Creative COW SIGN IN :: SPONSORS :: ADVERTISING :: ABOUT US :: CONTACT US :: FAQ
Creative COW's LinkedIn GroupCreative COW's Facebook PageCreative COW on TwitterCreative COW's Google+ PageCreative COW on YouTube
LIBRARY:TutorialsVideo TutorialsReviewsInterviewsEditorialsFeaturesBusinessAuthorsRSS Feed

Magic Bullet -- Film Look Made Easy

COW Library : Magic Bullet Suite : Michael Munkittrick : Magic Bullet -- Film Look Made Easy
Share on Facebook
Magic Bullet -- Film Look Made Easy

A Creative COW Real World Product Review



Michael Munkittrick
michael@spiraldesignstudios.com
Spiral Design Studio, Gainesville, Florida USA

Article Focus:
In this article, Michael Munkittrick explores the powers of Magic Bullet -- a film look tool for video artists that has been receiving high priase around the Cow forums. Michael puts Magic Bullet through its paces and concludes that when it comes to making video look like film: "...for the real deal, Magic Bullet
has definitely expanded my field of view."

For Macintosh, OS9 or OSX, requires After Effects 5.5 std or pro version
Does not work in Final Cut, Combustion, Premiere or Commotion.
PC version now in development



How many of you would like to find a product that could add significant value to your video work with minimum effort? A product that could revolutionize the way your productions are viewed? Answering the question: "How do I get my video to look like film?"


Boy Meets Toy

Allow me to introduce you to a new friend of mine: Magic Bullet Suite. Magic Bullet is a revolutionary way of looking at the video medium. It allows those without the budget or understanding of real film to mimic nearly all of the positive aspects of film without the hassle and expense. But before I get too far ahead of myself, allow me to give you a tour of Magic Bullet Suite without the personal commentary.

Magic Bullet was a process designed by the extremely creative folks at The Orphanage (www.theorphanage.com), a premier post production facility with offices located in Los Angeles and San Francisco and whose beginnings are just as interesting a story as this tool-set. It just so happens that their clients were inticed by the look of film, but turned away from it due to the budgetary requirements. After some serious trial and error, Stuart Maschwitz, an Industrial Light & Magic alum, hit the gold mine. His formula was absolutely convincing and has fooled numerous viewers into believing that his video productions were shot on film when in fact, he was using a Sony DCR-VX-1000. Now, a "formula" like this can't remain a secret for long. Before long, people from all over were asking the question, "How'd you do it?" -- and so after some deliberation, along with lots of coding and even more trial and error, the answer was born. Magic Bullet Suite is the brainchild of professionals who clearly understand both video and film. Now, Let's move on to the real review. WARNING: My non-bias mode is now completely off.

Magic Bullet is a very precise process that can and will make video have the aesthetics and general appeal of real film. And while it is sold in a plug-in package, it is far more than a simple plug-in. In a moment, I'll offer a little more on the actual process, but let's get into the box first.

The Package:  Upon first glance, the package is very sleek, with a flair of machismo. Solid black with silver tones and a flying bullet right on the cover. But after you get past the exterior, the very first thing you'll see is the manual and installer CD accompanied by the security dongle. While I am an adamant opponent of software theft, I must say that the dongle chain on the reverse of my Mac is getting deep, sometimes too deep. But I digress.

The Manual: The manual is filled with the kind of information that allows users to understand the ideas and theory behind the software. The detail taken to describe the process and the fluidity of the material is on par with some of the best instruction manuals I've read. The manual is broken down into three sections and is clearly written to quench your thirst for understanding the Magic Bullet process in its entirety. 

Section one, The Overview, introduces you to the software with detailed Q&A with the science and philosophy behind the tool, a quick mandatory brief on the system requirements and the installation method.  Section two, aptly titled Reference, is the real bones of the text allowing for extraordinarily accurate descriptions of theory and practice along with effective ways to manipulate each filter for maximum effect. Section three is a straightforward Appendix that offers screen captures and further explanation about the creators at The Orphanage.  The install is painless and reasonably fast on my dual 800 processor PowerMac and the Magic Bullet Suite folder is right where I need, and expect, it to be.

Welcome to the Playground: Magic Bullet is an Adobe After Effects plug-in and when you open AE the first time after installing Magic Bullet, it will serialize before use. After this, we're now ready to play...

