Red Giant Magic Bullet Colorista II

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Red Giant Software‘s engineers have been busy this year expanding the Magic Bullet franchise. Products have included versions for Photoshop and the iPhone, as well as variations of the ever-popular Looks. This line of innovative color-correction tools got its start with Colorista, a custom three-way color-correction plug-in for Apple Final Cut Pro, Motion and Adobe After Effects. Colorista is a deceptively simple grading tool used by many editors who like the added power over other built-in correction filters.

3-Way color wheels and the new HSL control—an intuitive, visual
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Red Giant has now released Magic Bullet Colorista II, a highly enhanced follow up to the original. Colorista II is designed to work with Apple Final Cut Pro, Adobe After Effects CS5 and, for the first time, Premiere Pro CS5. The original filter featured a standard design of three color wheels, augmented by an exposure control and a power mask for vignettes. By stacking multiple instances of Colorista, an editor could grade shots with much of the same power as offered in more advanced grading products, such as Apple Color.

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Colorista II takes it up several notches by providing three levels of color correction in a single filter—divided into primary, secondary and master sections. Each section has controls for shadow/midrange/highlight color balance and levels, plus exposure, density (contrast) and saturation. What sets Colorista II apart is a new eight-vector HSL control in the primary and master sections. If you’ve used Adobe Lightroom 3, then this will be familiar. Want a bluer sky? Push the blue dot on the saturation/hue color wheel outward and blues become richer. Orange coincides with skin tones. If you want to brighten a person’s face, adjust the orange dot on the lightness wheel. Another addition that’s bound to be popular is master curves. There you can adjust the S-curve characteristics of RGB, as well as red, green and blue individually.

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Colorista II introduces a powerful new keyer for isolating colors

Magic Bullet Suite 13 includes seven products, six of which have been upgraded and one that is entirely new: Magic Bullet Looks 4, Colorista IV, Denoiser III, Mojo II, Cosmo II, Film 1, and the all-new Magic Bullet Renoiser. For the first time ever, Magic Bullet Suite 13 brings you real time color correction with OpenGL/OpenCL support. Magic Bullet Colorista IV runs on your graphics card’s GPU - giving you the color grading power you’ve come to expect in Magic Bullet Colorista - but much faster. With OpenCL and Cuda support, Colorista works with the Mercury Playback engine in Premiere Pro, giving you real time, interactive color correction, even during video playback.

Colorista II still has power masks for rectangular and elliptical vignettes, but now there are two: in the secondary and master sections. These masks can be used individually or in a combined manner, similar to the way you can add or subtract selections in Photoshop. Colorista II adds a very accurate color keyer as part of its secondary correction tools. The keyer opens in its own GUI, where you can select a color and then expand or reduce the range. The keyer is interactive with the masks, giving you more precise control to include or exclude regions from your secondary correction.

  • Thank you for installing! Red Giant Link makes your life easier by keeping you connected, and your products up-to-date.Learn more. Here are some resources to help you make the most of Color Suite.
  • Magic Bullet Suite is a complete set of plugins for color correction, finishing, and film looks for filmmakers. Magic Bullet Suite brings intuitive, real-time color correction right to your editorial timeline. The suite includes Looks, Colorista IV, Denoiser III, Mojo II, Cosmo II, Renoiser, and Film.

Anyone familiar with Lightroom‘s Clarity control will recognize Pop—another new secondary feature. Pop is a localized contrast control. Crank the slider to the right and edge contrast is enhanced, which makes the image appear crisper. Move the slider to the left and you get the appearance of highlight glows. The image will be softer, so if used very subtly, it’s a helpful tool to smooth out facial textures. It works much like a “silk & fog” filter. One last little touch is that all tools with a custom GUI, like a color wheel, can also be adjusted using a numeric entry or a slider.

What’s it like to work with? When you install Colorista II, you also get the latest version of the original Colorista filter. This is to maintain compatibility with previous projects that used the original version. Since Colorista II is so drastically different, your existing effects cannot be “promoted” to Colorista II. Therefore, you still need this updated version of Colorista 1.2. Both filters have been optimized for stability (including CS5 64-bit support), so you should remove older versions of Colorista.

3-Way color wheels and the new HSL control, in Final Cut Pro

I tested a beta copy of Colorista II in Final Cut Pro 7, After Effects CS5 and Premiere Pro CS5. The filter works in all three applications, but I encountered differences in responsiveness. Colorista II works best inside After Effects, which has an API that is most conducive to plug-ins with custom GUIs. I found After Effects to have the most direct control. Move a slider or dot on a color wheel and the image changes immediately—no lag on the control or as the image updates. Of the three applications, Premiere Pro CS5 was the least responsive when moving positions on a color wheel. According to Red Giant’s engineers, Premiere Pro’s API doesn’t work well with third-party custom filter interfaces. If you are a Premiere Pro CS5 editor, I would recommend using Colorista II within After Effects and then bringing that clip back into Premiere Pro through Adobe’s Dynamic Link.

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Performance in Final Cut Pro is similar to Colorista version 1.0. If you don’t push the controls too quickly, the interface will keep up with you. The big difference between After Effects and Final Cut is that the After Effects image will actively update as you move a control. FCP updates the image (and videoscopes) after you stop pushing a control. This is less responsive than FCP’s built-in three-way color-correction filter, but once you get a feel for it, you can grade images quite quickly with Colorista II. According to Red Giant, not all Final Cut users experience this lag, and they are working with Apple to release a patch that dramatically improves performance. Of course, I’m primarily taking about the responsiveness of the color wheels and the HSL controls when you use their GUIs. Much of this speeds up if you use the sliders or numerical entries instead.

The versatility of the secondary masking/keying and the many controls Colorista II has to offer is amazing. It introduces much of the power of a full-blown color-correction application in a single filter.

Most other plug-in companies are just catching up to the original Colorista with their own color-correction filters, but Red Giant has raised the bar yet again with the introduction of Magic Bullet Colorista II.

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