Magic Bullet Colorista II is Here!
By Aharon Rabinowitz
Published on Friday, July 23rd, 2010

Buckle up baby! Color correction just got awesome!

Magic Bullet Colorista II is here, and it’s taking names. It’s seriously supped up and ready to unleash color in your timeline. You can learn more about it here. Or just give in the inevitable… and buy it here.

Here’s a first look at what’s new in Colorista II, from the DV Rebel himself, Stu Maschwitz.


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9 Responses to “Magic Bullet Colorista II is Here!”

  1. Paul Says:

    Unfortunately, lacking compliance with Premiere CS5′s CUDA GPU hardware acceleration, this is a huge step down from the native color grading tool, which does not require rendering and outputs HD on-the-fly.

  2. Paul Says:

    Unfortunately, for those of us who have upgraded to CS5′s CUDA GPU acceleration, this is a big step down from Premiere’s own hardware-accelerated color grader (which does not require rendering, and grades color on-the-fly in HD).

  3. Aharon Rabinowitz Says:

    Paul – This is from Stu Maschwitz’s blog, and may answer your questions:

    “Both Adobe Premiere Pro and Final Cut Pro bypass their own plug-in SDKs for their native 3-way color correctors. They use window configurations and graphics drawing routines that third-party developers don’t have access to. On some systems this can make UI interaction for third-party effects with Custom UIs slow. In the case of Premiere Pro, the slowness can be bad. Real bad.

    Have you noticed that Premiere’s own 3-way color corrector has never been ported to After Effects? This is one consequence of the Premiere team’s choice not to use their own plug-in SDK. Another is that third parties cannot provide a fluid custom UI experience within Premiere Pro.

    After Effects, on the other hand, “eats its own dog food,” and has no effects that don’t use the public SDK. This means that third parties can create excellent user experiences within After Effects. The benefits to us users are obvious — just look at all the amazing plug-ins available for After Effects.

    Premiere Pro and After Effects actually share the same plug-in SDK. This is amazingly cool, because it means that, for example, you can start a project in Premiere, use Colorista II all you want, and then move the project to After Effects, keeping all your settings. But despite this shared architecture, plug-ins like Colorista II sing in After Effects and bog down in Premiere.

    Red Giant has is committed to working with Adobe to resolve this situation. We love Premiere Pro and feel that it and Colorista were born for each other. The playback performance is amazing. We’ve done the best we can with what we have. If you try Colorista II in Premiere and find the performance lacking, please consider contacting Adobe and asking them to improve the performance of Custom UI plug-ins written to their own SDK.”

  4. Russell Medley Says:

    These plugins are obsolete as far as cuda is concerned.

    When I drop looks on my sequense in premiere, there is no real time. More like slower than slow time.

    Sucks do not buy.

  5. Aharon Rabinowitz Says:

    Russel – Adobe had a bug in Premiere Pro which severely handicapped Colorista II, as well as other non-RG tools. They have since published an update to fix this. Download the latest Premiere Pro update, and it should be working fine.

  6. Carlsen Says:

    Quote”Red Giant has is committed to working with Adobe to resolve this situation. We love Premiere Pro and feel that it and Colorista were born for each other.”End Quote

    I find above comment from Stu Maschwitz highly incompatible with his book digital rebel which I have purchased.

    In there he says NEVER TO COLOR CORRECT in Premiere Pro due to its inferior image quality.
    He states several times that color correction should ONLY take place in After Effects.

    Guess folks will say ANYTHING these days to sell their code !!!

  7. Aharon Rabinowitz Says:

    Carlsen, THe DV Rebels Guide was released 4 years ago. At the time Colorista did not exist. That meant the tools for color correction in Premiere were pretty poor. Colorista was released just days after the book hit shelves. And yes, Premiere Pro has also come leaps and bounds since then, as has Final Cut.

    For some perspective, the ProRes codec hadn’t even been introduced when the DV Rebel’s Guide was published. It was a different time with different tools.

    When I was a kid, my dad brought home a computer mouse. At the time Windows didn’t exists yet. I was sure the mouse was about the dumbest thing ever (it worked in WordPerfect, but that was it). I was also sure it would never catch on, and that the best way to navigate on a computer was with the arrow keys. And I was right. At the time. And then Windows came to market, and everything changed.

    If you knew Stu, you’d know that when he sees a problem, he has an intense desire to build tools to solve that problem and make the user experience better. Colorista is an example of that.

    So while while what he said was true, at the time, in-app color correction has changed since then – largely in part to Stu’s contributions.

    As a side note, I used to think painter’s caps and florescent t-shirts were the bomb. Then the 80′s ended and buried every picture of me from summer camp, to cover up any evidence of my ever wearing said articles of clothing. Times change.

  8. Igor Says:

    Described tool (keyer) not workin with CS5.5 http://www.toolfarm.com/forums/viewthread/47/

  9. Kaylinn Solazzo Says:

    Igor,

    Please contact our Support Team so we can look further into this issue:
    http://www.redgiantsoftware.com/company/contact-us/support/
    Thank you,
    Kaylinn
    redgiantsoftware.com

 

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