#Magic bullet suite adobe 2017 how to#
#Magic bullet suite adobe 2017 pro#

#Magic bullet suite adobe 2017 pro#

Prior to Final Cut Pro 10.4 and the introduction of Lumetri Color in Premiere Pro CC, Colorista IV would have been a godsend. Log footage gave us the hardest time and was the most hit or miss. Although it did an alright job, and in some cases did a stellar job, it didnГўВЂВ™t always create a better outcome than we could achieve outside of the simple interface. Colorista IV will walk you through the adjustments that it thinks you should make, giving you a simple fader for control. Our favorite feature is its guided color correction. Just about every adjustment you need is there. If you are looking for a robust color correction plug-in, Magic Bullet Colorista IV has all the bells and whistles. We didnГўВЂВ™t have any big secret outside of Cosmo.

#Magic bullet suite adobe 2017 how to#

The first time I realized Cosmo is key was after I shot a commercial at a dermatologistГўВЂВ™s office and the doctor told the patient to not worry, as we knew how to make skin look great. Anytime you have a subject on camera and their skin needs to look better, Cosmo II will save your butt. However, whenever I am on camera, I apply Cosmo II and my skin looks smooth. I suffer from a constant red face and donГўВЂВ™t have the best complexion. Released in 2011, Magic Bullet Cosmo is a remarkable plug-in for making skin look great. In many cases, the default settings for each will get you most of the way there. Just like Denoiser III, Magic Bullet Cosmo II doesnГўВЂВ™t require much ability to dial it in. Denoiser III is worth buying even if you canГўВЂВ™t afford the whole suite. ItГўВЂВ™s only after the noise starts to take on color and becomes less random that Denoiser III is no longer enough. We were impressed that, with the 5D Mark IV, there wasnГўВЂВ™t significant smoothing from Denoiser III, even at ISO 3200.

One thing to consider with any denoiser tool is that the more noise you remove, the less sharp the picture becomes. With Denoiser, we were able to crank up the ISO to 12800.

With the a7R III, a much better low-light camera, we were able to push it up to ISO 6400 with minimal noise without Denoiser. The 5D Mark IV is not a good low-light camera, but with Denoiser III, instead of having a maximum ISO of 1600 before noise became an issue, we were able remove noise all the way up to ISO 6400. When applying Denoiser III to Sony a7RIII and Canon 5D Mark IV footage, they both benefited. As we stated before, with Denoiser III, you can gain up to three more stops without having to worry about noise.