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LUT Buddy, which works BulletProof, seamlessly integrates LUTs from multiple sources into a workflow. I had no problem using Frames with Premiere Pro to deinterlace 59.94i DV to ProRes 422LT 29.97p video. Frames includes a “deartifacter” that repairs chroma artifacting inherent in 4:1:1 and 3:1:1 video.

Motion Estimation tracks pixels as they move through fields. (My transfer to PluralEyes was flawless.) For those of us shooting RAW, it would be great if BulletProof supported CinemaDNG files.įrames deinterlaces either 59.94i media to 29.97p video or 23.98p media with 3:2 pulldown - also 59.94i video - to 23.98p video. Lastly, you can send clips to PluralEyes and export as PhotoJPEG files. This function worked very nicely to remove “black crush” from DV video. You can review clips with color correction that uses color wheels, curves, and LUTs. You can mark “favorite” shots, add In/Out points to your shots, as well as add notes, keywords, and metadata. You can use BulletProof to review footage on location to verify that you got the shots you need. And, if you want, Offload can make an additional copy of your files to another destination or drive. Offload compares every archived file to the original in order to ensure an exact duplicate. Red Giant claims Offload works with virtually every camera, card, and format. Mac 10.6.8 through 10.9 plus Windows 8 and 9Īdobe After Effects CC, CS6, CS5, CS4, CS3. Premiere Pro CC 2014, CC, CS6, CS5.5, CS5

Apple Final Cut Pro 7 (not FCP X)Īfter Effects CC 2014, CC, CS6, CS5.5, CS5
. Recently Red Giant updated Shooter Suite to version 12.5, which is the version reviewed here. Red Giant has packaged their effects and utilities into several suites: Color Suite, Shooter Suite, and Keying Suite. If you go to their website ( you’ll find many familiar products including: Magic Bullet, Colorista II, Knoll Light Factory, and PluralEyes. Luckily for companies marketing transitions, filters, and functions this is not true. One would think that over the past two decades those NLEs still being sold (e.g., LightWorks, Media Composer, and Premiere) would include all the transitions, filters, and functions that could conceivably be used by an editor. ( /Products/0504spec.html) VideoVision, a connection box, and a copy of Premier cost under $2000. In 1993 I returned from NAB with a Radius VideoVision board shown above.