The Magic Bullet manual offers numerous suggestions to get the most effective results, but we chose to ignore them and try to disprove the myth of "video that looks like film" right off the bat. I created a new composition with these exact settings: 720 by 480, NTSC (DV), 29.97 fps, Lower Field First. So far, so good. Now, before I go much farther, there are a few considerations to make when working within a composition. Suffice it to say that you can modify the composition settings to infinity to get the results you seek. I chose to stick with a basic composition so as not to confuse myself. Next, I needed a pristine DV snippet in order for the process to work. In other words, don't load a previously affected clip or you'll miss the point of Magic Bullet. Once you've got your snippet in the composition, select the Magic Bullet plug-in from your effect list. You'll notice the auto set-up feature (see blue icon in graphic at right). Auto set-up is one of the most interesting features in Magic Bullet and it is a foolproof way to figure out what your footage is and what Magic Bullet Suite needs to do with it from here.

Now, you have a few adjustments within the Magic Bullet plug-in consisting of a de-interlacer, a standards check-box and a "motion detect" adjustment. These rudimentary adjustments will affect everything beyond this point, as these are the motion portions of the plug-in set.

The Look Suite: Within the Magic Bullet system is the "Look Suite." (See left.) Look Suite offers some quick standard presets to speed your workflow. Some presets mimic standard film processes like, bleach bypass, basic black/white diffusion, color reversal, and sepia along with signature presets consisting of Miami, warm & fuzzy, punchy and epic. All of these presets are useable given the right situation. However, we found that the basic warm and basic cool were the most realistic in terms of what you might see on an NTSC picture tube. For our purposes, we chose a few of the more standard looking plug-ins as these are what most people will expect to see. I selected basic warm for my shot. You can see the immediate difference below...



BASIC WARM

Once you get a handle on these two plug-ins, you have to focus on you options a little more as the Magic Bullet Suite thins out a bit. Opticals, a plug-in designed to help you get film quality dissolves and transitions, is pretty simplistic and was, in my opinion, not really a value added plug-in. Instead, it reminded me of a cross-dissolve with a controlled in and out curve that allowed for some, albeit miniscule, difference between the typical transform transparency and looked a whole lot like what I see in Final Cut Pro on a daily basis. It offered some interesting burn and fade controls, but for the most part won't be used for our regular work. I sampled Opticals.  Next, there is the Letterboxer filter. If this one isn't self-explanatory, don't read much further because we've already lost you (Just kidding.). Actually, this letter-boxing utility is pretty useful, as it will mask your video to true film aspect ratios. From a standard 4:3 to a Super 16mm, to a real 65mm anamorphic mask, you can get the exact film aspect match for film. This is truly a simplistic plug-in, but it is a very valuable piece in the ever raging battle to fool the viewer into believing that they are seeing real film. For our video, we went with a wide format 2.35:1, or Cinemascope, for maximum effect. Again, compare the resulting still frame to the untouched original below...


CINEMASCOPE


Finally, there is the nearly overlooked Broadcast Spec filter. Another obvious name for a filter that does exactly what it was named for. It makes you video fall within legal guidelines and makes it broadcast ready in terms of saturation, luminance, and chroma. We turned it one just for the hell of it. I noticed absolutely NO difference with my naked eye, but on the scopes, there was some manipulation to the uppermost peaks of the luminance values.

Let's See Some Results: OK, now that you know what the Magic Bullet Suite consists of, what's in the manual, and heard how cool the box is, let's see what she can do for you. Still frames cannot convey the power of the moving image, but I've included a few just to show the process as it as used in my test.  Now, if you've actually read this article, you'll have a short-list of the settings I used to manipulate the following frames. The video clip is pretty small, but even compressed, you can see a notable difference between the original clip and the affected clip...

I'll leave the clip to do the talking, but I want to make it clear that I believe that Magic Bullet Suite is a nearly indispensable tool for those in a position to do the impossible on a daily basis. I am astonished by the quality of the final results achieved with this tool and would highly recommend it to everyone who absolutely needs the look of film, but has the budget for DV.

In Closing: While I've been rambling on, I've completely forgot to mention how it compared to some of my own highly touted "formulas," which was my real ulterior motive in this review to begin with. Well, to be completely honest, I'm torn. My formula for NTSC-DV actually looked better to my eyes in terms of color, contrast and overall "look" -- but I feel like Magic Bullet Suite was a clear-cut winner when it came to the motion of film and the aesthetics of certain color processes. My own numerous formulas are certainly right in there in terms of quick fixes but for the real deal, Magic Bullet Suite has definitely expanded my field of view.

-- Michael Munkittrick

###

©2002 by Michael Munkittrick. All rights are reserved.



