The “magic” in Red Giant’s Magic Bullet Suite 13 set of color correction tools only starts in its default presets—but that may be all you need to look like a golden-eyed color grading pro.
Red Giant has given every color correction, finishing and film looks tool in its Red Giant Suite for Adobe’s Creative Cloud and Apple’s Final Cut Pro X major feature upgrades and super-powered them with GPU acceleration.
“When I started as a visual effects artist and motion graphics animator, I gotta admit I was intimidated by color correction,” Aharon Rabinowitz, head of marketing at Red Giant, told The Broadcast Bridge. “But when I saw the first version of Red Giant's Magic Bullet, I became a believer. Now, with the new Suite 13, the company has given everyone a set of tools that, frankly, makes color correction intuitive.”
If you watch the video at the top of this article, you might understand the enthusiasm that infects Red Giant users.
Touring through Magic Bullet Suite 13 starts with Looks 4.0, which like five of the seven tools in this new release, delivers real time performance thanks to new OpenCL support. OpenCL (Open Computing Language) is the royalty-free standard for significantly enhanced cross-platform parallel programming of diverse processors.
Looks 4.0 offers more than 50 new presets, now totaling more than 200, a new “favorite” looks feature, that lets you store an image reference library for comparison.
“If you shoot Log or flat, Looks 4.0 can instantly give your footage the brightness and contrast that makes it ready for color grading,” Rabinowitz said. “It also lets you resize its ‘scopes for really detailed work.”
Then you’ll get to Colorista IV, the major color correction tool, which now features a step-by-step Guided Color Correction process as an educational ally. Colorista IV lets you load your own LUT (Look Up Table) or the ones Red Giant provides. In Premiere Pro and and After Effects you now have the ability to access Colorista IV through an adjustable panel that can be resized like an adaptive Web layout.
Denoiser III has been rewritten from scratch powered by technology from wrnch [typo note: yes, “wrnch” is missing an”e”}, the uniquely-spelled computer vision startup backed by investor Mark Cuban.
On the flip side, there is a new tool called Renoiser that gives video footage a film-like texture and grain. Renoiser includes 16 noise/grain presets based on real film stocks and with the boost of Adobe’s Mercury Playback Engine delivers results in real time.
“Some of today’s cameras shoot so clean, their recordings look too digital,” Rabinowitz said. “Renoiser’s real time grain engine rebuilds your footage from virtual grain.”
Red Giant's Film, version 1.2, emulates the entire photochemical process to give digital footage the look of real film.
If you are after a specific cinematic look, Film 1.2 lets you choose from 22 negative stocks and 4 print stocks to make your audience think your final masters were driven by sprocket holes.
And if you want to take that Hollywood look one step further, Mojo II can instantly give you the latest color/contrast palette used by major studio releases. This new version of Mojo II adds vignetting, exposure controls, LOG support, and temperature/tint sliders.
Finally, if high resolution imagery is not kind to your on-screen talent, Cosmo II balances skin tones, reduces wrinkles, and removes skin blemishes. Cosmo II’s skin sampling tool can even target exact skin tones.
Red Giant’s Magic Bullet Suite 13 is compatible with Adobe Premiere Pro CC, Adobe After Effects CC and Apple Final Cut Pro X, although some tools work in additional host apps. All tools are supported on both Windows and Mac.
You might also like...
This article concludes a three-part series on color grading products and technology. There are both hardware and software-based systems in all varieties of sophistication and cost. Key is first understanding your needs, then find a solution to match.
Color grading may be one of the most processing intensive special effects in post production, but many call it the “unseen VFX”. In the first installment of this three-part series we looked at its current state because, when done properly, the…
When done properly, color grading may be the most resource-intensive production process done today. Even so, the results are often amazing.
Tuesdays HPA Tech Retreat was all about 360 and VR, and Wednesday focused on the versioning explosion. On the final day, delegates were given a summary of the current state of the industry, and the influences of artificial intelligence on media…
Broken is a six-part TV drama series, created by screenwriter Jimmy McGovern that first broadcast on BBC One. In this special interview, Patrick Hall, Head of Post at Liverpool producer LA Productions explains the main post workflow.