CC Sphere

CC Sphere instantly turns a flat 2D image or video clip into a 3D ball. Watch what this little dude can do. We’re going to even start from scratch here. Create a new 1920 × 1080 comp (with square pixels). Make a new solid that matches the comp size. Apply the Fractal Noise effect. Change the Fractal Type to Subscale. Change the Contrast to 60, the Brightness to –20, and inside the Transform area, increase the Scale value to 150%.

Next, I applied the Tritone effect and changed the Midtones RGB value to 140, 170, 185 just to add a little coolness to this.

Okay. Nothing amazing so far. But apply the CC Sphere effect, and even with its default settings, we have something that looks like a planet.

But not only does it just look like a 3D ball, it behaves like one, too. Open up the Rotation area and adjust the Rotation Y property. It causes your planet to rotate on its axis!

The CC Sphere effect is great for creating spherical objects like this—Christmas tree ornaments, balls, etc. Its other controls let you adjust its size (Radius parameter), whether you’re seeing inside the bubble (Render drop down), as well as all kinds of lighting and shading options, including reflection. You could use these settings to create the look of semi-transparent spheres or reflective objects or both.

And for best results with CC Sphere, you’ll want to make sure that the layer you’re applying it to has an aspect ratio of about 2:1 (it’s twice as wide as it is tall). This ensures that you have all the resolution you need as the map (aka the source layer) is stretched spherically.

Note that there’s also a CC Cylinder effect that does the same thing, except that it wraps your layer around itself (like a cylinder without caps on the ends). I find this a lot less useful, but CC Cylinder is a 3D effect, meaning that it will respond to After Effects cameras (but not AE lights). CC Sphere does not respond to either lights or cameras.

CC Star Burst

Hey, while we’re looking at nerdy space things, let’s create some stars to go with the planet that we just created. We’ll pick up where we left off by using the CC Star Burst.aep project in the Chapter 21 folder of the exercise files. This project is basically the planet we just made (albeit slightly larger, thanks to the Radius value in CC Sphere), as well as a planet surface in the foreground, and some slight, spacey glows behind both. It looks OK, but it’s missing stars. Bad.

So go ahead and apply the CC Star Burst effect to the Star Burst layer I’ve created for you, which is just a black solid.

HA! Tricked you! I created this solid as a black solid intentionally, because the CC Star Burst effect takes the colors of its stars from the colors of the layer it’s applied to, and there’s no way to change that in the effect. So if you’re not careful, you’ll have black stars on a black background and you will pull out your hair trying to figure out what’s wrong. Of course that’s never happened to me. That bald patch is from something completely unrelated.

Change the color of the Star Burst solid layer by selecting it and pressing Ctrl+Shift+Y(Win)/Cmd+Shift+Y(Mac). Change the color of the solid to white. Ah! There are our stars! They look like crap, but we can see them!

Not only do these stars look terrible with their default settings (which are probably set that way so that you can clearly see them), but they also animate way too fast, so let’s fix that first. The “Chad default” for the Speed value is a very tiny 0.005. This causes a nice drift in the stars that makes you feel like you’re in space. You could take this to zero of course, but I think a little movement adds a lot, especially because the CC Star Burst recognizes that larger stars appear closer and should therefore move faster than smaller, more distant stars.

To change the appearance of the stars, I reduced the Size value to 25. When these stars get small enough, they auto-twinkle in the background, which you may or may not like. Realistic or not, it’s pretty hardcore. So, I’m going to spread my stars out more by taking up the Scatter value to about 350. Looking pretty good.

Maybe I want a different look. The Grid Spacing value can be thought of almost like a zoom for the “galaxy” being created here, where high Grid Spacing values zoom in, and lower values zoom out. I tried a Grid Spacing value of 1, which makes a more distant sea of stars. But it was a bit small, so I increased the Size value to 50.

It’s a little challenging to balance good settings in the real world versus settings that show up in printed screenshots. In real life, this is probably still too many stars. So if this were a real scene, I might raise the Scatter value up to 2000 to reduce the number of stars, and then compensate a bit by increasing the Size value to 80.

I also decided to add a lens flare from VideoCopilot’s Optical Flares, and tweak the light settings in CC Sphere accordingly. I also added a slight Curves adjustment. The stars definitely add a lot to the scene here.

