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Too often the individual or freelance editor does not have the allowance of time or money to hire a professional colorist and is expected to be able to present to their client a finished product frequently inclusive of a particular 'look' that the client wants to see.
#MAGIC BULLET LOOKS FINAL CUT PRO#
MAGIC BULLET LOOKS FINAL CUT PRO 7 PROFESSIONAL Color correcting with Final Cut Pro's 3 way color correction and scopes is one thing, achieving certain cinema graphic looks is another. While Magic Bullet Looks provides an excellent starting off point for many of these looks, tweaking the appearance and just settling upon the great many choices within MBL can be as time consuming as when working in After Effects.
#MAGIC BULLET LOOKS FINAL CUT MOVIE#
MAGIC BULLET LOOKS FINAL CUT PRO 7 SKIN MAGIC BULLET LOOKS FINAL CUT PRO 7 MOVIEĪnd movie viewers do not realize is just how much work and effort go into the color-grading end of postproduction. MAGIC BULLET LOOKS FINAL CUT PRO 7 PROFESSIONAL.MAGIC BULLET LOOKS FINAL CUT PRO 7 SKIN.MAGIC BULLET LOOKS FINAL CUT PRO 7 MOVIE.
People who are not in this field, more than likely believe that what they are seeing is simply the way it was shot. Only when they get their first camcorders and NLEs themselves do they then realize that achieving many of the looks they see in the movies is actually done as a part of the color grading/correction process.
The Mojo interface presents 10 sliders that adjust your footage to quickly and easily manipulate the appearance and arrive at the 'look' your project needs. Actually, the limited number of 10 option sliders makes Mojo both easier to use and helps prevent you from 'overdoing things' as some can be prone to do. Where Mojo particularly shines is in its ability to focus upon skin tones. It further helps the editors to rid themselves of that 'video look' by diffusing the backgrounds. Actors, of course, need to be in focus, but frequently when adjusting contrast and color, focus can also be drawn away. I found that Mojo does do its best work when there is a shallower depth of field, which is hard to achieve with many of the prosumer camcorders on the market today. Mojo seems to work best when background details are in shadows, which allows you to bring out the skin tones of the subject. But still.In an open area, where skin tones might be in the same color range as the foreground and background, the skin tones controls often affected the entire frame a bit more than I would have liked. I should note that I currently am only working with one monitor. did I jusst waste a shit ton of time white blancing and matching my shots in fcp? I was under the impression that the corrections that I make in fcp would carry over to magic bullet where I would then grade my film? Any intel would be great.Īlso, if I am to just white balance, color correct and grade my footage all in Magic Bullet, is there a duel viewer option or anything for shot to shot matching? Seeing as you only have one clip at a time in Magic Bullet, it seems like I must be doing something wrong because it doesnt seem logical to not be able to view another clip for matching purposes. I performed my inital white balance correction in fcpx and then added magic bullet to the clip, but when I go into Magic bullet, the changes I made in fcp dont carryover to magic bullet.
So am I just retarded or what? This is my first attempt at using magic bullet looks 2.
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