by Graham Sheldon | 27th October 2016
Magic Bullet Suite 13 is the latest iteration of this favorite of one-man-band editing operations and larger productions alike. Red Giant has included 7 tools that help you add or remove digital noise, correct color mistakes and add fully customizable color looks to enhance your footage. All the details, including pricing and footage, is below: Picture: Red Giant In the last version of Magic Bullet Suite, we saw great-looking real film stock emulsion added to the suite in the form of the “Magic Bullet Film” tool, and that returns for version 13. This time, however, Open CL support for real time playback steals the show. Real time playback works with a number of the tools included in the suite if you are an Adobe Premiere Pro CC user. As an Adobe Premiere Pro CC user myself, it is impossible to overstate the joys of real time playback, and that is certainly the standout feature in version 13 in my opinion. Nobody likes rendering, unless it is a convenient excuse for a coffee trip/sunshine break from the edit bay. There is also a new tool called “Renoiser” which – you guessed it – adds cinematic grain to your shots to pull back some of that sharp digital look coming out of many DSLRs these days. Picture: Red Giant, Colorista IV Maybe it was my ill-spent youth playing PC video games, but the user interface of Red Giant‘s production software has always been very easy for me to navigate, and that’s no different in Magic Bullet Suite 13. Much of the button navigation is built around simple lists and color wheels that are intuitive and user friendly. For me, the benchmark test for software like this, and especially with the Magic Bullet Looks tool, is how many of these Looks I could see myself using on future projects. The answer for me here is: lots, and there is always the option to tone down individual Looks using sliders in a similar way to popular social photo applications like Instagram. Picture: Red Giant, Cosmo Skin Overlay Additional Standout Features of Magic Bullet Suite 13: Magic Bullet Looks – 50 new Looks added, for a total of over 200. Most of them look great right out of the gate, or with just a little tinkering. Magic Bullet Colorista IV – Still my favorite color correction tool to use. Very quick and intuitive, with lots of UI improvements giving you flexibility to arrange your workspace however you wish. Denoiser III – Denoiser is now sporting entirely re-built code with the help of a startup backed by fellow Indiana University alumnus, Mark Cuban. Here is a little video featuring both a grainy and not-as-grainy Mark Cuban, while breaking down the improvements in Denoiser III: Magic Bullet Cosmo – In the past, this tool could make your talent’s skin look a little too plasticky in my opinion, but if used sparingly you can get some great subtle skin improvements. This tool is a must in a world that includes both high resolution cameras and directors looking for closeups… Renoiser – Film looks like film because of grain, 24fps & 180 degree shutter. Add grain back in with this tool. The below video dives into many of the new features Magic Bullet Suite 13 has to offer and includes footage examples: It’s expensive if you are buying the suite for the first time versus upgrading, but the sheer number of included tools significantly reduces headaches in post and are especially great for projects with a quick turnaround time. I originally purchased Colorista, Looks, and the Denoiser tool a few versions back a la carte off the Red Giant website, though I found myself very quickly wishing I had purchased the full suite right off the bat. You can see from the below pricing structure that purchasing everything as a bundle is the best bang for your buck. Red Giant offers a free trial that gives you the chance to dive in yourself and see if purchasing the full suite makes sense for your workflow. If you have a color team with a budget to sit and stare at individual highlights for two months then this product is not for you. But for the vast majority of us this software can improve the look of our footage significantly with a minimal time investment. Price: $899.00, or previous suite owners can upgrade for $299.00 Compatibility: Adobe Premiere & Adobe After Effects (PC or Mac), Final Cut Pro X Magic Bullet Suite 13 is available for purchase or trial download HERE. What do you think? Are there enough new features in version 13 to warrant upgrading, or buying the full suite the first time? Let us know below!Read more
by Richard Lackey | 5th August 2016
Matt Damon on set during during production of Jason Bourne. Credit: Universal Pictures Blackmagic Design’s DaVinci Resolve Studio was used to complete the online edit, color grade and HDR delivery for Jason Bourne. Goldcrest Post, London provided full post production services for Bourne director Paul Greengrass. The ever growing community of professional and aspiring colorists and editors who rely on DaVinci Resolve will be happy to see one more high-profile production finished using this software. It’s yet another testimony to the power of the system, as well as of the hard work and innovative development that has been invested in Resolve by Blackmagic Design. While some were skeptical when Blackmagic Design made the move to add NLE functionality to Resolve, it is arguably the most significant decision in the history of this software. Turning Resolve into a fully-featured NLE, with the most seamless workflow of any editing or grading solution on the market has catapulted Resolve into the hands of more creators than anyone could have imagined. Resolve is now relied upon as the heart and brain of more post production workflows than ever before. Seamless Fluidity, Real-Time Collaborative Workflow For Universal Pictures, the online edit and grading of Jason Bourne were in the capable hands of Goldcrest’s Sinéad Cronin and Rob Pizzey respectively. “Working on the project together in DaVinci Resolve Studio allowed us a great deal of fluidity, and we were able to collaborate closely throughout,” reveals Cronin. “I could conform and work on the online edit in Resolve’s Media and Edit pages, whilst Rob could render a grade on the Color page at the same time.” The Asset (Vincent Cassel) in Jason Bourne. Credit: Jasin Boland Resolve’s seamless workflow between editorial and finishing, and its collaborative workflow features seem to be the central theme of its success with Jason Bourne. “There’s so many action-packed scenes, with extended chase sequences and set pieces, so the scale of postproduction was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in real time, which really helped us to work to a tight deadline,” explained Cronin. Color When it came to color, there were some specific creative requirements to create location-specific moods and looks. Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of films, colorist Pizzey had an extensive understanding of how the team wanted to use the grade to enhance the action. “In Jason Bourne, there are sequences in Las Vegas, Athens and Berlin and an important part of the grade was to differentiate the mood and feel between these locations…but to ensure the overall aesthetic of the series remained in evidence,” he explains. Paul Greengrass, the director of The Bourne Supremacy and The Bourne Ultimatum, once again joins Damon for the next chapter of Universal Pictures’ Bourne franchise “Barry and I worked during preproduction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on set, and for processing the rushes. Deploying Resolve at the preproduction stage meant that when we came back together to do the final grade, the sessions were extremely smooth and productive.” The grade was also used to enhance the film’s editing, particularly in the action sequences. “One of my favorite sequences in the film to grade takes place in Athens, which was shot entirely at night. As the action is on the streets, which are filled with layers of smoke, and a fire unfolds, the edit intercuts scenes from a CIA control room,” explains Pizzey. “I kept the CIA room very cool and clinical, with a blue palette to differentiate from the warm, realistic riot scenes. Using Resolve’s grading toolset with some shape work, I was able to reflect some of the warmer tones from the screens in the control room back onto the actors’ faces. It was a very subtle, but extremely effective contrast within a key sequence.” Heather Lee (Alicia Vikander) in Jason Bourne. Credit: Jasin Boland HDR Delivery The Goldcrest team worked in full 4K throughout the project, and also deployed DaVinci Resolve Studio’s new high dynamic range capabilities to deliver the film in HDR for the first time. “HDR isn’t just a new delivery format, it’s a fantastic creative playground for production teams to deliver a completely new experience to audiences. These capabilities, combined with the NLE toolset and grading capabilities, make DaVinci Resolve a complete storytelling device,” concludes Pizzey.Read more
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