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Adobe’s engineers can go outside of the bounds of the API with internal filters, but third-party developers can’t. According to Red Giant, Premiere Pro’s API doesn’t work well with third-party custom filter interfaces.
This is instantly obvious when comparing against Premiere Pro’s built-in correction filters, which are very responsive.
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Of the three applications, Premiere Pro CS5 was the least responsive when moving positions on a color wheel.
No lag on the control or as the image updated.
Move a slider or dot on a color wheel and the image changed immediately. I found After Effects to have the most direct control. First, Colorista II works best inside After Effects, which has an API that is most conducive to plug-ins with custom GUIs. The filter works in all three applications, but I did encounter differences in responsiveness. I tested Colorista II in Final Cut Pro 7, After Effects CS5 and Premiere Pro CS5. Colorista II and Colorista 1.2 have been optimized for stability (including CS5 64-bit support), so you should remove older versions of Colorista. Since Colorista II is so drastically different, your existing effects cannot be “promoted” to Colorista II therefore, you still need this updated version. This is to maintain compatibility with previous projects.
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Wow! That’s a lot, but how is it to work with? When you install Colorista II, you also get the latest version of the original Colorista filter (including Colorista-Sliders). One last little touch is that all tools with a custom GUI, like a color wheel, can also be adjusted using a numeric entry or a slider. It works much like a “silk & fog” filter. The image will be softer, so if used very subtly, then it’s a helpful tool to smooth out facial textures. Move the slider to the left and you get the appearance of highlight glows. Crank the slider to the right and edge contrast is enhanced as a “glow dark” effect, which makes the image appear crisper. The keyer is interactive with the masks, giving you more precise control to include or exclude regions from your secondary correction.Īnyone familiar with Lightroom’s Clarity control will recognize Pop – another new secondary feature. The keyer opens in its own GUI, where you can select a color and then expand or reduce the range. Colorista II adds a very accurate color keyer as part of its secondary correction tools. These masks can be used individually or in a combined manner, similar to the way you can add or subtract selections in Photoshop. There you can adjust the S-curve characteristics of RGB as well as red, blue and green individually.Ĭolorista II still has power masks for rectangular and elliptical vignettes, but now there are two – in the secondary and master sections. Another addition that’s bound to be popular is master curves.
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You can also enable a Skin Overlay grid (taken from Magic Bullet Mojo) to steer you in the right direction of matching a cinematic skin tone. If you want to brighten a person’s face, adjust the orange dot on the lightness wheel and faces become brighter. Want a bluer sky? Push the blue dot on the saturation/hue color wheel outward and blues become richer. If you’ve used Adobe Lightroom 3, then this will be familiar. What sets Colorista II apart is a new 8-vector HSL control in the primary and master sections. A couple of new basic tools have been added, including a single auto balance control, which adjusts both white and black balance in one step, and a highlight recovery tool.
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Each section has controls for shadow/midrange/highlight color balance and levels, plus exposure, density (contrast) and saturation. By stacking multiple instances of Colorista, an editor could grade shots with much of the same power as in more advanced grading products, like Apple Color.Ĭolorista II takes it up several notches by providing three stages of color correction in a single filter – divided into primary, secondary and master sections.
The original filter featured a standard design of three color/level wheels, augmented by exposure and saturation controls plus a power mask for vignettes. Colorista II is designed to work with Apple Final Cut Pro, Adobe After Effects CS5 and for the first time, Premiere Pro CS5. Red Giant has released Magic Bullet Colorista II, a highly enhanced follow-up to the original. Colorista is a deceptively simple grading tool, used by many editors who like the added power over other built-in correction filters. This line of innovative color correction tools got its start with Colorista, a custom 3-way color correction plug-in for Apple Final Cut Pro, Motion and Adobe After Effects. Products have included versions for Photoshop and the iPhone, as well as variations of the ever-popular Looks. Red Giant Software’s engineers have been busy this year expanding the Magic Bullet franchise.