “Bending Trees”.  Looping part of “Demons” will make it a little longer and make it a little weird and choppy. One of my favorite features in Logic is the ability to easily loop and duplicate sections of a track by using the cycle function.


When you see a yellow highlighted area in your Ruler, this means you’ve set a loop, or cycle. In this case I’ll arbitrarily grab a section of the track that wouldn’t have any harsh transients, so that it can be copied seamlessly. It’s important (and useful) to note that in this menu there are functions which seem similar but aren’t. Let me explain.


If I’d chosen to “copy” the section rather than “repeat” it  I would have been able to then “insert” it anywhere I wanted. In this case the section I looped was close enough to the end of the “Demons” track that I used “Repeat Section Between Locators.” Keep in mind that this is a global function, meaning it will affect all of your tracks. It’s easy enough to delete regions that you don’t want to repeat in your other subsequent tracks.



Navigating The Track Editor View And Adding Plug-Ins

I’ll make about 30 seconds of this first track and then add my next track, “Bending Trees.” It should fade in, so I can double-click on the audio region and then in the Audio Track Editor window I’ll create my fade by hovering my mouse over the start of the file until I see the Fade tool. Next I’ll just solo the track by clicking the S button (between Mute/Record) on the track header so I’ll be able to hear the fade by itself. I like this track as a starting point but maybe I want to add some reverb to make it sound even more disembodied and eerie. I’m also planning to add some music as well as some shorter effects. Thankfully, Logic has some really versatile and interesting built-in reverb plug-ins.


My favorite is Space Designer. It even has Surround Sound options as well as the ability to customize which “room” you were in and the behavior of the volume and filter/EQ envelopes. I’m tempted to play with the Warped Effects but I don’t want to take away too much from the original sound. Instead I’ll split the difference and used “Forest Echo.” In this particular instance I can apply the effect directly to the track instead of putting it on a bus, because this reverb was only to be used for this track.


I could also have placed it on a stereo bus and made it available to other tracks. (See screenshot). Reverbs such as these are great for filling out sparser, more subtle effects and still giving them some degree of transparency in the mix.



(Before Reverb)

(After Reverb)

Creating Automated Effects And Types Of Automation

I’m around a minute into my scene I figured something happened terrifying happened! In my case I want to use a  “Horror Hit” and a “Brass Hit” working together to create an impact through those “Bending Trees,” when my characters are attacked by demons in the forest. I’ll pull both regions in at once. When I drop them into the session, I get a prompt (see screenshot) as to whether I want to use the existing track or create new tracks. Since I would be processing these effects differently I can go ahead and make new tracks.

So first I have my “Horror Hit” setting the mood, and then the orchestral hit just as the characters first see the demon. The “Horror Hit” by itself is terrific but I think it would be cool to pan it across from left to right, because the demon runs across the screen accordingly and I want the sound  to follow the demon’s motion. Here’s where we can get to know Logic’s handy automation features. The most important difference is between Touch and Latch. For this particular sound it makes sense to use Latch because my automation event is happening at once and then resetting. since it’s so short I want to put additional effects on this track, which means I want my pan to go back to the center once the effect has played.

If I were handling more complex instances of automation or I knew I wanted everything on that audio track to stay panned a certain way I might want to use Touch, meaning that once I touch that pan knob it’ll stay wherever I put it. “Write” would give me full control, which for a short effect is not necessary. It all depends on how you arrange your effects and how you like to work.


(After Automated Panning)

Using Logic’s Built-In Compressors

When the demon approaches from a nearby tree I want to add some brass. I find it’s a little too abrupt and actually clipped a little bit so I can apply a compressor to the sound. Again, this can be found in Audio FX under Dynamics. There are many presets available however I’ll choose Platinum Orchestral under Compressor Tools. It has a slightly slower and more forgiving Attack and a medium ratio, so it won’t be too extreme, allowing for the natural crescendo of the horn to build up. When I drop it in on the default setting with Auto Gain off it still clips a tiny bit. I can simply tweak it to about 2.5db instead of the default 3.0.

Notice how within your compressor you can choose if you want “Platinum Digital” or “Studio FET” or “Vintage VCA” and so on? These are all emulations of hardware compressors with various ‘colors’ and characteristics. In general, Platinum Digital will ‘color’ it the least (it’s Logic’s “default”) and the FET compressors tend to behave more like the UA 1176, whereas the Classic VCA is more like the DBX series.

I found an excellent article which explains the differences in greater detail, if you want to learn more check it out.

