MAGIC BULLET LOOKS 3 SERIAL NUMBER UPDATE

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.

MAGIC BULLET LOOKS 3 SERIAL NUMBER UPDATE

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

Magic bullet looks 3 serial number