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Red Giant Magic Bullet Suite HD 0406 cv 10 MagicBullet 6/4/04 10:18 AM Page 62 Video processing plug-in for REVIEW Adobe After Effects, £825 Red Giant Magic Bullet Suite HD Film-look filters can offer a lot more than just scratchy old-movie effects. Red Giant’s Magic Bullet Suite is aimed at video producers who want their movies to look a lot better, not worse V is great. It’s inexpensive, and editing haven’t changed much than enhancing a movie’s tonal versatile, reasonably high in a century, but film (even when qualities. And it’s the tonal Dquality, easy to use, and telecined and presented on a TV set) adjustments that are most crucial. there’s a solid, mature market out has a certain texture and feel that In reality, the reason blockbuster there with more exciting software video just can’t match. movies and big-budget TV dramas and hardware products than you It’s not just a matter of look so good is because great pains know what to do with. But, there’s resolution or grain, it’s the have been taken to grade the one problem – DV looks like video. sensitivity of the medium, too, and picture before a final print is made. More importantly, it doesn’t look the fact that film runs with 24 Grading is essentially a colour- like film. Having a good 90-year complete frames per second, while correction process, used to give advantage on video, film has set the the frames of video are separated movies a specific tone and feel. standard for what we want from into interlaced fields – further Colour-balance, saturation and movies. The processes of storytelling reducing resolution and smoothing contrast are all tweaked, and motion. So, it’s not surprising that chemical processes are sometimes VIDEO PROCESSING SOFTWARE many DV enthusiasts are on the introduced in development, such as lookout for good film-look filters a bleach-bypass which results in How much? for their work. Realists might argue high contrast and crushed shadows. £1,650 inc VAT (£825 for Standard Definition that video makers should version) concentrate on making their Silver screen video Features movies look like good video rather Magic Bullet Suite does pretty De-interlacing; removal of DV artefacts; PAL/NTSC than sub-standard film, but that’s much the same job for video – video standard conversion; re-sampling to 24i no comfort to those of us that allowing film-grading techniques video; colour grading; transition effects; aspect- want a certain visual punch. to be emulated – but also provides ratio conversion; broadcast-spec output; Many programs and real-time deinterlacing tools for the creation high-definition video support hardware tools provide an old-film of high-quality progressive-scan filter, but this introduces grain, footage for transfer to a cine print Stated minimum requirements scratches, flicker and hair, rather (even to the point of re-sampling • Windows: 1.5GHz Pentium 4 CPU; Adobe After 25fps or 29.97fps interlaced media Effects 5.5; 256MByte RAM; Windows 2000(SP2)/XP; USB port for copy-protection dongle to 24fps progressive). There’s even • Mac: PowerPC CPU; Adobe After Effects 5.5; a tool to remove DV compression 256MByte RAM; Mac OS 9.2 or OS X; USB port for artefacts from source footage. The copy-protection dongle program comes as a plug-in for Adobe After Effects – available for Test system Mac and Windows PCs – and is Novatech Soprano laptop PC with Windows XP Pro offered in two versions, Standard (SP1); 3.06GHz Intel Pentium 4 HT CPU; 512MByte Definition, costing £825, and High PC2700 333MHz DDR RAM; 15in XGA TFT screen; Definition, at £1,650 – which 40GByte hard drive; CD-RW/DVD-ROM drive; supports resolutions of up to 64MByte Nvidia GeForce Go AGP graphics processor; SoundBlaster Pro-compatible sound 1,920 x 1,080 pixels. card; 2 x 1W speakers; mic-in socket; We tested the HD version on a headphone/speaker socket; 10/100 RJ45 Novatech laptop with a 3.06GHz networking; 4x USB 2.0 sockets; single four-pin Pentium 4 CPU, 512MByte DDR FireWire port RAM and Adobe After Effects 6.0. Installation was uneventful, but the Also used for this review: plug-in is dongle-protected by a 120GByte Western Digital hard drive in Manhattan small USB hardware key. So many USB 2.0 external enclosure; Canopus ProCoder 1.5 Magic Bullet recommends useful programs are protected encoding software starting out with the filter that these days, we strongly recommend deinterlaces and removes investing in a decent powered USB Red Giant Software, www.redgiantsoftware.com compression artefacts hub to manage them all! 62 COMPUTER VIDEO June 2004 0406 cv 10 MagicBullet 6/4/04 10:19 AM Page 63 Ready-made Movie-Look filters make it possible to quickly choose film-grading options that emulate the look of popular films Five filters Our source footage was a 30- minute DV movie, edited in Pinnacle Edition and saved to the system’s hard drive as a QuickTime DV file. On importing the file into After