(Before Compressor)

(After Compressor)

Selection-Based Processing  + Working With Individual Audio Regions

Let’s move into some more musical and theatrical elements since we’ve introduced that brass swell. I want to incorporate some strings so I’ll use “String Swells” within the Horror Accents And Textures category.  There are a few similar sounds in other sections of the library if you explore a bit but this sound works well for me. After I brought this sound effect into the session I noticed a couple of things. It has a pretty long fade-in so it’ll be helpful to set a marker as to where it “really” starts going. I don’t want to have to keep zooming in and out on the waveform (which, by the way, you can do easily by either swiping two fingers out on the trackpad, or in the Track Editor view, adjusting your horizontal and vertical Waveform Zooms (see screenshot).

In the upper left-hand corner of the Track Inspector window there’s a little drop-down menu giving me Arrangement, Marker, Signature, and Tempo. I’ll just click the plus sign and create a new marker and name it “Strings Start Here.” (See screenshot)

You can drag the marker or delete it if you change your mind. It’s also worth noting that if you go back to that Cycle/Loop function and repeat or copy a section with a marker then that marker will be repeated/copied with it. This might be what you want but it might also get a little confusing, so don’t forget to name your markers accordingly.

The second thing I notice is that the sound effect isn’t quite as loud as I want. This is where Selection-Based Processing saves the day! This is really great for being able to change any number of parameters on a single region. This way my entire track won’t be affected and I can make the strings section as loud as I want without having to worry about any other regions I drag in being affected as well.



If you look at the screenshots you’ll see that I can add whatever plug-ins I want. In this case I’ll add Gain which is a Utility. I’m able to preview the effect to make sure that a 4db boost is enough. Now I just hit Apply and it’s as simple as that.


Built-In EQ And Adding Effects To The Output Track

Let’s finish this little piece. First I’m just going to EQ my strings to bring out the mid-range a bit. Logic has some new built-in EQs that are really amazing including Console EQs, which emulate classic hardware. In this case their default works because it offers plenty of flexibility. I just want to give it a little bump in the higher end, so I used “Add Presence To Thin Sounds” in the Tools menu. As you get further into adding instruments or dialogue a lot of the presets will come in handy.


Remember that brass? It was such a quick little thing. What if I just want to make it pop out without messing with the EQ or compression? No problem, Logic has a built-in Exciter. It’s under the Specialized menu in the Audio FX. I want to give the brass sound a bit of an edge. This is easily done with a preset called Edge Addition. I can even select which frequencies I want to emphasize.


So how can we best process our finished product? I always like to see what I’m doing so I went to the Track menu and selected “Show Output Track.” In conjunction with this you can also  view your Mixer window at any time by going to the Window menu and selecting Open Mixer or pressing the Quick Key Command + 2.

Now that we can see our tracks we can stick a compressor on there or the same default EQ we used before with any one of its Mastering settings. There’s also a great Multipressor under the Dynamics menu. As with the other features we’ve discussed it’s highly customizable. I’ll go with the Strings Compressor since most of my little soundscape contains strings. You can also get right into using one, two, or three bands of compression as well. It’s a subtle way of smoothing things out before you finish up. If you want to group your tracks and get them to sit more easily in the mix later this also allows you to fine-tune all the different groups of sounds.



(Before Multipressor)

(After Multipressor)

Putting It Together: Bounce And Export

I’m ready to put it all together and bounce it out so I’ll select an endpoint by grabbing the Project End Marker and dragging it accordingly. Alternatively if I just want to bounce a particular section I can use that Cycle feature again. Sometimes I use the Cycle feature while I’m still working on a project because it’s easy to see that yellow mark and I won’t accidentally cut off the end of my project. Not that I’ve ever done that! (We’ve all done it)

If you’re finished enough to put in a fade you’ll probably want to set the end marker properly. In addition to Bounce, we have several Export functions, including the ability to export regions to loop libraries. This is a useful way to keep track of your imported SFX that you may come back to later. It’ll  bypass the need to stick them in a folder and click through the Finder because they’ll be available within Logic. You can also export to Final Cut Pro, which will really streamline your post-production process.

Looking at the Export options we can bounce it to almost any format we want, or even add it to iTunes so that it’s easy to reference later. We can also bounce it right back into the project which can be useful for reference mixing or simply for cutting down on track space as your session progresses towards a final product. With the new Horror SFX library from SoundsCrate you’ll be scaring your audience out of their seats in no time!

Want to see more sound effects? Check these out

Download 3D Rock Models (5 Free)

Download 3D Rock Models here

Photorealistic 3D rock models are truly hard to come by. Perhaps they’re low-poly? Textured with unwanted visible seams? Or they simply don’t meet the level of detail we see in the real world.

