Presets and tools, straight from Stu’s work to your flow.
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Slugline. Simple, elegant screenwriting.
Noir. Cinematic black-and-white and lighting control for your iPhone and iPad.
Plastic Bullet. An infinite variety of vintage camera looks. Now available for Mac.
Studio Daily has an exclusive demo of the new Magic Bullet Looks by some muppet-sounding dude.
stu that rocks
Wow Stu this looks really cool! I love the whole subject-mattebox-lens-post thanG...takes away the tweaking disembodied settings feel and makes it feel more like your working on a film : )
Hey Stu.That looks really excellent. I loved how there's now save dialogue, you just type in where the name if each thing is. Great design, I can't wait to use it.Dale
Wow Stu! That demo sold me. Learning curve seems incredibly easier than say...Color. When's it going to be available? I checked out Red Giant and it looks like I can upgrade from MBE? Is that correct? Can it be purchased through your site? (I always try to support Rebels when I can.)
Very nice!!! On the edge blur would it be possible to add an extra ring so that you could add an additional blur to simluate depth of field between the camer and the subject in focus and the subject who is in focus to the furtherst object as opposed to what you have now where the area between the camera and the subject is just as blurred as the distance between the subject and the furthest object in. Also, is there a tracker on the edge blur so you can follow a subject and adjust the blur as they move?
Oh this is exciting!Thanks for the link to the video!
Stu - read your book and love it. Question about color correction. What profile should my monitor be calibrated to for AE to give me the correct Kodak LUT preview?
I saw MB demoed at NAB. It has really come along -- looks great.
I must say that this is impressive. And to top, it is an upgrade to MB Looks for Editors! COOL!
Oh Wow - color processing to end all color processing - how are you going to manage a version 4?
wow!finally someone thought thru the entire process and made it usable for both novice and professional without sacrificing ease of use or depth for either.also the video is a great intro to even the concepts of what each tool does.keep it up!jason
This looks phenomenal. When you announced it, I was in, but I have to confess that with the Color announcement I was back on the fence. I'm now completely sold on Looks - the GUI design is incredible. Great work.Couple questions:1) When you launch it stand alone to create a LUT, what file types/sizes can you open? Can you save the file back out as different file types as well? I'm especially thinking of this with regard to location scouting - I would love to take RAW stills and work them up in Looks and be able to spit them out as a TIF (or similar).2) Perhaps you can't comment on this, but when you purchase Looks, will you be getting plug-ins for AE and FCP, or will they be one or the other (plus stand alone)?3) As others have asked, when does it drop?!Congrats, again.
it should be really really cheap, under $99. otherwise i can't see why you'd pay more than the price of full, more complex packages under $1k (fusion/combusion). or maybe they're pricing full around $3k as nuke competition :)))
Can the spot effects be keyframed?
"Looks" looks amazing. What do you see as the relationship between Looks and AE for color/tonal/graphic correction and experimentation. Clearly AE is the do-it-all desktop beast, but for the smalltime filmmaker with a DV cam and some scripts in his head, which is the best investment?
Awesome lookin' product Stu!!!!Does this have an official release date yet?Keep up the good work!
Hey Stu,I just stumbled on to your blog from a Google search, and am hoping you can steer me in the right direction. From pouring over your blog on Colorista and Magic Bullet Looks I'm wondering if I've been doing more damage to my images with the current color correction method that I've been using, which is the 55mm FCP plug in from Digital Film Tools. I started using that plug in for Photoshop and thought it would be a natural move to work with it in FCP. The main reason I am questioning this practice now is because I just shot a pro-bono trailer on Super 16mm for a local film festival which will need to play up on the big screen at the theaters hosting the festival here in Milwaukee. For the first time in my life, I need to bring a project from Sup 16mm origination, through the digital world and then blow up to 35mm making 20 prints of this sucker. It's exciting and scary all at the same time. After shooting we processed and did our initial color correction in a supervised transfer session at Fotokem. Getting to work with a real colorist and watching him do his voodoo on the Da Vinci was an experience I'll never forget. Truly inspiring. Now we have our footage back in a 1080p uncompressed 4:2:2 Quicktime and need to add FX and do some more minor color correction. My editor has FCP with out "Color" and we've used 55mm with that system in the past. Our FX guy has AE 6 and he'll handle some compositing we need done. When all is said and done, I need to provide the lab with a final Quicktime that they will then print into scope and flat trailers for us. I am just looking for some guidence here at this critical stage. Do we use 55mm in FCP on my editors Dual 2 GHz G5 Mac, like our past projects that have only ever ended up on DVD, or should I buy Colorista for my FX guy and use that with his AE 6 on his single 1.8 GHz G5 Mac. My utmost main concern is color correcting in FCP and losing the great image quality that we have now with the footage straight out of the Spirit/DaVinci. We can't spare any image quality because this is going to be blown up to 35mm and we obviously want this to look as good as it possibly can. A ton of people donated their time and skills to make this trailer happen, and I just want to do justice to their work when it ends up on the big screen. Thanks in advance for any help or advice you can toss my way. And to all the readers of this, my apologies for taking up so much blog space. I don't blog much really so I don't know the rules. Stu, if it is more appropriate to email me off list with this info, please let me know and I will leave my email address for you. Thanks again.Carlo
carlosread the dv rebel guide as he covers this. The short answer is yes you are losing quality in fcp but move over to 16 or 32 bit in ae. Feel free to email me at color37 at gmail dot com