CC Radial Fast Blur

CC Radial Fast Blur is one of my favorite and most oft used blur effects. It creates a zoom style blur, like that found in the Radial Blur effect in After Effects (or Photoshop, for that matter). Like most of the Cycore effects, it renders FAST. If you’ve ever tried to use the Radial Blur effect in either Photoshop or After Effects, you’re probably still waiting for it to render. And with an effect like this, part of its magic is that it’s interactive and renders quickly, so you can play with it and see how it would benefit your project.

Continuing again with our planetscape project, open the CC Radial Fast Blur.aep project from the Chapter 21 folder of the exercise files. Apply CC Radial Fast Blur to the Star Burst layer. Note that these stars are a little too big so that we can play with them with CC Radial Fast Blur. You can see the results. The stars streak as if we’re warping through hyper space.

Now, let’s enhance this effect with a unique setting. The Zoom drop down in the Effects Controls panel allows you to change how these blurry streaks interact with each other. Change this value to Brightest, and then increase the Amount value to 90. NOW we’re going through hyper space.

Let’s say goodbye to our space scene and see how this effect works in another type of project. Go over to the Cinematic Text START comp, still in this same project. It’s basically white text on a black background. Simple. We’re going to take this simple text and make it a horror title.

Let’s make it look more cinematic. Select the PRECOMP text layer and press Ctrl+D(Win)/Cmd+D(Mac) to duplicate it. On the top copy, apply the Fill effect and change the color to black. The white copy below should now be invisible (except for some white anti-aliasing around the edges). Next, apply CC Radial Fast Blur to the bottom (white) copy of the text. The blurred white text turns the top, black text into a spooky silhouette.

Finally, let’s animate this by taking Center value in the CC Radial Fast Blur effect over to the left of the text. Then, move in time and move it to the right of the text. If you wanted to take this further, you could also animate the Zoom amount, and possibly even the opacity of the whole layer, to animate on and reveal the text and then disappear.

CC Particle Systems II

The Cycore effects add two all-purpose particle generators: CC Particle World and CC Particle Systems II. Considering that the only other all-purpose particle system in After Effects natively is the dinosaur known as Particle Playground, these additions are most welcome.

While Particle World and Particle Systems II share a lot of common parameters, and a similar look and feel, there are notable differences between them. Most importantly, Particle World is a 3D plugin, responding to After Effects cameras. Additionally, Particle World can use other layers as custom particles (called “textures” in Cycore-speak), while CC Particle Systems II is confined to the particle shapes that are native to it.

That being said, for the sake of ease we’re going to look at CC Particle Systems II. Particle Systems II is the perfect primer for those intimidated by other particle effects and plugins; it’s like a particle system with training wheels. After getting the hang of this effect, it will be a cinch so upgrade to CC Particle World.

Open the CC Particle Systems II.aep project from the Chapter 21 folder of the exercise files. Go to the CC Particle Systems II Intro comp in this project, which contains just a plain ol’ black solid. Apply CC Particle Systems II to this layer. You might need to move forward in time a few frames to see the results, but it’s already spitting stuff out. The default settings look a little like bad fireworks, but they render very quickly, and are very helpful in understanding what your particles are actually doing.

We’re going to make some smoke in another comp in a minute, but for now let’s just play a little bit with this. Like most particle systems, the paradigm here is that of an emitter that we control that gives “birth” to cute little baby particles, and we get to determine things about the life of those particles. This is very similar to what we see in Foam and Trapcode Particular.

Take the Longevity (sec) value down to 1.0 so the particles don’t live quite as long. Show ’em who’s boss. Then, in the Producer area, increase the Y position to 720 so that the particle generator sits at the bottom of the comp. In that same area, increase the Radius X to 100 to widen the emitter, and take Radius Y to 0 to flatten it. In the Physics section, we can change the way the particles emit. Try changing the Animation drop down to Vortex so that the particles swirl around like a tornado after being born. Double the Velocity value to 2 so the particles cover more ground faster after birth.

Next, we can adjust the look of the particle itself in the Particle section. Change the Particle Type drop down to Star. Change the Birth Size to 0.06 so that they’re smaller when they are created, and take the Death Size way down to 0.16 so they’re smaller when they die. There really isn’t an overall size value, per se. It’s really a balance between Birth Size and Death Size. Increase Size Variation to 100% to get some randomness in size. Make these particles a little brighter by increasing Max Opacity to 100%. Finally, I changed Birth Color to a purple color, and the Death Color to a bright green so that over time, the particles are purple when they are born, and then gradually change to green.

