@GravitateMediaGroup That's look great! Many thanks for this preset! I'm gonna make some tests with a neutral picture profile!

Thanks for sharing.

Best regards.

PS: I like your work with FilmConvert.

@BurnetRhoades - Great retrospective. I knew a bit of that but it's cool to see it all laid out like that. And like you said, Shain's ColorGhear looks similar. I've actually been planning to jump in and check it out, just out of curiosity and to support his work, but so far I haven't had the time to mess around with my current workflow.

@GravitateMediaGroup - Wheh! Glad I checked. Kumbaya.

@SuperSet - There must be some setting in the user prefs that has something dialed down. It's weird, but it's not that weird. Especially considering a grade has been applied.

Ok then, Vegas sucks, I guess.

@superset

what are you trying to accomplish? i'm a little lost

use 3 way color to add a little warmth in vegas

@DouglasHorn yes, the exciting thing about Shian's project is that it's the direct creation of a professional colorist, with similar motivations as Stu's original tools, with a heavy skew towards pragmatic and extremely targeted, results-based functions that do an extremely good job of not abusing the pixels and what they've been through to get to your editing timeline. Though I'm interested in learning DaVinci it's going to be hard to not see AE as a, still flawed, but powerful tool because you aren't locked into any one system or paradigm.

I was at CalArts with Stu for a while and we stayed in touch over the years. Back then we were both big fans of the Canon A1-Digital (though only the audio was digital) Hi-8mm camcorder and he might have actually started what would become MB working out how to make that footage look better. It had a 15fps "gain up" mode that was popular with folks that just went buck wild when the first DV cameras hit the market. At some point he sent me like an alpha copy of the DV enhancement portion of MB, which was an AE project file he'd use as a basis for each new session, but I never got to use it because, at that time, I hadn't upgraded my copy of AE to their After Effects Professional version.

By April 2001 (I have to reference an old copy of American Cinematographer Mag. to help my memory) Magic Bullet might have been announced as a product but I don't think it was for sale yet. By this time it and The Orphanage had superseded all other forms of enhancement of video material and prep for filmout as well as established itself as a legitimate facility for high end color correction, utilizing the MB Suite. Good enough for Allen Daviau to partner with them when he shot his first digital short for Sundance.

It came out as a product somewhere between then and the next fall or winter. My brother and I had shot Xtracurricular in June of 2001 but it took us some additional time to raise the funds to build our editorial (doing "online" HD back then meant a minimum of about $45-50K for the cheapest solutions...just the cables linking our array to the Cinewave editor I built cost upwards of $500-600). Somewhere during the process I re-connected with Stu to talk about the project and he got Red Giant to send me a dongle and copy of the retail version, which we were incredibly thankful for.

@GravitateMediaGroup - What makes me say it? The fact that I have seen projects opened in two different NLEs and they appeared slightly off from one another - moreso when there was a grade applied. This happened at DuArt and Moving Images. Two very tech savvy locations.

which is the best way to soften the image inside vegas? Gaussian blur?