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Think of it like a set of over 200 color grading LUTs (Look-Up Tables) that can be finessed, changed and layered - from there you can add vignetting, video noise or even one of my favorites: chromatic aberration.

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Looks is a color correction plug-in that works with most major nonlinear editing apps, including Premiere Pro CC, After Effects CC, Final Cut Pro X 10.2.3 and up, Apple Motion 5.2.3 and up, Magix Vegas Pro 14, Avid Media Composer 8.5-8.7, Blackmagic DaVinci Resolve 12.5, Edius 8.2 and Hit Film Pro 2017.Įssentially, Magic Bullet Looks 4 is a color correction plug-in that you would typically start with a preset correction or grade that Looks has built in. Up first is the heavy hitter of the suite: Magic Bullet Looks.Īt $399, Magic Bullet Looks 4 is just one piece of the Magic Bullet Suite 13 set, but it’s probably the most well known. In this review, I am going to provide a plug-in-by-plug-in review, so you can see if $899 is an investment you should make. Magic Bullet Suite 13 has been overhauled, with one of the biggest additions being OpenGL and OpenCL support, allowing incredible speed gains.

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There is also an upgrade price of $299 if you are a previous version user. While all of these Magic Bullet plug-ins can be purchased separately, they are available as a suite for $899 as well as at an academic price of $449.

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The full contents in Magic Bullet Suite 13 include Magic Bullet Looks, Magic Bullet Colorista IV, Magic Bullet Film, Magic Bullet Cosmo II, Magic Bullet Denoiser III, Magic Bullet Mojo II and Magic Bullet Denoiser. If you’ve been around editing for a while, you’ve probably heard of Magic Bullet Looks it’s one of the most common color correction plug-ins that people use to quickly and easily color correct and grade their footage.

The Magic Bullet Suite is a set of color correction and video finishing plug-ins that work in multiple multimedia apps like Adobe’s Premiere and After Effects, and some even work inside of Final Cut Pro X, Motion, Resolve and Avid Media Composer/Symphony. I mean how many people get to play with what are essentially digital crayons all day and get paid to do it?įor those who don’t have hundreds of hours to learn the magic of apps like Resolve, Pablo Rio and Baselight, or even color correction inside of an NLE like Avid Symphony or Adobe Premiere for that matter - you still have the ability to create stunning footage with plug-ins like Red Giant’s Magic Bullet Suite. Hopefully, that doesn’t discourage you on your journey to becoming a color master, because it is an awesome career in my opinion. Don’t fool yourself, one, two or three years doesn’t really even scratch the surface of the dedication you need to dive into the dark art of color correction, and most color correction artists are more than willing to tell you that.

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You don’t sit in front of high-end color correction panels while surrounded by thousands of dollars worth of equipment whose reason for being is taking everyday footage and pulling peoples’ minds inside out.Įven with Blackmagic’s free version of DaVinci Resolve out in the wild, color correction is a skill that takes a lot of time to hone. Unfortunately, as an editor you don’t have the opportunity to spend 10 hours a day honing the craft of color correction. A dedicated colorist can make your footage look so good, your response upon seeing it will likely be, “I had no idea it could look like this.”

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