For more info or to purchase Magic Bullet, please visit Toolfarm.com


You can visit with Michael Munkittrick who hosts Creative Cow's Sony DV and particle Illusion forums -- and who interacts with users as a member of the Cow's After Effects forum



Click here to visit CreativeCOW.net's user forums and many other articles
if you got here by a direct link to this page



  Magic Bullet Suite Tutorials   •   Magic Bullet Suite Forum
Reply   Like  
Share on Facebook


Related Articles / Tutorials:
Magic Bullet Suite
Magic Bullet Suite 2008

Magic Bullet Suite 2008

Tim Johnson takes a thorough look at Magic Bullet Suite 2008 from Red Giant Software. One project at the CBS affiliate he works at called for a variety of different needs and MBS 2008 was able to handle all within the one plugin set: film look, film motion, up-rezzing to HD, color correction, and motion removal.

Review
Magic Bullet Suite
Using Magic Bullet and Anamorphic in your DV project

Using Magic Bullet and Anamorphic in your DV project

For the past two years, Steven Galvano has been on a ''making video look like film'' quest. At first he'd come to the conclusion that if he wanted his projects to look like film, he'd have to shoot film. But recently, Steven's opinion has changed. Now, he believes that the science of cinematic video will be exacted in the near future and will be available to the average video producer.

Review, Tutorial
Recent Articles / Tutorials:
WalterBiscardi.com
Put Post First: Save Time & Money in Production!

Put Post First: Save Time & Money in Production!
  Play Video
In this trailer for a Business & Marketing training series at WalterBiscardi.com, Walt tells us to Put Post First! Save time and money by starting with post. In the series, you'll learn what producers and content creators need to know to save time, money and create a better end product.

Tutorial, Video Tutorial
WalterBiscardi.com
Post Production: Protect Yourself Before You Sign a Contract

Post Production: Protect Yourself Before You Sign a Contract
  Play Video
In this trailer for a Business & Marketing training series at WalterBiscardi.com, Walt tells us what post production pros need to know and ask before taking on that big post project.

Tutorial, Video Tutorial
DaVinci Resolve
Blackmagic DaVinci Goes up to 11

Blackmagic DaVinci Goes up to 11

Colorist Joseph Owens has been in the heart of postproduction for over 30 years, and has used one form or another of DaVinci Resolve for a large part of that. In his look at the latest release of what he calls the gold standard for color correction, he both covers new features, and considers the possibilities that those features offer.

Review, Editorial, Feature, People / Interview
What Computer Should I Buy?
HP's New Workstations: Powerful, Expandable, and Compatible

HP's New Workstations: Powerful, Expandable, and Compatible

Expanding its Z-series line, HP announced major updates to desktop and mobile workstations focusing on expandability, reliability and compatibility - and specifically targeting disappointed Mac users that may not have considered the PC world before. With the key word for creative professionals being "bottleneck" as 4K media (and beyond) and native editing become a mainstay of a typical workflow, HP hopes that giving users more options will be the solution.

Review, Feature, People / Interview
Adobe Creative Cloud
Adobe Streamlines Workflows with Creative Cloud Updates

Adobe Streamlines Workflows with Creative Cloud Updates

Adobe has announced updates to the professional video tools in their Creative Cloud, featuring timesaving enhancements to media and project management, increased support for new codecs and display technologies, and refinements to everyday editorial tasks in response to some long-standing user requests.

Editorial, Feature, People / Interview
WalterBiscardi.com
Quick Tip: Square vs. Anamorphic Pixels

Quick Tip: Square vs. Anamorphic Pixels
  Play Video
In this Post Production Quick Tip: Walter Biscardi Jr. clears up the confusion between square and anamorphic pixels and why he recommends always working in square pixel timelines.

Tutorial, Video Tutorial
WalterBiscardi.com
WalterBiscardi.Com Preview for Production Budget Basics

WalterBiscardi.Com Preview for Production Budget Basics
  Play Video
In this production budgeting basics preview for a series on WalterBiscardi.com, Dana Popoff, Producer for "Good Eats" and "Feasting On Asphalt" with Alton Brown for the Food Network, shares what insights she will guide viewers through in this new professional production instructional series.

Tutorial, Video Tutorial
WalterBiscardi.com
WalterBiscardi.Com Preview for The Positive Side of Change

WalterBiscardi.Com Preview for The Positive Side of Change
  Play Video
Through humour and anecdotes, Walter Biscardi Jr. shows how to embrace the risk that comes with change - both in business and in life. This clip previews the new series at WalterBiscardi.Com.

Tutorial, Video Tutorial
MORE


FORUMSTUTORIALSFEATURESVIDEOSPODCASTSEVENTSSERVICESNEWSLETTERNEWSBLOGS

Creative COW LinkedIn Group Creative COW Facebook Page Creative COW on Twitter
© 2014 CreativeCOW.net All rights are reserved. - Privacy Policy

[Top]