A decision to use Resolve, in all its powerful glory, is a decision to tackle a very, very steep learning curve. Magic Bullet’s tool sets live inside Premiere Pro’s effect window and you never leave your comfortable NLE. But there are some things that a plug-in just can’t do. This technology gives digital footage the look of real film by emulating the entire photochemical process from the original film negative, to color grading, and. Quite simply, Magic Bullet is easy to use and Resolve is complicated. Premiere has become a great editing tool, and is on its way to becoming a great finishing tool - and I’ll continue to do all I can to support that vision with plug-ins and presets. One of Premiere’s big advantages is that third-party effects are first-class citizens, so it’s my favorite place to use many of the tools I design. I’m happy that Lumetri exists, and happier still when folks get excited enough about color to move on to Magic Bullet Suite, but the suggestions I’ve made here will help anyone, with any workflow, whether you’re using Lumetri, Colorista, or anything else. There’s much, much more to color work than manipulating a color correction tool. Notice, as promised, I didn’t mention Lumetri once. That way this could just be an awesome Premiere feature, not just for color work. Premiere could tackle this in a general-purpose way by allowing versions of any effect or set of effects on a clip. But it’s just as useful for solo practitioners. If you don’t think this matters, you’ve never graded with a client in the room. One crucial thing that dedicated color apps like Resolve do is help you manage versions of the color on a shot. Sure, ideally you’d be using additional video hardware and a calibrated broadcast monitor, but color matters to everyone, not just those editing for broadcast. I bet most Premiere editors are using their computer monitor as their primary display for the Program panel. There are actually quite a few things that Premiere could do to be amazing at color that have nothing to do with Lumetri.
Of course I prefer Magic Bullet Colorista, but that’s not what I want to talk about here. The result, the Lumetri color panel, is a perfectly serviceable color corrector. Part of Premiere’s ascendancy has included folding in the color features of SpeedGrade, exactly as I advised back in 2011. Premiere renders with great quality, and any tools I felt were missing from the pipeline I’ve created myself. Yes, that’s right, my age-old advice to finish in After Effects instead of an NLE is well and truly obsolete. It’s now where I do all my cutting, and even finishing. FCP X has key-framable shape and color masks for all effects. FCP X has the Color Board which, while not as advanced, is very intuitive and quick to work with.
PPro CC just got the new Lumetri color system which is a big step up for its built in color effects.
#Speedgrade vs magic bullet looks pro#
Adobe Premiere Pro has been aggressively pursuing the creative editorial market at all levels, from feature films to YouTube. Magic Bullet has a few extra tools that are nice at times.
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