BorisFX BCC 10

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Boris Continuum Complete (BCC) by BorisFX is the epitome of the term “Swiss Army knife” when it comes to talking about plug-ins. Most editors will pick this package over others, if they can only have one toolkit to cover a diverse range of picture enhancements. In the past year, BorisFX has upgraded this toolkit with new effects, expanded to add more NLE hosts, and integrated mocha’s Academy Award-winning planar tracking technology after the acquisition of Imagineer Systems. This set of plug-ins is now up to version BCC10. BorisFX has not only added new effects to BCC10, but also expanded its licensing options to include multi-host and subscription options.

Since many users now work with several NLEs, multi-host licensing makes a lot of sense. One purchase with a single serial number covers the installation for each of the various applications. There are two multi-host license versions: one for Avid/Adobe/Apple/OFX and the second that doesn’t include Avid. OFX licensing covers the installation for Blackmagic Design DaVinci Resolve, as well as Sony Vegas Pro for PC users.

What’s new in BCC10

df3216_bcc10_10Boris Continuum Complete version 10 includes over 230 effects within 16 different categories, like 3D Objects, Art Looks, Particles, Perspective and more. Each effect comes with numerous presets for a total of over 2,500 presets in all. There are plenty of new tools in BCC10, but the biggest news is that each effect filter integrates mocha planar tracking. BorisFX has always included Pixel Chooser as a way of masking objects. Now each filter also lets you launch the mocha interface right from inside the plug-in’s effect control panel. For example, if you are applying skin smoothing to only your talent’s forehead using the new BCC Beauty Studio, simply launch mocha, create a mask for the forehead and track the talent’s movement within the shot. The mask and track are saved within the plug-in, so you can instantly see the results.

df3216_bcc10_05A second big change is the addition and integration of the FX Browser. Each plug-in effect lets you launch the FX Browser interface to display how each of the various presets for that effect would look when applied to the selected clip. You can preview the whole clip, not just a thumbnail. FX Browser is also a standalone effect that can be applied to the clip. When you use it that way, then all presets for all filters can be previewed. While FX Browser has been implemented in past versions in some of the hosts, this is the first time that it’s become an integrated part of the BCC package across all NLEs.

df3216_bcc10_02BCC10 includes two new “studio” tools, as well as a number of new individual effects. BCC Beauty Studio is a set of tools in a single filter targeted at image retouching, especially the skin texture of talent. Photographers retouch “glamor” shots to reduce or remove blemishes, so Photoshop-style retouching is almost expected these days. This is the digital video equivalent. As with most skin smoothing filters, BCC Beauty Studio uses skin keying algorithms to isolate skin colors. It then blurs skin texture, but also lets the editor adjust contrast, color correction, and even add a subtle glow to image highlights. Of course, as I mentioned above, mocha masking and tracking is integrated for the ultimate control in where and how the effect is applied.

The second new, complex filter is BCC Title Studio. This is an integrated 3D titling tool that can be used based on templates within the effects browser or by launching the separate Title Studio interface. Editors familiar with BorisFX products will recognize this titling interface as essentially Boris RED right inside of their NLE. Not only can you create titles, but also more advanced motion graphics. You can even import objects, EPS and image files for 3D effects, including the addition of materials and shading. As with other BorisFX tilting tools, you can animate text on and off the screen.

df3216_bcc10_03In addition to these two large plug-ins, BCC10 also gained nine new filters and transitions. These include BCC Remover (fills in missing pixels or removes objects using cloning) and BCC Drop-out Fixer (restores damaged footage). For the folks who have to deal with a lot of 4×3 content and vertical cell phone footage, there’s BCC Reframer. Unlike the usual approach where the same image is stretched and blurred behind the vertical shot, this filter includes options to stylize the foreground and background.

df3216_bcc10_11The trend these days is to embrace image “defects” as a creative effect, so two of the new filters are BCC Light Leaks and BCC Video Glitch. Each adds organic, distressed effects, like in-camera light contamination and corrupted digital video artifacts. To go along with this, there are also four new transitions, including a BCC Light Leaks Dissolve, Cross Glitch, Cross Zoom and Cross Melt. Of these, the light leaks, glitch and zoom transitions are about what you’d expect from the name, however, the melt transition seems rather unique. In addition to the underlying dissolve between two images, there are a variety of effects options that can be applied as part of this transition. Many of these are glass, plastic, prism or streak effects, which add an interesting twist to this style of transition.

