There are several of these types of Suites and Headstarts to save you the time of hunting down and apply each filter you’d want to work with. I’d like to see these types of presets combined into a single menu with all their settings in the neutral positions. Above is the Log Grading Power Suite – which has a set of core filters you’d want if you were grading a Log-recorded image. Notable in Magic Bullets 3 are the Toolchain Headstarts. Notice the filters pre-populating the Toolchain, which can be modified to customize the preset for each shot. The ‘Log Grading Power Suite’ preset is selected. The problem? As a professional colorist and coach, I’m not ‘down’ with the concept of doing my initial contrast / saturation expansion at the same moment I’m doing my Looks creation.Īs I’ve emphasized every time I teach color correction anywhere… you’ll get much better results by breaking down your workflow and leaving Looks creation after you’ve done your base color correction and after you’ve matched your shots together.Īlso new in Bullets 3 is the integration of Colorista 3 (which we’ve previously looked at in two Insights in this Desert Island series) plus Magic Bullet Mojo and Magic Bullet Cosmo-which previously only existed as stand-alone filters. It’s an interesting addition to Looks and reflects the in-roads that the Log-recorded workflow has made in the indie filmmaking community. New in Magic Bullet 3: Emphasis on Log grading tools There are several categories of Log Presets (listed on the left), new in Magic Bullet Looks 3Īs you can see in the screen shot, there are whole sets of Looks designed for Log workflows. My guess: The logic gets stretched thin because we frequently want certain color correction operations performed at specific places in our ‘chain’-and Looks is willing to break its own ‘mental model’ to make that happen (although, I still think color space conversions should also be placed at the Camera level, which not only makes more sense but gives us more control). Wouldn’t that more correctly be a Lens distortion? That’s where those filters belong, logically.Ĭhromatic Aberration is another filter at the Subject level that seems strangely out of place. To my thinking, the choice of colorspace is a Camera-level choice. Should the Color Space tools for converting from Log to Video be at the Subject level, where it is now? Or at the Camera or Post level, where they are NOT accessible? Meanwhile LUTs can be applied at the Subject, Camera and Post levels. Makes sense, right? There’s a certain logic to Magic Bullet Looks that makes it unique among color correction tools. In the ‘Lens’ adjustments are the Anamorphic Flare, Swing-Tilt and Lens Vignette filters. In the ‘Subject’ set of adjustments, there are filters such as Fill Light and Spot Fill. In other words, we apply filters in the order light transmits it into our camerasįor each level of the Toolchain there are color correction filters hand-picked that in some way make sense to the filmmaker not used to traditional color correction workflows. Color correction filters are applied at specific points in the Toolchain. The first level of ordering is called ‘The Toolchain’ and is split between Subject / Matte / Lens / Camera / Post. As shown in the screenshot above, the filters applied to our images have two levels of ordering designed to make sense to filmmakers who think in terms of the camera, lights and lens. It’s at the tweaking stage that the ‘for filmmakers’ moniker is painfully evident. The ‘Post’ category is highlighted above. Magic Bullet Looks has a custom UI that uses a ‘Toolchain’ metaphor for categorizing and ordering its extensive set of color correction filters. From there, you apply the preset and then start tweaking. Looks 3 has a ton of Looks presets, that all instantly update to the current frame you’re sitting on-so you can quickly scan dozens of Looks and hone in on a few that are interesting to you. What is color correction for filmmakers?Īs opposed to say, color correction for editors or color correction for colorists?Įssentially – it’s color correction in a point-and-click playground. It’s billed as ‘powerful looks and color correction for filmmakers’. And the granddaddy of them all is Red Giant’s Magic Bullet Looks 3. We are approaching the end of the FCPX Desert Island Challenge and I’m wrapping up my look at plug-ins that can help us create ‘Looks’. Tutorials / Magic Bullet Looks 3 – An Overview Day 10: 25 Insights in 25 Days Holiday Marathon Magic Bullet Looks 3 – An Overview Creating Looks in FCPX
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