Product Review: Page (1) of 3 - 02/25/06

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MAGIC BULLET FOR EDITORS MBFE 2 : Realtime and more By Ko Maruyama For editors who have used Magic Bullet in After Effects, you can rest assured that you'll find the same treatments in the FCP plugin. For those of you who haven't used Magic Bullet, not to worry, it uses the same FCP plugin interface you've come to know and love. If you're one of the few people in desktop video world who hasn't heard of Magic Bullet, it's just that, a magic bullet, correcting poorly shot stuff (or making the good look intentionally bad).  You can also use the same plugin for Sony's editor VEGAS, Adobe Premiere, or Apple's Motion.

Magic Bullet for Editors 2 is now real-time!  While it does require a fairly decent card to get the complete GPU powerboost, most professional editors won't settle for a low quality video card, and will be able to take advantage of the DeepColor RT render engine.

The new version of Magic Bullet for editors not only supports Final Cut Pro, but also supports Adobe Premiere Pro 1.5 (or later), Apple Final Cut Pro 4.5 (or later), Avid Xpress DV v1 & 1.5, Apple Motion 2, Avid Xpress Pro v3 & v4, Avid Xpress Pro v4, Avid Media Composer v9 & v10, Avid Media Composer v10, Avid Symphony v2 & v3,  Sony Vegas 5.0 (or later).



Bringing the uninitiated up to speed:

Magic Bullet has been used on tons of films, commercials and music videos to get a "look" that might not be available to your budget. Oh sure, you could spend $$$ on telecine transfers of your film, but sometimes high-end DaVinci rooms (or similar) are out of your price range or just plain overkill. Enter: Magic Bullet, a desktop solution to color grading, color effects and look presets . It works with any footage your non-linear editor can handle. With completely keyframeable attributes covering aspects of subject, blacks, whites, gradient passes, camera pre-correction and post setups, Magic Bullet can hit small corrections and change to cover lighting, as well as color differences throughout the duration of the clip.




With 50 presets for various famous and favorite color correction looks, you can easily click your way to a color range to start with (or just use the preset). Of course you can create color setups that the client likes and save them out as favorites as well, calling them up to drop onto all the footage in your piece or in projects that come later.