In use

df3216_bcc10_04The new BCC10 package works within the established hosts much like it always has, so no surprises there. The Boris Continuum Complete package used to come bundled with Avid Media Composer, but unfortunately that’s no longer the case. Avid editors who want the full BCC set have to purchase it. As with most plug-ins, After Effects is generally the best host when adjustment and manipulation of effects are required.

df3216_bcc10_09A new NLE to consider is DaVinci Resolve. Many are testing the waters to see if Resolve could become their NLE of choice. Blackmagic Design introduced Resolve 12.5 with even more focus on its editing toolset, including new, built-in effect filters and transitions. In my testing, BCC10 works reasonably well with Resolve 12.5 once you get used to where the effects are. Resolve uses a modal design with editing and color correction split into separate modes or pages. BCC10 transition effects only show up in the OFX library of the edit page. For filter effects, which are applied to the whole clip, you have to go to the color page. During the color correction process you may add any filter effect, but it has to be applied to a node. If you apply more than one filter, you have to add a new node for each filter. With the initial release of BCC10, mocha did not work within Resolve. If you tried to launch it, a message came up that this functionality would be added at a later time. In May, BorisFX released BCC10.2, which included mocha for both Resolve 12.5 and Vegas Pro. To use the BCC10 effects with Resolve 12.5 you need the paid Studio version and not the free version of Resolve.

df3216_bcc10_07BorisFX BCC10 is definitely a solid update, with new features, mocha integration and better GPU-based performance. It runs best in After Effects CC, Premiere Pro CC and Avid Media Composer. The built-in effects tools are pretty good in After Effects, Final Cut Pro X and Resolve 12.5 – meaning you might get by without needing what BCC10 has to offer. On the other hand, they are unfortunately very mediocre in Premiere Pro or Media Composer. If one of those is your editing axe, then BCC10 becomes an essential purchase, if you want to improve the capabilities of your editing application. Regardless of which tool you use, BCC10 will give you more options to stretch your creativity.

df3216_bcc10_08On a related note, at IBC 2016 in Amsterdam, BorisFX announced the acquisition of GenArts. This means that the Sapphire effects are now housed under the BorisFX umbrella, which could make for some interesting bundling options in the future. As with their integration of mocha tracking into the BCC effects, future versions of BCC and/or Sapphire might also see a sharing of compatible technologies across these two effects families. Stay tuned.

Originally written for Digital Video magazine / Creative Planet Network

©2016 Oliver Peters

Adobe Premiere Pro CC Learning Tips

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Adobe Premiere Pro CC is the heir apparent editing application for many editors. In order to make your transition easier, I’ve compiled a series of links to various official and unofficial resources, including Adobe sites, forums, YouTube videos, training resources, and various blog posts. This list is by no means all that’s out there, but it should provide a great starting point to become more comfortable with Premiere Pro CC.

Adobe and Adobe-related training resources

Adobe tutorials

Adobe Premiere Pro tips

Maxim Jago’s tips at Lynda

Maxim Jago’s tips at Peachpit

Lynda’s Adobe Premiere Pro training

Ripple Training – Premiere Pro CC 2015

Adobe-related blogs and YouTube channels

Dave Helmly’s DAV Tech Table

Jason Levine’s YouTube channel

Colin Smith’s YouTube channel

Dave Helmly’s presentation at Orlando Post Pros meeting – 2015 (webcast)

