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1. #Red giant magic bullet looks 3.1.6 how to
2. #Red giant magic bullet looks 3.1.6 professional
3. #Red giant magic bullet looks 3.1.6 tv
4. #Red giant magic bullet looks 3.1.6 windows

Magic Bullet Looks 4 features GPU acceleration that allows much faster color-grading operations through OpenCL and Cuda support. The library provides filmmakers with a powerful collaboration tool, by providing an initial look that can be further tweaked and explored. Magic Bullet Suite 13 offers over 200 built-in looks to support a wide range of visual treatments and genres. Once modified, the user can save the look to the Look Library, providing additional options for filmmakers down the road. Such preset looks can serve as a starting point for further exploration and tweaking. Directors can choose from a warm and fuzzy Jerry Maguire look, for example, or a more heavily diffused feel from Eyes Wide Shut.

#Red giant magic bullet looks 3.1.6 tv

The preset looks, many inspired by high-profile movies and TV shows, can be a powerful collaboration tool by providing a frame of reference for the creative team. Magic Bullet Suite 13 has seven distinct tools, including most notably an updated version of Magic Bullet Looks 4 that offers now over 200 preset looks. Magic Bullet Renoiser and Magic Bullet Film reintroduce an appropriate amount of noise and film-style artifacts in order to produce a more natural, flattering look. Today’s digital cameras tend towards a sterile, inorganic look that is frequently inconsistent with storytelling goals. This means MBS is a tool you’ll actually use - and use often. Other color-grading tools offer comparable capabilities, but only MBS offers the power, performance, and features in such a convenient way. MBS offers a robust set of tools that allows broad manipulation of color, diffusion, shadow integrity, and exposure, and it does it all via a simple, easily accessible interface. I have long employed Magic Bullet Suite (MBS) to tweak (or create from scratch) the appropriate look in post-production. In general, a warm cast imparts likeability on a star (left), while cool tones (right) have the opposite effect, communicating the look and feel of a villain. The look of a production communicates genre and other storytelling goals.

#Red giant magic bullet looks 3.1.6 how to

Color balance can be a powerful cue to audiences how to identify with a particular actor or player in your story. Actors bathed in a warm glow, for instance, are often regarded by audiences as good guys, while talent operating in cool light may be seen as villainous, sinister, bad guys. While many shooters consider white balance a strictly mechanical process, the appropriate warm or cool balance in a scene can contribute significantly to the effective communication of the visual story. Compare this to a flatly lit scene with gentle shadows that effectively communicates to an audience: ‘Hey. Conversely, deliberate underexposure increases the drama in a scene by lowering the black level and deepening the shadows.

#Red giant magic bullet looks 3.1.6 windows

Deliberate overexposure, for example, by blowing out windows and highlights, can contribute to a sci-fi or otherworldly look. Production frame rates under 30fps, for example, suggest a fictional story often set in the past, while frame rates over 30fps tend to communicate a more immediate context, as in most documentaries, news, and sports programs.

Relatively subtle look elements, such as a camera’s shutter angle and the production frame rate, can be barely perceptible by most audiences. Managing the look of a show comprises various elements. The correct look can go a long way to promoting the effective communication of the filmmaker’s intentions. This is why the look of a production is so critical. Audiences need to know from a program’s first moment, frame, or musical downbeat, whether to laugh or cry audiences will agreeably do either, but a filmmaker’s intent must be clear from the outset. They matter a lot.Ĭommunication of genre is the filmmaker’s primary responsibility. Thus, at every level, our choices as filmmakers matter. Audiences read such cues and (hopefully) respond in the appropriate way. A looser, broader presentation suggests a comedy. Shooting in close-up? Comedies are typically framed more loosely than dramatic fare. We exploit the cinematic crafts like music, sound, direction, and wardrobe, to communicate genre. Is our story a drama or a comedy? Appropriate titles, set design, framing, and composition can all help communicate the intended genre.

#Red giant magic bullet looks 3.1.6 professional

Accessible, Easy to Use Color-Grading Tools Will Keep You - and Your Stars - Looking GoodĪs professional storytellers, we understand how audiences understand our intentions as filmmakers.