Effects, we set Separate Fields to off in AE6’s Interpret Footage command window, as Magic Bullet needs to do its own deinterlacing. The Magic Bullet plug-in is accessed within After Effects from a sub-folder in the Effects palette called Magic Bullet 1.5. This contains five filters – Broadcast Spec, Letterboxer, Looks Suite, Magic Bullet, and Opticals. The manual recommends starting with the Magic Bullet filter – used to remove compression artefacts and to resample the frame-rate. Target frame-rate is taken from composition settings, but resampling for a 24p film transfer requires the composition’s frame-rate to be reset to 29.97 frames per second. In this case, we were changing footage from interlaced PAL to progressive footage, but retaining the same frame rate of 25fps. An Auto- Three preset movie looks – Neo, Black Diffusion, and Bleach Bypass – settings button causes Magic Bullet applied to the same footage to analyse the footage and the June 2004 COMPUTER VIDEO 63 0406 cv 10 MagicBullet 6/4/04 10:19 AM Page 64 Video processing plug-in for REVIEW Adobe After Effects, £825 and crushes shadow detail), white diffusion, both of which through colour reversal (giving can be adjusted according to the look of slide film) to a No.85 grade, latitude and highlight filter effect (where tungsten film bias which affects the way is used outdoor with a blue- highlights are affected by the correction filter to give a warmer, filter. Gradient filters can also punchier appearance). On top of be created and applied to that, there are specially graded footage, helping create a more settings such as Neo, which dramatic separation between provides similar tonal qualities to sky and land, for example. the Matrix movies. In our project, Camera controls include a we chose Epic – designed to three-strip Technicolor look, as emulate the old three-strip well as two types of tint – a Technicolor process. It’s possible to general coloured tint, and one spend hours investigating the that is only applied to the shadow presets, but it’s important to detail. In both cases, users can choose the tint colour and Grading is essentially a colour- strength of the tint. Post filters allow saturation and correction process, used to give contrast to be corrected after the movies a specific tone and feel more creative filters have done their work on an even and remember that Red Giant didn’t balanced image. There’s also Control over film-look filters is develop them with your specific control over gamma, plus a extremely comprehensive footage in mind – so some fine warm/cool slider to alter the tuning might be required. And general colour tone, and a control you can get completely lost in over that control that alters the Magic Bullet’s manual controls! hues corresponding to the warm Settings are divided into four and cool sides of the slider. basic categories – Subject, Lens Filter, Camera, and Post. Opticals, letterboxer Subject settings include and broadcast saturation, gamma and contrast The Opticals filter provides controls, applied to the raw transition effects for video. Most source footage before any of movie makers will have done this the more complex effects are work in their main editing applied. Red Giant recommends programs, but there’s something giving the software an even image special about Magic Bullet’s Optical filters produce to work with and, as our footage transitions. Three basic types of attractive film-like dissolves, was shot under stage lighting, we effect are on offer – fade to black, burns and fades dipped the contrast by about 25 burn to white, or cross dissolve. For composition settings, giving a basic per cent with the intention of fades, burns and dissolves, a film- template for deinterlacing and lifting it again later. response slider allows users to resampling. As well as Next up are lens filters, which, decide whether shadows or deinterlacing, the filter provides funnily enough, simulate the highlights come through first, and motion-estimation for resampled effects of lens filters. There are there’s another slider to determine frame-rates, plus a filter for controls for black diffusion and the difference in dissolve speed removing compression artefacts that offers settings for DV, HDCAM and DigiBeta. DV artefacts caused by colour compression can create problems with chromakey effects, and so de-artefacting will be of interest to anyone making use of After Effects’ compositing tools. Looks Suite The Looks Suite filter provides all the fun stuff. It’s a selection of video-grading tools, with a choice of 32 ready-made templates designed to simulate popular movie looks, from the bleach Letterboxer applies black bars to standard or customised aspect ratios bypass (which drops saturation 64 COMPUTER VIDEO June 2004 0406 cv 10 MagicBullet 6/4/04 10:20 AM Page 66 Video processing plug-in for REVIEW Adobe After Effects, £825 from shadows to highlights.
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