Forums

Adobe Filmmaker stories

Adobe Premiere Pro Forum

Creative COW Premiere Pro forum

Premiere-centric sites and YouTube channels

Jarle Leirpoll’s Premiere Pro blog

Retooled

Premiere Bro

Best Premiere Pro Quick Tips YouTube Channel

Premiere Pro Tips YouTube channel

Blog posts

VashiVisuals – Deadpool Premiere Pro Presets

VashiVisuals – Keyboard Layouts

VashiVisuals – Music Video Editing Tips

VashiVisuals – Pancake Timeline

Jonny Elwyn – Premiere posts

Jonny Elwyn – Premiere Pro Tools and Tutorials

Jonny Elwyn – Tips and Tricks

Jonny Elwyn – Tips for Better Editing in Premiere Pro

Jonny Elwyn – Tutorials for Better Editing in Premiere Pro

Premium Beat – Beginner’s Guide to Premiere Pro Shortcuts

Premium Beat – Match Frame and Replace Edit

Premium Beat – How to Clean up Audio in Premiere Pro

Premium Beat – Creating a Storyboard Edit in Premiere Pro

Premium Beat – AVCHD Editing Workflow

Premium Beat – How to Organize a Feature Film Edit

Premium Beat – 3 Quick Tips for Editing in Premiere Pro

Premium Beat – Time-Saving Premiere Pro CC Tips

Derek Lieu – Simple Tricks for Faster Editing in Premiere Pro

No Film School – Premiere Pro Keyboard Shortcuts

Wipster – 4 Reasons Why Premiere Pro is a Great Choice

Wipster – Master the Media Browser

Plug-ins, add-ons, other

Kinetic type and layer effects by TypeMonkey for After Effects

Post Notes Premiere Pro control panel

PDFviewer Premiere Pro control panel

Frame.io integration

Wipster.io integration

Axle Video integration

LookLabs SpeedLooks

FxFactory plug-ins

RedGiant Software plug-ins

Boris FX plug-ins

DigitalFilms – SpeedGrade Looks

Jarle’s Premiere Pro Presets

Note : this information is also included on the Editing Resources page accessible from the header of this blog. Future updates will be made there.

©2016 Oliver Peters

Automatic Duck Xsend Motion

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When Apple transitioned its Final Cut Pro product family from Final Cut Studio to Final Cut Pro X, Motion 5, and Compressor 4, it lost a number of features that editors really liked. Some of these “missing” features show up as consistent and reoccurring requests on various wish lists. One of the most popular is the roundtrip function that sent Final Cut Pro “classic” timelines over to Motion for further compositing. To many, it seemed like Motion had become relegated to being a fancy development tool for FCPX plug-ins, rather than what it is – a powerful, GPU-enabled compositor.

df1516_AD_2At last, that workflow hole has been plugged, thanks to Automatic Duck. Last year the father/son development team brought us a way to go from Final Cut Pro X to Adobe’s After Effects by way of the Automatic Duck Ximport AE bridge. This week at the FCP Exchange Workshop in Las Vegas, Wes Plate reveals the new Automatic Duck Xsend Motion. This tool leverages the power of the FCPX’s version of XML to move data from one application to the other. Thanks to FCPXML, it provides a bridge to send FCPX timelines, clips, or sections of timelines over to Motion 5.

df1516_AD_4Xsend Motion reads FCPXML exports or is able to process projects directly from the Final Cut Pro X Share menu. The Xsend menu enables a number of settings options, including whether to bring clips into Motion as individual clips or as what Automatic Duck has dubbed as “lanes”. When clips are left individual, then each clip is assigned a layer in Motion for a composition made up of a series of cascading layers. If you opt for lanes, then the Motion layers stay grouped in a similar representation to the FCPX project timeline. This way primary and secondary storylines and connected clips are properly configured. Xsend also interprets compound clips.

Automatic Duck is striving to correctly interpret all of the FCPX characteristics, including frame sizes, rates, cropping, and more. Since Final Cut Pro X and Motion 5 are essentially built upon the same engine, the translation will correctly interpret most built-in effects. However, it may or may not interpret custom Motion templates that individual users have created. In addition, they plan on being able to properly translate many of the effects in the FxFactory portfolio, which typically install into both FCPX and Motion.

df1516_AD_3While Xsend Motion and Ximport AE are primarily one-way trips, there is a mechanism to send the finished result back to Final Cut Pro X from Motion 5. The first and most obvious is simply to render the Motion composition as a flattened QuickTime movie and import that back into FCPX as new media. However, you can also publish the Motion composition as an FCPX Generator. This would then show up in the Generators portion of the Effects Palette as a custom generator effect.

Automatic Duck Xsend Motion will be officially released later this year. The price hasn’t been announced yet. Current Automatic Duck products (Automatic Duck Ximport AE and Automatic Duck Media Copy) are available through Red Giant.