You can get so much mileage out of this particle generator. Even a simple change of Particle Type from Star to something like Cube can totally change the feel of the piece, and be inspiration for another project, or a background to use for later.

Now let’s look at an interesting example. We’re going to play with this effect until we create some cool smoke that trails out of a UFO. Go over to the Cycore Particles START comp in this same project. We’ve got this UFO flying around, and I’ve already animated the Position value of the Producer so that it matches up with the UFO, but that’s all I’ve done for you here. Notice how just animating the position of the particle producer creates this really cool trail of particles.

Now, different people go about setting up particle systems in different ways. Some people start with the particle and some people start with getting the emitter set up right. I hate to be all politically correct about it, but for me, it all depends on what I’m doing. In most cases, I’ll probably set up the animation, physics, birth, death, and so on of the particles first. Sometimes, when you have a great looking particle, it’s easy to get distracted by it, and take your eye off the ball when it comes to the physics and the movement of the particles.

But in this case, I want to start with the particle first because we’re making smoke. When making something where the particles blend together like this, every setting has a dramatic effect on the end result. With a star for example, the particles pretty much always look like stars, so it doesn’t have much of an advantage to start there.

So, let’s take the Particle>Particle Type drop down to Shaded Sphere. Looks all right, but the dark edges of the Shaded Sphere make each particle too distinct. So fix this by changing the Transfer Mode from Composite to Screen. Note that this affects how the particles blend with each other, not with the source layer. Looking better, but not quite smoke just yet. We’re going for a really stylized, kinda goofy smoke to go with our equally goofy UFO. So the smoke is going to go from blue (the Birth Color) to red (the Death Color).

Next, let’s just add a bunch more particles in there. Smoke doesn’t appear to be a bunch of disparate elements, and that’s kinda what we have so far. So crank up the Birth Rate value really high, say to like 25. Ah, much better. Another problem with this smoke is that we’re not seeing much red and, therefore, not seeing these particles fade out. Reduce the Longevity of the particles by taking the Longevity (sec) value down to 0.5. Now we’re getting something that looks much more like smoke.

Notice that the bottom of the smoke is cut off because the layer was elevated while I was animating the particle producer. But I’m not worried about that. It’s an easy fix if we wanted to fix it, but our final smoke won’t be going that low, so we’re OK in this case.

To make our last changes, change Physics>Animation to Direction Normalized. Increase Velocity to 2.0 so that the particles come out faster, and the Inherit Velocity to 11% so that the particles pick up a little of the emitter’s velocity. Take the Gravity to 0 so they’re not influenced by it. Change the Direction to about 270 degrees so that the particles trail the UFO.

Our particles are spread out a little too much. Let’s decrease the Extra value to 0.2. The Extra value increases the randomness

in the particles (where the higher the Extra, the more the particles are little rebels). The Extra parameter is weirdly named, and it’s just as hard to describe/understand. It affects each type of Animation differently, and with some Animation types (such as Explosion), Extra has no effect.

So we’re pretty much there. You can adjust Birth Size and Death Size to taste to control the size of the particles, Size Variation, and Max Opacity to taste. And there you have our smoke particles, created from scratch pretty quickly with this simple and versatile Cycore effect.

CC Kaleida

OK. I’m going to try to make this brief. But I LOVE CC Kaleida. Unfortunately, I don’t think you’ll like it as much as I do, but because it’s probably the Cycore effect I might use the most often, I just have to include it.

CC Kaleida gets its name from a kaleidescope, which creates these really weird, psychedelic shapes and images. But CC Kaleida actually creates beautiful patterns so easily, that I find myself using it all the time for backgrounds. I can’t tell you how many times I’ve worked for a client that just wants to see their logo in a simple, but beautiful environment. Putting a logo on boring old black can be really lackluster these days. For me, CC Kaleida is almost always the place I go first. I love it.

To follow along, go to the CC Kaleida START comp in the CC Kaleida.aep project in the Chapter 21 folder of the exercise files. Here, I’ve set up some text, a vignette, and a purple background. Nothing special. Sometimes, a project calls for this level of simplicity. But today is not that day.

