But in today’s world, where a lot of color software is effectively free, I now realize my role is much more challenging - but also more rewarding. I used to think that my role in overseeing Magic Bullet was to make professional color correction accessible to everyone. It’s perfect for editors who need to make log footage look great for a rough cut, but it’s also used as a final sweetening pass by real Hollywood colorists. Mojo creates a cinematic look by adding color contrast, unifying your color palette, and offering easy shot-to-shot adjustments. Yet another ground-up rewrite, Mojo II is all about making your footage look great, fast. It runs in Premiere, After Effects, Final Cut Pro, and is coming soon for DaVinci Resolve. It’s a DSLR/mirrorless shooter’s best friend.ĭenoiser III is possibly one of the most important tools Red Giant has ever created. Or crank up the quality and get great results on even your noisiest footage - Denoiser’s adaptive playback will still give you great performance if it detects that you’re playing back at a proxy resolution.ĭenoiser III cleans up compression artifacts as well, and it effectively promotes your footage to the highest bit-depth supported by your editing software. Because the new engine analyzes each frame individually and builds a noise profile, we’ve been able to simplify the controls down to just five sliders - and two of those are for sharpening.ĭenoiser III is so fast that it can play back in real time on many systems at the default settings.

It’s not only faster than Denoiser II, it also produces much higher quality results.Īnd, maybe most importantly, it’s incredibly easy to use. We started over from scratch with an entirely new GPU-accelerated computer vision algorithm that a team of engineers spent years perfecting.

Magic Bullet Denoiser has alway been good, but good was not good enough for us.

Redgiant looks