©2016 Oliver Peters

Spring Tools

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It’s often the little things that improve your editing workflow. Here are a few quick items that can expand your editing arsenal.

Hawaiki Super Dissolve

df1416_tools_3The classical approach to editing transitions suggests that all you need is a cut and a dissolve. Given how often most editors use a dissolve transition, it’s amazing that few NLE developers spend any time creating more than a basic video dissolve, fade or dip. After all, even the original Media Composer came with both a video and a film-style dissolve. Audio mixers are used to several different types of crossfades.

Since this is such a neglected area, the development team behind the Hawaiki plug-ins decided to create Super Dissolve – a dissolve transition plug-in for Final Cut Pro X with many more options. This installs through the FxFactory application. It shows up in the FCPX transitions palette as a dissolve effect, plus a set of presets for fades, dips and custom curves. A dissolve is nothing more than a blend between two images, so Super Dissolve exposes the same types of under-the-hood controls as After Effects and Photoshop artists are used to with compositing modes.

Drop the Super Dissolve in as a transition and you have control over blending modes, layer order, easing controls with timing, and the blurring of the outgoing and/or incoming image. Since you have control over the outgoing and incoming clips separately, different values can be applied to either side, thus enabling an asymmetrical effect. For example, a quick fade with a blur off the outgoing clip, while bringing the incoming side up more slowly. As with the default FCPX dissolve, there’s also an audio crossfade adjustment, since FCPX transitions can effect both audio and video when these elements are combined. If you really like the ability to finesse your transitions, then Super Dissolve hits the spot.

XEffects Audio Fades

df1416_tools_6Free is good, so check out Idustrial Revolution’s free effects. Although they are primarily a video effects developer for Motion and Final Cut Pro X, they recently added a set of audio fade presets for FCPX. Download and install the free pack and you’ll find the XEffects Fades group in the audio plug-ins section of your effects palette.

XEffects Fades includes a set of preset fade handles, which are applied to the audio on your timeline clips. Drag-and-drop the preset with the fade length closest to what you want and it automatically adjusts the fade handle length at both ends of that audio clip. If you want to tweak the length, apply the effect first and then adjust the length puck on the clip as needed. Existing lengths will be overwritten when you drop the effect onto the clip, so make sure you make these adjustments last.

AudioDenoise and EchoRemover

df1416_tools_5CrumplePop is another developer known for its video effects; but they, too have decided to add audio effects to their repertoire. AudioDenoise and EchoRemover are two Final Cut Pro X plug-ins sold through the FxFactory application. These two effects are easy-to-use Apple Audio Units filters designed to improve poorly recorded location audio. As with Apple’s own built-in controls, each filter includes a few sliders to adjust strength and how the effect is applied. When applying any audio “clean up” filter, a little goes a long way. If you use it to its extreme range, the result sounds like you are underwater. Nevertheless, these two filters do a very nice job with poor audio, without presenting the cost and complexity of other well-known audio products.

Alex4D Animated Transitions

df1416_tools_1For a little bit of spice in your Final Cut Pro X timelines, it’s worth checking out the Alex4D Animated Transitions from FxFactory. Alex Gollner has been a prolific developer of free Final Cut Pro plug-ins, but this is his first commercial effort. Animated Transitions are a set of 120 customizable transition effects to slide, grow, split and peel incoming or outgoing clips and lower third titles. Traditionally you’d have to build these effects yourself using DVE moves. But by dropping one of these effects onto a cut point between two clips, you quickly apply a dynamic effect with all the work already done. Simply pick the transition you like, tweak the parameters and it’s done.

Post Notes

df1416_tools_4One of the best features of Adobe applications is Extensions. This is a development “hook” within Premiere Pro or After Effects that allows developers to create task-oriented panels, tools and controls that effectively “bolt” right into the Adobe interface. One example for After Effects would be TypeMonkey (and the other “Monkeys”), which are kinetic effect macros. For Premiere there’s PDFviewer, which enables you to view your script (or any other document) in PDF format right inside the Premiere user interface.

