Color Suite 11 from Red Giant is an electronic download of a suite of color correction related plug-ins. Color Suite 11 supports both Windows and Mac platforms, with the individual plug-ins working in select versions of Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro and Apple Motion. Please check the specifications tab for compatibility information on each plug-in.
Color Suite contains six plug-ins for color grading and effects that enable you to enhance the mood and look of your video. The plug-ins feature tools that vary from simple controls for a quick adjustment to sophisticated tools providing detailed control. You can remove digital noise with Denoiser II, soften skin tones with a Cosmo beauty pass. Colorista II provides professional color correction tools, while Magic Bullet Looks 2 brings you more than 100 premade looks you can quickly apply and adjust. Mojo gives you quick and easy tools to affect your image, from the subtle to the extreme.
The LUT Buddy plug-in imports/exports LUT data compatible with almost any color correction system; from desktop applications to high-end systems and hardware. This allows you to move your project from one system to another, without losing your color correction settings.
Host Application Support
The Color Suite 11 plug-ins work in select versions of Adobe After Effects, Adobe Premiere Pro, Apple's Final Cut Pro and Apple Motion. Please check the specifications tab for a list of the supported software versions.
Using Colorista II one time on your clip avoids having to stack effect after effect and hunting through the stack to find the adjustment you want to make. No more time spent turning effects on and off, rendering and re-rendering while you make adjustments to one effect, just to have to go back and readjust others.
The 3-way color wheel interface gives you adjustment over highlights, midtones and shadows, in the same tool. This allows you to make rapid adjustments to all three, without switching tools.
Auto-Balance now does black and white balancing with one click, adjusting highlights and shadows where poor white balance is most visible, while leaving the midtones unaffected.
Controls are keyframeable, allowing you to animate your color corrections as the video progresses.
Upside-down images can be easily flipped before color correction or even before the shot is brought into the edit system. Some brands of 35mm lens adaptors end up flipping the image when used with video cameras, this is a simple to use postproduction fix for that situation.
8 HSL Channel control:
The three adjustment controls for changing hue, saturation, and luminance across eight color ranges gives you the tools to make your skies look blue and get your talents' skin just right.
Built-in Color Keyer:
The easy-to-use keyer allows you to adjust individual colors or ranges of colors. Use the direct sampling interface to isolate just the color you want. Soften, choke or invert the matte, and use it in conjunction with Power Masks for increased control.
Use two rectangular or elliptical shaped masks to isolate an area for a specific correction. Use two rectangular or elliptical shaped masks to isolate an area for a specific correction. Use them separately to correct the fleshtones of two actors in a single pass. For shots that require more complex corrections, you can use both masks at the same time.
The Pop slider works on the sharpness of your image. Increase the sharpness for a visual "pop" to your image, or set the values to negative to smooth and clean up skin tones while keeping important detail.
Highlight Recovery allows you to save shots by hiding problems like blown-out areas in a sky or on an actor's face.
The curves tool provides a quick way to adjust contrast in the shot. Tweak the master curves contrast as well as individual RGB channels.
Mix and Solo:
Tool-based mixing allows you to determine the interplay between the original image and the adjustment in each tool.
You can also use the bypass switch to turn off all the adjustments in each tool.
The Colorista II tools work in floating point color and use the GPU to accelerate both playback and final rendering of results. This feature will greatly speed up your rendering. While beefy GPU-equipped workstations will provide the best render speed, laptops or CPU-only render farms are also well suited to run Colorista II.
Colors & Complexions:
Cosmo provides cosmetic cleanup to video footage and works with all colors and complexions of skin.
Doing beauty touchup by hand typically involves repetitive, monotonous tasks of blurring, regraining and cloning. Cosmo's tools automate the process so you adjust the sliders and see the effect.
The default settings provide a basic cosmetic improvement to your footage just by applying the tool. Default settings can be adjusted as needed.
The Skin Soften slider helps with subtleties of hiding blemishes and lightening wrinkles while preserving the natural skin texture.
Cosmo is designed to only smooth out the skin without losing detail. The Detail slider allows you to adjust the sharpness of important details.
Identify Skin Tones:
Cosmo's Show Skin Overlay, draws a hatched grid over colors that it identifies as skin tones. This makes your skin adjustments easier and more accurate.
Skin Tone Color Corrector:
The Skin Color and Skin Squeeze sliders allow you to bring incorrectly shot skin into an acceptable range of pleasing skin color. Use Color and Squeeze to tweak the hue of any ethnicity and eliminate unwanted color cast affecting the appearance of the skin.
Controls are keyframeable, allowing you to animate your settings over the duration of the clip.
Denoiser II uses motion estimation in compare successive frames to decipher what is natural motion vs noise in the shot. Although high-speed camera movements present different noise reducing problems than slow pans, Denoiser II can preserve detail in both fast-moving action shots and slow pans and dollies.
Denoiser II was rewritten from version 1 of the plug-in, and now uses code exclusively developed by Red Giant. This allows Red Giant to update the plug-in, providing enhancements such as improved stability, integration with Final Cut Pro and Premiere Pro, GPU rendering and improved response to customer's needs.
