There’s a new video tutorial up today on Red Giant’s site: Multi-shot Workflow in Final Cut Pro. If you try Colorista II in Premiere and find the performance lacking, please consider contacting Adobe and asking them to improve the performance of Custom UI plug-ins written to their own SDK. We’ve done the best we can with what we have. We love Premiere Pro and feel that it and Colorista were born for each other. Red Giant has is committed to working with Adobe to resolve this situation. But despite this shared architecture, plug-ins like Colorista II sing in After Effects and bog down in Premiere. This is amazingly cool, because it means that, for example, you can start a project in Premiere, use Colorista II all you want, and then move the project to After Effects, keeping all your settings.
Premiere Pro and After Effects actually share the same plug-in SDK. Interestingly enough, the free version of Colorista isn't just a stripped-down version of the first Colorista. The benefits to us users are obvious - just look at all the amazing plug-ins available for After Effects. Red Giant Software has released two free plugins that work in Final Cut Pro, Premiere Pro, and After Effects: a limited version of their great Colorista color-correction plugin, as well as a new plugin named LUT Buddy. This means that third parties can create excellent user experiences within After Effects. Another is that third parties cannot provide a fluid custom UI experience within Premiere Pro.Īfter Effects, on the other hand, “eats its own dog food,” and has no effects that don’t use the public SDK. Have you noticed that Premiere’s own 3-way color corrector has never been ported to After Effects? This is one consequence of the Premiere team’s choice not to use their own plug-in SDK. In the case of Premiere Pro, the slowness can be bad. On some systems this can make UI interaction for third-party effects with Custom UIs slow. They use window configurations and graphics drawing routines that third-party developers don’t have access to. However, you may also find that mouse interaction with the “Custom UIs” (the 3-Way and HSL color wheel controls) is sluggish.īoth Adobe Premiere Pro and Final Cut Pro bypass their own plug-in SDKs for their native 3-way color correctors. Depending on your project resolution and graphics hardware, you may see some pretty amazing performance, thanks to Adobe’s realtime Mercury Engine.
If you’re considering Colorista II for use in Premiere Pro CS5, please download the demo first and try before you buy.
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