A new extension for Premiere Pro CC is Post Notes. Once installed, it’s an interface panel within Premiere Pro that functions as a combined notepad and to-do list. These are tied to a specific sequence, so you can have a set of notes and to-dos for each sequence in your project. When a to-do item is completed, check it off to indicate that it’s been addressed. This tool is so straightforward and simple, you’ll wonder why every editing software doesn’t already have something like this built-in.

Hedge for Mac

df1416_tools_2With digital media as a way of life for most editors, we have to deal with more and more camera media. Quickly copying camera cards is a necessary evil and making sure you do this without corruption is essential. The Mac Finder really is NOT the tool you should be using, yet everyone does it. There are a number of products on the market that copy to multiple locations with checksum verification. These are popular with DITs and “data wranglers” and include Pomfort Silverstack, Red Giant Offload, and even Adobe Prelude.

A newcomer is Hedge for Mac. This is a simple, single-purpose utility designed to quickly copy files and verify the copies. There’s a free and a paid version. If you just want to copy to one or two destinations at a time, the free version will do. If you need even more destinations as a simultaneous copy, then go for the paid version. Hedge will also launch your custom AppleScripts to sort, transcode, rename or perform other functions. Transfers are fast in the testing I’ve done, so this is a must-have tool for any editors.

©2016 Oliver Peters

More LUTs from IWLTBAP

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With more cameras shooting in some form of a log or flat color profile and more editing software being able to integrate color look-up tables (LUTs), numerous developers have designed their own LUT packages. Some, like Koji, strive to duplicate the colorimetry of certain film stocks, while others, such as SpeedLooks from LookLabs, create stylized “look” files that give you a range of creative color correction choices.

One new developer offering a package of easy to use LUTs is French filmmaker IWLTBAP. Through the website, you can pick up a comprehensive package of LUTs in the 32x32x32 .cube format, which are compatible with most modern editing and compositing software applications. If you edit in Adobe Premiere Pro CC, the Lumetri Color panel lets you browse and add any .cube LUTs you’ve saved on your hard drives. If you cut in Apple Final Cut Pro X, then the addition of a LUT plug-in, like Color Grading Central’s LUT Utility, enables you to add third-party LUTs to any clip on the timeline.df1316_iwltbap_4

I took these LUTs for a spin and like most LUT packages, they come in a groups. First you have Utility LUTs, which are designed to convert color spaces from log to Rec709 (the standard video color space) or in the opposite direction. These are organized by camera type, since not all manufacturers use the same logarithmic values. Then the color correction or “look” LUTs are grouped into Standard and Log versions.

The Standard LUTs are to be applied to images that are already in Rec709 color space, while the Log versions can be used as a one-step LUT to be applied to generic log images. For example, you could apply both a Log-to-Rec709 Utility LUT and a second LUT from the Standard group to achieve your result. Or simply apply the single Log version to that same clip and end up with similar results. The dual-LUT approach gives you more incremental control over the Log conversion based on camera models, whereas the single-step solution is designed for generic log images. However, both can yield the desired grade, depending on the clip. In addition to the paid LUT package, IWLTBAP offers two Bonus LUTs, which are available as a free download from the website.

df1316_iwltbap_2There are over 80 LUTs in each group and these are organized by color style and number. The numbers don’t really mean anything. In other words, they aren’t an attempt to mimic a film stock number. As you ascend in numbers, the next step is a more aggressive or somewhat different version of the previous. The key is the prefix and suffix for each. These LUT files carry a STD or LOG suffix so you know whether these are from the Log or Standard group. Then there’s a prefix: C for cold, H for hot, W for warm, F for film, and X for creative. Each style has several variations within that general look. For example, the LUT file labelled “F-9490-STD.cube” is a LUT with a filmic curve designed for a Rec709 image.

df1316_iwltbap_7When working with LUTs, it’s often hard to know what result you get until you try it. Then if you don’t like the look, you have to continue to slowly browse through your LUT files – applying each, one at a time – until you get the right look. Often that can lead to a lot of trial and error. The IWLTBAP package ships with lightweight Windows and Mac preview applications, however, the developer warns of some occasional instability on some machines. The easiest solution is to use their web-based LUT previewer. Simply upload a reference JPEG from your clip and then toggle through the LUTs to preview how those will affect the shot.