That’s where we come in.

ProductionCrate is building the highest-quality collection of rock models and giving artists the chance to download them for your 3D projects. 

We’re proud to say that all of our rock models have been perfected to match professional standards, utilizing cutting-edge photogrammetry techniques to create truly unbeatable assets.

The rock models use .OBJ encoding, which is the most widely accepted file format in the 3D software market. This means that you can import these rocks into Blender, 3ds Max, Cinema4D, Element3D, Maya and more.

Our full list of specifications includes:

  • .OBJ format
  • 70,000-200,000 polygons
  • 4K – 8K textures
  • Diffuse map
  • Bump map
  • Specular map (where needed)
  • No visible seams

The meshes have also been optimised for your ease of use, while also ensuring that all of the details in the geometry are kept. This means you can render faster while not sacrificing any quality. 

Built-in bump maps bring the surface of these high-quality rock models to a whole new level of detail. 

If you want to improve your lighting setups, take a look at our stunning studio HDRI’s!

Creating Mysterio VFX (Spider-Man Tutorial)

Download the magic smoke power VFX assets here

Following the recent release of Spider-man: Far From Home, we want to show you how to create your very own Mysterio superpower effect!

While many superpowers can seem difficult to edit, the ProductionCrate library offers thousands of VFX elements, sound effects, graphics, music and more, all available for you to download. These can all be used to create Hollywood-level special effects, even if you are just a beginner.

The best part about it is that a lot of our content is free, so you will be able to follow along with this tutorial without a penny spent. Pro members of the ProductionCrate community will be able to download the entire VFX bundle.

Download Mysterio Superpower VFX Assets

These effects have been built with your editing workflow in mind, and so all are guaranteed to be as easy to composite as possible, with each asset ranging from 1080p to 4K resolution.

Let’s get started!

If you are new to VFX, you will need to equip yourself with a powerful editing program. Our top picks are:

For today we’ll be using After Effects, though if you’re comfortable with another editing program that has basic editing features you should get through this easily.

The footage that you use will not require any special setup, just wave your arms around at the camera – that’s everything you need! Here’s what our footage looks like.

Download Mysterio Superpower VFX Assets

Depending on your shot, you then have to carefully select which effects to use for you Mysterio actor. For example, do you want them to be shooting a beam of green smoke? Is it going to be at an angle? Once you’ve narrowed down the assets you need, download and import them to your project.

You then want to simply position these effects exactly where you want them to be.

Download Mysterio Superpower VFX Assets

As you can see, FootageCrate assets have been created with simplicity in mind, making your editing workflow a lot easier.

If you want the powers to move over time (such as following the hand and the direction that it is aiming), you can either keyframe these properties or use a simple motion tracker.

Our final corrections involve matching the Mysterio smoke appearance, where you may notice that the smoke is desaturated a little. You may also want to brighten or darken the smoke depending on the light levels in the scene.

Download Mysterio Superpower VFX Assets

We hope you enjoy creating your own superhero movies with these assets!

If you’re interested in another project, take a look at our slow motion tutorial.

Download Space VFX Nebula Assets

Download Space and Nebula VFX assets here.

Space scenes are the highlights of sci-fi movies, and following the success of films such as Guardians of the Galaxy and Star Wars, we want to help you build your very own interstellar wonders!

We’ve just released an incredible bundle of 50 nebula matte-painting assets. These have all been individually created to seamlessly blend together to create spectacular setpieces in just minutes! Don’t believe us? Take a look at this tutorial which breaks down the process step-by-step in just one minute:

With a dozen different colour variations, you’ll have everything you need to mix and match these elements into perfection.

We have included the most important elements you could possibly need in a nebula: stars, wispy clouds of gas and all the fluorescent colours that your creative mind desires.

Download Space Nebula VFX Matte painting Assets

All of the nebula graphics are free to download at 720p resolution, while Pro users can access these at 2K (that’s 7 times as many pixels!). Pro users will also be able to download from the entire ProductionCrate library, which currently has over 5000 professional-grade assets for just $49 a year.

You can combine these with our other space-related content, including planet textures, orbiting rings and an impressive moon explosion.

Our newest addition to our asset library, RenderCrate, also offers some insanely detailed planet models, which can be imported to any 3D software such as Cinema4D and Blender.

Download Space Planet Explosion VFX Assets

Let us know what you create with these nebula VFX assets! If you’re interested in our other creative content, check out our apocalyptic matte-painting assets.