Before we apply CC Kaleida to this purple background (which actually wouldn’t do anything), we need to apply something else. CC Kaleida is in the Stylize category, and like other Stylize effects, it alters (stylizes) content that is already there. So first apply Fractal Noise to the purple solid layer. What’s really fun about CC Kaleida as we’ll see is that Fractal Noise can feed CC Kaleida infinite patterns to work with. This is fun.

First, at the bottom of the Fractal Noise effect, take the Blending Mode drop down to Overlay to make our background purple and black. Take the Fractal Type (back at the top) to Dynamic. Increase Contrast to 150, and in the Transform section, take Scale down to 35. And just to make things render a bit faster, let’s take Complexity down to 4.5. And I think our Fractal Noise is ready to be kaleided.

Now apply the CC Kaleida effect to this same purple solid layer. Already, it takes the mush of the Fractal Noise pattern and turns it into a very ornate pattern.

Don’t like it? Try turning the Evolution value in the Fractal Noise effect one full rotation so that the value reads 1× +0.0. The pattern is completely different.

Still not happy? Try going to the CC Kaleida effect and reducing the Size value to 5.5. And we’ve created yet another beautiful ornate pattern that could easily pass for antique wallpaper.

Of course, any of these parameters can be animated to create a psychedelic effect, but if we don’t animate them, they remain a beautiful background. Let’s keep playing with this.

Let’s leave the CC Kaleida effect alone and go back to Fractal Noise. Let’s try changing the Fractal Type. Try Max.

Try Smeary.

Try Rocky.

Try Threads.

Are you seeing how amazing this is and why I love it so much? It’s hard to create a pattern that ISN’T beautiful with this effect, or rather I should say, effect combination. After playing around with duplicates and glows, this is my final result. I like this much better than our original example.

Note that there are also “shapes” with the CC Kaleida effect. I think Flower (and perhaps Starlish) are the best, but you might try experimenting with other selections from the Mirroring drop down menu in the CC Kaleida effect.

CC Ball Action

The CC Ball Action effect is included in this list because it represents some of the really offbeat effects in this collection. Like so many other Cycore effects, I don’t know that I’ve found the perfect use for CC Ball Action. But it gives you so much additional power, that we are almost obligated to look at it.

The CC Ball Action effect is aptly named, because it basically turns a layer into a grid of 3D balls. The controls of the effect allow you to manipulate these balls by twisting them into interesting 3D shapes. It can be used for everything from creating 3D DNA strands that a camera can fly through, to creating interesting particle transitions that are much easier to set up than they would be with a particle system, to creating a quick and easy array of stage lights.

Open the CC Ball Action.aep project from the Chapter 21 folder of the exercise files. Let’s start with the CC Ball Action 1 comp. This contains just a single solid layer with some fractal fire on it. The layer is tactfully named I NEED SOME BALL ACTION.

Fulfill the desires of this layer by applying the CC Ball Action effect to it. The default settings look like a quilt or something, but these are actually little individual spheres.

In order to see the results of our adjustments to this effect, I’m going to create a new camera (50mm is fine) and zoom out and pan around just a little bit so I can see what’s going on. This also shows off the 3D capabilities of this effect. Note that the layer that CC Ball Action is applied to needs to remain a 2D layer.

Let’s first look at the Grid Spacing and Ball Size parameters. They are closely related. The Grid Spacing value determines the size of the grid, where a larger number increases the spacing of the grid, which makes the grid bigger, but less spaces, and fewer balls to fill those spaces. It also increases the size of the balls. Reducing the Grid Spacing value has the opposite result.

The Ball Size value is easier to understand—a larger value increases the size, while a reduction in the value reduces the size of the balls. If the balls get too large, they will get truncated by the cell next to it, and there really isn’t an overlap/blend mode/transparency option here.

To get a feel for this, let’s play around with it a bit. I’m going to increase my Grid Spacing to 50, which creates a grid with fewer spaces in it, and increases the size of the little spheres. So, I’m going to take the Ball Size value down to 30. A slight adjustment to this (and a little glow) could make this a great wall of light for stage lighting, especially with how each light has a distinct color.

Now let’s switch it. Let’s reduce the Grid Spacing value to 4, and increase the Ball Size value a little to 40. Notice how we have a lot more balls with the lower Grid Spacing value. This will be a good resting spot for these values while we experiment with other properties.