df1316_iwltbap_6I ran some tests on Blackmagic Design camera footage in both FCPX and Premiere Pro CC and got some really pleasing results. In the case of FCPX, if you use LUT Utility, you have to copy the .cube files into LUT Utility’s Motion Templates folder. This is found under Effects/CGC. Files stored there become visible in the LUT Utility pulldown menu. Note that only the first 50 or so files in that folder can be accessed, so be selective. If you apply two instances of the LUT Utility to a clip, then you can apply a Log-to-Rec709 conversion in the first and then the creative look LUT in the second. This plug-in has a mix slider, so you can adjust the intensity of the LUT to taste. As an effects plug-in, you can also place other effects, such as color correction in-between the two LUT Utility effects as part of that stack of effects. Doing this gives you nice control over color within FCPX with very little overhead on the application’s performance.

df1316_iwltbap_3If you are an FCPX user that has adopted Color Grading Central’s ColorFinale grading tool as your go-to color correction plug-in, then all of this LUT management within the application can be simply handled from the ColorFinale interface itself. Stack layers of LUTs and other color tools all inside the ColorFinale panel. LUT choices can be added or removed using the integrated LUT Manager and then relaunching FCPX to activate them as part of ColorFinale.

If you are a Premiere Pro CC editor, then the latest version was enhanced with the Lumetri Color panel. This control is organized as a stack of color modules, which include two entry points to add a LUT – in the Basic and the Creative tabs. In my testing of the new URSA footage, I applied a Log-to-Rec709 LUT for the URSA in Basic and then one the “look” LUTs, like the free Aspen standard version, in Creative. You still have all the other color control in the Lumetri panel to fine-tune these, including the intensity level of the LUT.

df1316_iwltbap_5LUTs are a creative tool that should be thought of as a stylistic choice. They aren’t an instant fix and shouldn’t be the only tool you use to color correct a clip. However, the LUTs from IWLTBAP provide a good selection of looks and moods that work well with a wide range of shots. Plus the package is very affordable and even more so if you get it after reading this blog! Readers who are interested can get 25% off of the retail price using the discount code DIGITALFILMS. Or by using this direct link.

Last but not least, check out the free, downloadable 4K film grain clip. It’s a ten second ProRes file that can be overlaid or blended to add grain to your shot.

©2016 Oliver Peters

Red Giant Magic Bullet Suite 12

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Red Giant released Magic Bullet Suite 12 in February. Popular tools have been streamlined along with the addition of a brand new film emulation tool. The suite now includes Magic Bullet Looks 3.0, Magic Bullet Colorista III, Magic Bullet Film 1.0, Magic Bullet Mojo 2.0, Magic Bullet Cosmo 2.0, Denoiser II, and LUT Buddy. The new update adds OpenFX compatibility.

Along with feature and interface changes, Red Giant has also focused on performance improvements across the board, as well as bringing more of the tools into new hosts like Apple Final Cut Pro X. A single installation of the suite will install the plug-ins into as many application hosts as you have on your system. However, check the compatibility list for your particular NLE. For example, everything installs into Adobe Premiere Pro CC and After Effects CC, but Final Cut Pro X only gets Colorista, Looks, Cosmo, Film, and Mojo. Avid Media Composer is only compatible with Looks and Resolve gets Mojo, Film, Looks, and Cosmo. Depending on your toolkit, you might opt for one or two of the individual plug-ins rather than the entire suite. If you already installed version 12.0, you’ll need to download and reinstall 12.1 in order to add the plug-ins into new hosts, like Resolve 12.

Magic Bullet Looks (v3.1)

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Magic Bullet Looks is a popular go-to plug-in for sophisticated stylization of an image. It includes tool modules for color correction, lens effects, relighting, and a lot more. The interface design has been flattened and streamlined. As before, it runs as a separate application that opens whenever you launch the interface from the clip on the timeline. The frame that you are parked on becomes the reference frame to which you apply your looks. In 3.0 and 3.1, you can now hover the mouse over the various preset looks and the larger Looks viewer will be updated to preview that look on your frame. In addition, this will also preview the various tool modules used to create the look. Red Giant has created many new preset looks based on popular film and TV show treatments. All are customizable. The 3.1 update added a Trackpad Mode, enabling you to use a laptop or standalone trackpad like a control surface.