Denoiser II can save you time in other areas of your project, as the noise reduction may also smooth out flaws in skin or overexposure.
Film & Video:
Two modes let you characterize the noise so Denoiser II achieves the most accurate results. The video mode adjusts the Luma and Chroma channels to minimize noise. The Film mode provides adjustments for Red, Green and Blue channels.
Slider controls are keyframeable, allowing you to animate your settings over the duration of the clip. Check box settings are not keyframeable and are either on or off for the entire clip.
Denoiser II now allows you to select GPU Rendering when you have an OpenCL 1.1 or higher compatible graphics card installed. The plug-in automatically checks for a compatible OpenCL graphics card and un-locks the GPU Render check box if one is found. GPU rendering can provide a speed improvement of 3 to 4 x over the default CPU rendering.
Magic Bullet Looks 2
You can work with any projects you've started with the previous version of the Magic Bullet Looks, as the provided presets and any custom versions all work in the new version.
A huge library of professionally designed presets are organized by category, with uses ranging from setting the mood of an interview or documentary, to practical fixes for lens distortion and lighting problems, to stylized looks inspired by Hollywood movies. Presets make a good starting point for your own custom looks.
Rough It In, Then Finish:
You can use the same plug-in in the field to rough-in your look, and carry that all the way through your postproduction, or tweak and adjust once you are in final color correction. You can even open up a still in Photoshop, and use the same tools there to create a look that you can easily apply to your video.
Colorista II 3-Way Wheels
Incorporating powerful features from Magic Bullet Colorista II, you can color grade as you design your treatments. The new Colorista 3 Way tool gives you adjustments over shadows, midtones and highlights all from the same tool.
Ranged HSL allows you to fine-tune individual colors.
Create and apply color treatments, and then use the included Colorista II tools for color correction in one plug-in.
Pop and Skintone:
The Pop tool allows you to easily adjust the contrast of the image.
Create oval vignettes.
Fix lens problems like barrel or pincushion distortion.
Mimic flares and stylize light leaks.
Fourteen Misfire tools have been rolled into Magic Bullet Looks 2, to allow you to add the damaged film look to your footage.
The included scopes allow you to check your video signals and make sure that your adjustments not only look good, but remain within technical requirements.
Hue/Lightness makes sure your colors aren't too bright.
Hue/Saturation checks the saturation and color harmony.
Memory Colors confirm that key signature colors are on target.
Skin Scope displays a helpful skin recognition overlay.
RGB Parade and Slice Graph work in conjunction with the new scopes above to provide you with powerful color analysis tools.
Controls are keyframeable, allowing you to animate your color looks over the duration of the clip.
Single Frame Video Out:
A highly requested feature from the previous version of Magic Bullet Looks was preview on a video monitor. Now you can do a single frame preview to a video monitor and see what your adjustments will look like. Red Giant has added direct hardware support for AJA and Black Magic cards on Mac and Windows, and QuickTime Video Out is supported on Mac for virtually any card.
Note: Video out is not supported on the Avid Media Composer for Windows.
Size & Resolution:
Magic Bullet Looks can now process SD, HD, 2K and 4K images on standard hardware, or up to 8K x 8K pixels with the latest NVIDIA GPU's. If you exceed your systems GPU VRAM, you can use the CPU to handle larger files.
The Magic Bullet Looks tools work in floating point color and use the GPU to accelerate both playback and final rendering of results. This feature will greatly speed up your rendering. While beefy GPU-equipped workstations will provide the best render speed, laptop or CPU-only rendering is also supported.
Mojo features 9 Preset looks that you can apply and adjust. The presets are:
Mojo Skin Scope Only
Note: presets are available only when working in Adobe After Effects, Premiere Pro and Select versions of Final Cut Pro and are not available when working in Apple Motion or Final Cut Pro X.
The user interface features just a few controls. Use Shadow Tint to define the complementary shadow color that makes your talent stand out. The Warm-Cool slider lets you control overall color temperature, and Bleach allows you to desaturate or super-saturate every color in the scene.
Subtle to Extreme:
The main Mojo slider cools shadows and warms highlights at the same time. Apply Mojo subtlety to make your talent stand out against the background, applying maximum Mojo yields an aggressive, extreme image.
The Skin range visualizer draws a grid over colors that are identified as skin tones, making skin color adjustments easier and more accurate.
The three Skin controls let you fine-tune skin tones within the overall Mojo effect.
Skin Color nudges the skin tones of actors of any race, eliminating unwanted color casts.
Skin Squeeze flattens the range of skin tones, minimizing ruddiness.
Skin Solo desaturates all colors in the scene except skin tones.
LUT Buddy allows you to import, create and export a 1D or 3D LUT to easily communicate color with compliant software and devices ranging from DaVinci Resolve to Panasonic displays. LUT Buddy works in select versions of Adobe After Effects Adobe Premiere Pro, Apple Final Cut Pro and Apple Motion. It also shares its values Red Giant's BulletProof application.