Now let’s get to the good stuff. This effect really comes alive with the Twist Property and Twist Angle parameters. Increase the Twist Angle value to 180 degrees. Now things are getting interesting.

With the Twist Angle value still at 180 degrees, let’s adjust the Twist Property to see what else can be twisted.

Change the Twist Property drop down to Y Axis. This creates an almost tunnel-like effect.

We could stay here all day playing with the different Rotation Axis and Twist Property settings. But I just want to show you one more before moving on to another example. I’m going to reset my camera back to where it was, and then take the Twist Property to Brightness. I also took the Twist Angle down to about 30 degrees so it’s clear what’s happening here. What CC Ball Action is doing is actually looking at the content of the layer and displacing the balls based on their brightness values. You can also do this based on the red, green, or blue color information as well. When combined with the trick we’re about to look at next, this would allow you to create interesting transitions and distortions of images.

Now let’s move over to the CC Ball Action 2 comp in this same project for one other cool trick. This comp contains a background (with CC Kaleida! WOO!), a camera, and a 3D render of some text with CC Ball Action already applied. You might notice that this has been precomposed. The reason is that CC Ball Action really doesn’t like semitransparent pixels, and will only make balls out of areas in your footage that are completely opaque.

On the Freezing Text layer, go to CC Ball Action and increase the Scatter value to 80. This causes the pixels to go all over the place. Note that you might need to apply the Grow Bounds effect before CC Ball Action if your scattered balls get cut off from the edges of the layer.

Now that the Scatter value is bigger than zero, we can play with the Instability State parameter to add more randomness if we wanted to. But what I want to do is actually animate the Scatter property from 80 at frame 0, to 0 at about 3 seconds in

time. We’ve now created a really cool reverse shatter effect where the particles of the icy text gather together. We could accent this with an additional lens flare, or by playing with the 3D space with a camera move, and we could trim the layer with CC Ball Action, or add a glow, and place a layer without the CC Ball Action effect on it to be visible after the transition is over.

That concludes our look at CC Ball Action. I would just like to point out that I went through this entire section full of references to ball action and ball size without making any inappropriate jokes. So, I’m feeling pretty good about myself and I thought you should know.

CC Pixel Polly

Shatter is one of my favorite plugins of all time. But it is quite a beast. And one of the problems that people have with Shatter when first applying it is that it kind of just automatically blows up, and it takes some know how to change that.

Enter Pixel Polly. Like many of the Cycore effects, Pixel Polly presents us an easier (albeit less powerful) way to do some of the same things that native After Effects effects do, like CC Bubbles versus the native After Effects Foam.

In this case, Pixel Polly blows up a layer. The good news is that it’s much easier than Shatter. And like Shatter, you just apply it and it automatically blows up. However, there is a very intuitive Start Time (sec) value that you can use to choose when in time

you want the explosion to occur. That’s so nice. You don’t even have to set a keyframe for that. Just set it and forget it. There are also controls to set the power of the explosion (Force), as well as Force Center, and a few parameters to adjust the physics of the explosion, such as Gravity, Spinning, and so on.

The real bad news in my opinion is that the exploded shards are 2D, and you can basically just choose between squares or triangles. Still, in some instances, this can get the job done with a lot less effort (and processing power) than Shatter.

CC [Weather Systems]

For this section, I’m going to give you a very quick demo of several weather effects, namely CC Drizzle, CC Rainfall, and CC Snowfall. For this let’s just create a new comp that’s 1920 × 1080 with square pixels. Create a new solid layer that’s dark blue. I used the RGB values of 0, 15, 25.

First, let’s look at CC Drizzle. This effect is basically used to create the look of raindrops hitting the ground. This effect gives you all kinds of controls over the size, shape, and frequency of the drips, as well as control over lighting and shading. It even lets you use After Effects lights so that it composites better with your scene. The only challenge with this effect is that you can’t change the angle of view. But if you ever needed to look straight down onto falling raindrops, this is the effect for you.

While we’re looking at rain, let’s delete the CC Drizzle effect and apply CC Rainfall. This is actually a really cool effect, but it doesn’t look that great when initially applied, especially on a still frame.

What I love about this effect is that it’s a significant improvement over the last Cycore rain effect included with After Effects. The effect used to be called CC Rain, and it was an 8-bit effect with limited parameters.