New tool modules have been added, such as a LUT tool and a 4-way color corrector. The latter adds a very intuitive luma range graph to easily change the crossover points between lo/mid and mid/hi. Importing LUTs into Looks doesn’t seem to work perfectly. It’s pretty solid in the Adobe applications, but color management with FCP X is quirky. When I imported LUTs into Looks with FCP X, the result was a lot more extreme than in the Adobe applications. This is likely an issue with FCP X’s color pipeline when an external program is involved.

Magic Bullet Colorista III (v1.1)

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The earlier version of Colorista was a feature-packed plug-in that functioned like a mini-grading application. It had master, primary, and secondary grading, plus curves, a power mask, and keyer. With Colorista III, Red Giant decided to simplify the plug-in by including one level of primary grading, curves, a keyer, and HSL secondary adjustments. The power mask is gone, because the developers decided to rely on the new built-in masking that’s part of Premiere Pro CC and Final Cut Pro X. Adobe added bezier masks with built-in tracking to all effects, so if you are using Colorista III in Premiere Pro CC, you now have a better masking capability than in the past. Apple added shape masks to all effects with the introduction of FCP X 10.2.

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With FCP X, the developers were able to integrate the color grading wheels into the inspector pane, but in a vertical configuration. The response of the wheels is weighted, so that you move the mouse farther in relationship to the puck’s travel on-screen. This results in better granularity to the adjustment, but might require a bit of time for new users to get accustomed to the feel. Although it includes curves, these are not true multi-point curves, as you are limited to five control points along the line. Typically these work best when you want an s-curve correction.

A big addition to Colorista III are Lightroom-style shadow and highlight controls. Adjusting the shadows slider acts like you are adding or removing fill light from an image. There’s also a new vignette slider, so you can quickly dial in the size and darkness of an edge vignette. Most of the Magic Bullet products include a strength slider, while enables you to dial back on the amount of the color treatment. This lets you make a more extreme correction and then tone it down for the final look. One welcomed addition is an overall white balance control with a color picker to select what you determine as white in the image. This is very good news for FCP X editors in particular.

New 1.1 features, which are applicable to Adobe hosts, include support for OpenCL and Cuda. This allows for real time color correction during video playback via Adobe Premiere Pro’s Mercury Playback Engine. The Skin Overlay is back and there’s a keyer “cut out” mode to create transparency for layered color corrections.

Magic Bullet Film

df1315_mbs12_6_smFilm style LUTs (color look-up tables) are all the rage and this one is particularly well thought-out. Red Giant has reverse-engineering the LUTs from actual film and includes 22 negative stocks and four print stocks. These include the typical Kodak and Fuji variations as well as settings for some imaginary custom stocks designed by Red Giant. The key to this plug-in is that it is intended to pair a film negative LUT with a film print LUT, in order to more accurately mimic a real-world film pipeline.

df1315_mbs12_7_smIn addition to the LUTs, you have a number of control sliders for tint, exposure, contrast, saturation, and skin tone. There’s a slider for the amount of built-in grain to be added, as well as an instant vignette and a strength slider. A particularly interesting control is the vintage/modern slider. Shift it all the way to modern and you get a very strong orange/teal effect, whereas going fully in the vintage direction leaves the image more reddish and faded.

Magic Bullet Mojo 2.0

df1315_mbs12_8_smMojo is for the folks who want the extreme orange/teal coloration that many blockbuster films use. This is my least favorite filter in the suite, because few films that I see actually look like the results you get here – blockbuster or not. It’s a color treatment whose purpose is to cool off the background independent of skin tones. Depending on the shot and the art direction used in production, sometimes you get great results and other times not so much. df1315_mbs12_9_smFortunately there are plenty of adjustments to derive a decent, albeit stylized, color correction. As part of the Looks refresh, there is now a set of Mojo tools built into Looks, as well. Mojo has also been GPU-accelerated. Red Giant claims it’s 20% faster in Adobe products and 80% faster in FCP X. In the testing that I’ve done, the results have been in line with these numbers.

