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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
One popular suite of tools is Magic Bullet. And I remember when the first Magic Bullet came out. It was actually called Magic Bullet because it was one of the first things to take DV footage, de-interlace it and make it look like film. It was very early in the digital revolution. >> Yeah, at the time 24p acquisition was, was really difficult and cost prohibitive. It was only the big boys using the film cameras or- >> Yeah. >> Very expensive of cinema cameras and everybody wanted that 24p look.
>> Yeah. And, and so the folks behind this, Stu Maschwitz, is just such an industry giant. He kind of serves, >> Yes, it's amazing. >> He serves as a designer on this. And then the great team at Red Giant keeps pushing this and adding on to it. But right now, Magic Bullet has become a suite of tools. >> That's right. >> So, let's start off with a real simple one which is Colorista. Which is sort of color correction tool that a lot of people prefer over their NLE's built-in tools. >> Yeah, and you notice when I, after we installed Red Giant here we actually have a couple different folders again. We're here in Premier that I have. >> It works the same, though, in Abbott and >> Right.
So we have Red Giant Co-suite, LUT Buddy, which allows us to load third party luts. Then the MisFire Suite which we'll get to in a little bit for grunging up our images and stuff like that. So if we open up Red Giant Color Suite, you'll notice that I have Colorista II here. Now Colorista II has become very popular. Because one of the things that people love about it is that it's somewhat more responsive than some of the built-in tools. >> Yeah. >> Provides a little extra layer of use that some of the built-in tools don't use, as well. So if I apply Colorista here. Let's apply it to the shot. And you'll notice up here it looks very similar to a three-way color corrector.
>> Yeah. >> But I have things like Exposure, Density, Highlight Recovery, which is very unique I have things like I have thing like. >> Go ahead and just lift things up a little bit there. >> Yeah, so what I'll do is I'll come in here to, say, my mid-tones. And, I'll just brighten those up. Maybe not that much. I went a little too far with it. Let's see, maybe somewhere like that. We'll give it a nice kind of little brighter feel to it. >> Yeah. Nice and quick. >> That's working. We can come down. We can do Auto White Balance. We can mess with saturations. So, maybe I want to come in here. And just give a little more umpf there. If I come down a little bit lower, we have our secondary controls.
Right? >> Mm-hm. >> So in the secondary controls, this where I can do things like key. Or also, if I scroll down a little further. You notice that I can also add things like mask. So if I wanted to do a secondary window right here I could apply that as well. Now, the thing about this is that it's very intuitive. I mean, if you think if you use Color Corrective >> Yeah. >> You're going to be able to use Color Restart. >> And what's nice about it is it gives you a lot of the same controls you're already used to. But, let's just be honest, like, its auto-balance works really well.
And so, I can find something in white balance, did a great job in there, we can refine things. It tends to be very fast, almost always a real time effect on each system so it's quite popular. And so, I think it's worth checking out. And the even have a free version that's a single, not a three-way, but a one-way color corrector. >> Right. >> That version's totally free so you could download that and use that as an alternative to your base color corrector. >> Yeah, now I think one of the things besides the actual corrective tools. I mean, obviously you could use Colorista manually to sort of develop your look and then, you know, get in there.
They actually have a couple cool, other cool things. One of the ones that I like, let me actually just remove Colorista here for one second. One of the one, other ones I really kind of like is Mojo. >> Yeah. >> So let me go ahead and apply Mojo here. And it's aptly named, as far as I'm concerned. because it's like, just give me some mojo on that clip real quick, right? >> Yeah. Now the idea here with Mojo is, this is another effect that you could apply, and it works really well to quickly. sort of, adjective based, change look of the shot. >> Right. So I love the Mojo effect, right? >> It's just contrast. >> Well no, it's contrast, but it's also giving you sort of that teal and orange kind of thing.
It's protecting skin tones. >> Yeah. >> So, you'll notice as I go here. Jason's not getting kind of that green movie look. He's kind of, skin tones maintain. >> Yeah, but you can shift the tint there under the Mojo too. >> I could, if I wanted to, if I wanted to go, maybe up my Mojo a little bit. I'm always trying to up my mojo. It's a lifelong pursuit to up my mojo. I could go more green. I could go the other way. >> Yeah. >> Go more red, that kind of stuff. It's really nice. But then, when you kind of get somewhere. Let me just back off that a little bit. And the client says, yeah, it's cool, but could you warm it up just a touch? Sure, come in to warm it up. Just kind of add a little warmth to that, punch it which will add a little contrast, or depunch will make it look a little flatter.
Maintaining skin color, this is really nice, being able to quickly. This is something people always looking for. >> They want everything but the skin tweak. Usually skin color can make people look skin look off and sickly. >> Yeah, and you have controls here for skin color, how, how your are going to affect it. You can even actually view a matte to see how it. >> And at the bottom there you've got the most useful effect which is after the client's like, more of this more of this. Like oh, that's too much. You don't have to completely start over. You just blend it back with the original to sort of fade it. >> Yeah and one of the things when you're pushing and pulling on the image that happens all the time.
And I wish that Premier had a better built in one or a lot of other NLE's had better built in ones. Is Denoising. Now, dedicated color apps are always going to have noise reduction tools built in. But the guys at Magic Bullet and Red Giant have a great effect called Denoiser. And, simply apply it to the shot. And, when we go to the noise reduction controls, if I scroll down a little bit. What I can do is basically sample a frame. It's on this current frame. >> Yeah. >> And I can choose, hey how much am I going to use motion to kind of show me, help denoise. How much denoise am I going to actually do? And for that you know, kind of high game video noise that you might get when you're too underexposed.
Or you push and pull the image a lot, that works really well. Now, there is one more overall effect that comes in this bundle, that's really easy. And, it's a lot like the Looks thing, that we saw in Tiffen. In fact, it's also called Looks. So, we come back, we're going to try that out and give you an idea how it can quickly help you generate some new overall treatments.
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