Now, however, we have all kinds of great control over things like wind, color, and reflection and refraction of a background. Try increasing the Wind value to 1500 and the Variation % (Wind) value to 20. Things are looking more realistic.

For some final touches here, I decreased the number of Drops to about 2000, increased Scene Depth to about 8000 (so that there are less drops in the world, and so that those drops appear to go back farther into the distance). I also applied the Fast Blur effect and increased Blurriness to 4 because those raindrops were just too sharp. The results look good when animated.

Note that we’re doing this against a dark solid so that you can see what’s going on. This effect is difficult to see in a still frame when applied to real footage (as it should be). If you’d like to play with this effect using a more real world example, import the oregon coast.jpg image from the Images folder in the Media folder of the exercise files.

Let’s also take a quick look at CC Snowfall, which is very similar to CC Rainfall, but is obviously used for snow. Delete CC Rainfall and apply CC Snowfall. Note that in these screenshots, I’ve reduced the Flake Flatness % to zero, just so it’s a bit more visible in the screenshots.

This is pretty good when animated. Just like CC Rainfall, the CC Snowfall effect replaces the old 8-bit CC Snow effect that was in versions of After Effects before CS6. And like CC Rain, CC Snow really didn’t give us much control.

So, like CC Rainfall, CC Snowfall is a welcome addition. Because snow is so light and typically has such a lack of density, it’s really important that you have control over the wind for the utmost realism. CC Snowfall gives us control over the wind, as well as a series of controls that allow us to control the randomness (Wiggle) of the particles. Just like CC Rainfall, however, I think CC Snowfall benefits from just a smidgen of Fast Blur. But that’s just me. Again, this effect shows up best in screen-shots against a dark solid background, but if you’d like to play around with this, I’ve included a snowy background for you to play with. It’s called skyrim.jpg and it’s in the Images folder of the Media folder in the exercise files.

CC Light Sweep

How many times have you animated a logo spinning on, and need some little extra flashy thing to happen afterwards, like a visual post script? The CC Light Sweep effect is perfect for that. It basically adds a little diagonal streak of light across the front surface of an object. This kind of glint is great also for just adding a subtle emphasis to something.

Open up the CC Light Sweep.aep project from the Chapter 21 folder of the exercise files. This contains a familiar comp.

Now apply the CC Light Sweet effect to the freezing 3D text layer. The default settings are actually really good, but just so that it’s easier to see for now, I’m going to bump up the Sweep Intensity value to 350. This just makes the streak of light brighter.

To make this effect come alive, you’d typically animate the Center value to go across an object (say, from left to right) and be done with it. Boom.

But there are a lot of parameters here for doing that. One that might not be so obvious is that CC Light Sweep is capable of creating a light bevel around the edge of your object. This can be really cool on text to make it appear more three dimensional. Still, with all of these controls, this is an ideal effect. It has a simple purpose, it’s intuitive, it has all of the controls you need, and it works very well.

CC Mr. Mercury

No look at the Cycore effects would be complete without at least a perfunctory glance at the oddity and hot mess that is CC Mr. Mercury. CC Mr. Mercury is a particle effect like no other, as it specializes in creating flowing liquid type effects.

To get a feel for what’s going on here, let’s just make a new 1920 × 1080 comp, and a new brightly colored solid. Like CC Star Burst, CC Mr. Mercury uses the colors of the source layer. So if you apply it to a black solid, you won’t see much. The default settings look like cartoon goop.

Most of the other settings are identical to what we see in Particle Systems II, so we won’t cover them here. But I want to show you a cool trick. Apply the Fractal Noise effect to this layer as well, but drag it ABOVE the CC Mr. Mercury effect so that After Effects processes the Fractal Noise effect first. The Fractal Noise grayscale pattern (even just the default settings) creates a mercury type effect now. Note that we didn’t even have to precompose!

In another example (in the CC Mr Mercury.aep project in the Chapter 21 folder of the exercise files), I tinted the Fractal Noise gold, and then animated the Mr. Mercury Producer in order to create a dollar sign.

CC Mr. Mercury is not one of those effects that you use very often. But it’s good to know that liquid particles are a possibility.

Honorable Mentions

There are a couple of other effects worth mentioning. They’re great effects, but they’re also indicative of more of the benefit of the Cycore effects in general.