Magic Bullet Cosmo 2.0

Cosmo is a skin smoothing filter. It’s effectively the “vaseline on the lens” trick. If you have an actress with more textured skin and you need to soften it, then Cosmo does one of the better jobs I’ve seen. It isolates skin from the background, so that you end up softening only skin without hurting background detail.

df1315_mbs12_3_smThe new version has good performance, so you can keep on working with the filter applied without having to render to continue. Cosmo is GPU-accelerated with a 20% bump in Adobe products. In addition to FCP X, it is also available in Sony Vegas Pro.

Denoiser II and LUT Buddy

Denoiser II is general solution for reducing video noise and works well with most footage. LUT Buddy is a tool included with a number of Red Giant products. It is designed to import and export LUTs, although in my testing behavior was inconsistent. I could get it to generate a LUT, but not import all LUTs that should have been compatible.

LUT Buddy is very useful for turning the grade you create in one application into a LUT that can be used in another. For example, you can use a number of different color correction filters in After Effects to grade a shot and then use LUT Buddy to turn that grade into a LUT. Then in Premiere Pro, apply the LUT that you created, without the need for using the same filters as were used in After Effects. Here’s where LUT Buddy should have worked to read its own grade, but it didn’t. When I applied the grade and played the clip, the color correction would flicker on and off. However, I was still able to import that LUT using Premiere Pro’s Lumetri filter, so the process is still functional. My initial testing was done with Adobe CC2014, but in retesting in Adobe CC2015, unfortunately I could no longer get LUT Buddy to export a LUT.

df1315_mbs12_10_smOverall, this a solid update. Better performance and new tools. In most hosts you can stack several instances of these filters and still get real-time playback, which is a significant step forward. Magic Bullet Suite 12 is the perfect package for editors that want to have plenty of control over the look of their image, yet stay inside the editing application.

To usher in Magic Bullet Suite 12, Red Giant produced another of its innovative short films, called “Old/New”. It’s directed by Seth Worley and narrated by Patton Oswalt. Along with a clever storyline, the film was produced using a wide range of Red Giant products. Make sure that you check out the behind-the-scenes video to see how they did it.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

PDFviewer for Premiere Pro

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Small developers often create the coolest tools for editing. Such is the case with Primal Cuts and their PDFviewer extension for Premiere Pro CC. Ever find yourself shuffling between paper scripts and storyboards, while trying to edit? Or juggling between different apps on-screen to view electronic versions, while going back-and-forth to your NLE? That’s what PDFviewer solves for you.

df4015_pcpdf_3Adobe has created a feature called extensions, which allows a developer to create a custom, dockable panel to perform certain function right inside the application’s interface. TypeMonkey is one example of this for After Effects. The same interface feature is also available in Premiere Pro. Extensions developed for Adobe applications also have the benefit of being cross-platform compatible.

PDFviewer is an extension designed for Adobe Premiere Pro CC. Once installed, it’s accessible from the extensions pulldown menu. When you select it, PDFviewer opens as a floating interface panel that can then be docked anywhere in the interface. If you dock it, make sure to do so in all of your workspaces and save those configurations. That way, if you have a file open, it will stay open as you jump between different layouts.

df4015_pcpdf_2Any PDF file can be opened in PDFviewer, including scripts, storyboards, and other documents. If you work in scripted long-form productions, then check if the script supervisor is using ScriptE Systems products. These are ideal for generating numerous electronic versions of common filming documents, including shot logs and lined scripts. However, any PDF works, including manually scanned PDFs of handwritten reports and lined scripts. Simply open up the lined script in the PDFviewer panel and now you have it right there within Premiere Pro. It’s not exactly the same as Avid’s Script Integration tools in Media Composer, but it’s the next best thing to it.

df4015_pcpdf_4PDFviewer lets you open multiple PDFs by clicking the “+” icon and adding another file. Multiple PDFs are accessible as tabs across the top of the PDFviewer window. It also includes a “hand” tool to easily scroll and pan within larger documents. Search is another great feature, which is perfect for working with transcripts. Search terms will be highlighted throughout the document. You can also copy-and-paste text from within PDFviewer to any metadata field in Premiere Pro.

Primal Cuts’ PDFviewer is a straightforward tool that every Premiere Pro editor will find to be a handy addition to their toolkit. At $10, the price is hard to pass up, simply based on the convenience of not shuffling more paper on your desk.

©2015 Oliver Peters