Prolost

Magic Bullet PhotoLooks

Yesterday Red Giant Software announced the release of Magic Bullet PhotoLooks. It’s the same Magic Bullet Looks you know and love, re-engineered for use on high resolution stills in Adobe Photoshop.

In case you don’t know, Looks, and now PhotoLooks, is a creative toolset for giving your images an overall cinematic look. It’s based on the model of an actual camera, with filters, lens characteristics, and film processing tricks. By accurately simulating the physics of light, glass, and celluloid, it creates a fun, creative environment for experimenting with your shots. Start with one of 100 presets, see how they’re put together, then modify them to taste—or design your own and share them with friends.

Longtime Magic Bullet Looks users will recognize the interface, presets, and tools—so much so that they might even wonder what’s new about this new version. A lot has changed under the hood, but all in ways designed not to be noticed. Here are some examples:

  • That PhotoLooks is a native Photoshop plug-in means that not only can you use it directly from within Photoshop, but you can also use Photoshop’s Smart Layers to keep PhotoLooks as a non-destructive adjustment that you can tweak again and again, even after closing and re-opening the file. Aharon Rabinowitz shows you how to do this in the above tutorial.
  • PhotoLooks contains the beginnings of a Color Management solution, so that your color-managed Photoshop workflow will match what you see in the PhotoLooks UI. Future versions will refine and enhance this feature to work with any popular color space you might care to use for your photography workflow.
  • The last one is the biggest change and hopefully the most invisible: The Looks rendering engine has been re-written completely to work on high-resolution stills. While working on your look, you get the fluid, GPU-accelerated experience Looks has always provided, but when you press OK, your look is rendered by the new CPU render engine that can handle the gigantic image sizes common to current-generation cameras. If you’ve used the “secret” stills feature of Magic Bullet Looks, you may have run up against limitations in resolution. That won’t happen with PhotoLooks.

PhotoLooks is $199, or $99 if you already have Magic Bullet Looks or Quick Looks.

What’s fun for me, as the guy who designed it, is to see a whole new legion of creative professionals exposed to the power and creativity of Magic Bullet Looks. Here are some of their impressions:

I am not exaggerating when I say that Magic Bullet PhotoLooks will re-invent the way people think about filters in Photoshop—I have never seen anything like it.

-Deke McClelland, award-winning Photoshop author, and trainer

Another favorite feature of mine is the Look Theater. I get creatively stumped with my photography occasionally, and it is so cool to be able to just sit and watch my photographs take on a new persona without me having to lift a finger.

-Justin Seeley, Photoshop trainer and graphic designer

Magic Bullet PhotoLooks is a fantastic tool, with absolutely no adoption curve.

-Thorsten Meyer, Photographer

To make a perfect look for a photo [using Photoshop’s built-in tools] can be an arduous process of changing levels, curves, diffusion, glows, spot exposure, color correction, vignetting, edge softness, etc. However, the thumbnail for each of the 100+ presets in Magic Bullet PhotoLooks instantly updates to show its effect on your photo making it really easy to compare the effect of each one.

-Jack Tunnicliffe, Java Post Production

You can read more testimonials here.

Converting 30p to 24p

As the long-awaited 24p firmware update for the Canon 5D Mark II draws near, I joined Mike Seymour on episode 57 of the Red Centre podcast to talk about how excited I am that it marks the end of painful workarounds for the 5D’s no-man’s-land frame rate of 30.0 frames per second.

For as long as I’ve had my 5D Mark II, I’ve avoided using it for any projects that I could not shoot 30-for-24, i.e. slowing down the footage to 23.976 fps, using every frame. My 5D has been a gentle-overcrank-only camera. There are plenty of occasions to shoot 30 frames for 24 frame playback — we do it all the time in commercials to give things a little “float,” or to “take the edge off” some motion. I still do this often with my 7D. Whatever frame rate I shoot — 24, 30, 50 or 60 — I play it back at 24. Just like film.

Folks often ask me about 30p conversions. Twixtor from RE:Vision Effects is a popular tool for this, as is Apple’s Compressor. Adobe After Effects has The Foundry’s well-regarded Kronos retiming technology built-in. All of these solutions are variations on optical flow algorithms, which track areas within the frame, try to identify segments of the image that are traveling discretely (you and I would call these “objects”), and interpolate new frames based on estimating the motion that happened between the existing ones.

This sounds impressive, and it is. Both The Foundry and RE:Vision Effects deservedly won Technical Achievement Academy Awards for their efforts in this area in 2007. And yet, as Mike and I discuss, this science is imperfect.

In August of 2009 I wrote:

I’m not saying that you won’t occasionally see results from 30-to-24p conversions that look good. The technology is amazing. But while it can work often, it will fail often. And that’s not a workflow. It’s finger-crossing.

On a more subtle note, I don’t think it’s acceptable that every frame of a film should be a computer’s best guess. The magic of filmmaking comes in part from capturing and revealing a narrow, selective slice of something resonant that happened in front of the lens. When you use these motion-interpolated frame rate conversions, you invite a clever computer algorithm to replace your artfully crafted sliver of reality with a best-guess. This artificiality accumulates to create a feeling of unphotographic plasticness.

Of course, it’s often much worse than a subtle sense that something’s not right. Quite often, stuff happens in between frames that no algorithm could ever guess. Here’s a sequence of consecutive 30p frames:

Nothing fancy, just a guy running up some stairs. But his hand is moving fast enough that it looks quite different from one frame to the next.

Here’s that same motion, converted to 24p using The Foundry’s Kronos:

Blech.

Again, don’t get me wrong—these technologies are great, and can be extremely useful (seriously, how amazing is it that the rest of the frame looks as good as it does?). But they work best with a lot of hand-holding and artistry, rather than as unattended conversion processes.

(And they can take their sweet time to render too.)

I’m so glad we’re getting the real thing.

For the Record Canon

I’ll take one of these:

This 50mm f/1.2 cappuccino cup is in response to the fabulous coffee mug that looks like a 70–200mm lens, which Canon was giving out at the Winter Olympics to people who had better watch their back when I’m around.

By the way, there’s a new version of the popular zoom lens that I want almost more than I want another cappuccino. Pre-order it now and I get a little closer. To the cappuccino.

Canon 70–200mm f/2.8L IS EF II USM lens available for pre-order at Amazon.

Update

on 2010-03-05 22:13 by Stu

What’s new about the 70–200 II? It is said to be sharper, faster to focus, and have improved IS over the original. That said, the original is a terrific lens. Here’s a shot I made with one.

Update

on 2010-03-05 23:06 by Stu

More info on the mug that started all this here.

Update

on 2010-03-10 19:16 by Stu

Thanks to ProLost reader Alex Turner for the heads up: The Mug is now available for pre-order from Vistek.

Numerous folks have also pointed out the 24–105 “ice cream cup” (is that a way of saying that it will melt and give you cancer if you put hot liquid in it?) is available on eBay.

Personally, I like my mugs f/2.8 or faster, so I’m going with the 70–200.

Update

on 2010-03-11 05:14 by Stu

B&H has the 70–200 Mark II in stock now.