If you want to brighten a person’s face, adjust the orange dot on the lightness wheel and faces become brighter. Want a bluer sky? Push the blue dot on the saturation/hue color wheel outward and blues become richer. If you’ve used Adobe Lightroom 3, then this will be familiar. What sets Colorista II apart is a new 8-vector HSL control in the primary and master sections. A couple of new basic tools have been added, including a single auto balance control, which adjusts both white and black balance in one step, and a highlight recovery tool. Each section has controls for shadow/midrange/highlight color balance and levels, plus exposure, density (contrast) and saturation. By stacking multiple instances of Colorista, an editor could grade shots with much of the same power as in more advanced grading products, like Apple Color.Ĭolorista II takes it up several notches by providing three stages of color correction in a single filter – divided into primary, secondary and master sections. The original filter featured a standard design of three color/level wheels, augmented by exposure and saturation controls plus a power mask for vignettes. Colorista II is designed to work with Apple Final Cut Pro, Adobe After Effects CS5 and for the first time, Premiere Pro CS5. Red Giant has released Magic Bullet Colorista II, a highly enhanced follow-up to the original.

Colorista is a deceptively simple grading tool, used by many editors who like the added power over other built-in correction filters. This line of innovative color correction tools got its start with Colorista, a custom 3-way color correction plug-in for Apple Final Cut Pro, Motion and Adobe After Effects. Products have included versions for Photoshop and the iPhone, as well as variations of the ever-popular Looks. Red Giant Software’s engineers have been busy this year expanding the Magic Bullet franchise.

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