Get over 400 presets in 35 imaginative plugins that provide a range of light, paint and art effects. From cartoon and impressionist styles to energetic blurs and flickers, your shots are certain to carry a strong visual presence. Get over 500 presets in 65 plugins that provide cutting edge video transitions of 3D, light, color, and motion.Īdd a unique and distinctive look and style to your footage. Whether you want to display a product or add emphasis to an object, you’ll find a wide variety of transitions to join your shots and match your video’s design direction. Get over 250 presets in 27 video effects to drastically enhance your video. Use pinpoint color correction, light leaks, tints, film looks and more to change the tone, mood or aesthetic of your shots in seconds. Get over 275 presets in 28 workflow-enhancing video effects that stabilize, correct and sharpen.ĭrastically enhance your video through an array of distinctive looks.
NEWBLUEFX LOOKS SKIN
Instantly address everyday post production needs such as video stabilization, skin and color touch-ups, camera flashes, exposure and aspect ratio. In addition to these exciting effects, NewBlue FX Elements includes a number of powerful video transitions, which enable users to create interesting.
NEWBLUEFX LOOKS MOVIE
Combine visual elements from multiple shots into a single image, create living backgrounds, add drop shadows and more. From NewBlues upcoming Film Effects collection, NewBlueFX Elements includes the Old Film effect, which makes the video look like an aged movie complete with scratches, jitters and graininess.
NEWBLUEFX LOOKS PRO
Titler Pro 7 integrates with all of today’s leading NLEs.Ĭreate and completely transform scenes with over 200 presets in 21 easy to use compositing plugins. Deliver exceptional production value with stunning 3D animated titles and motion graphics without sacrificing productivity.
NEWBLUEFX LOOKS SOFTWARE
Titler Pro 7 is the industry standard in tiling software for video editors. Get the fully-featured Ultimate versions of all NewBlue video effects collections. This is our most comprehensive suite of titling tools, transitions, filters and video editing plugins. After Effects support is coming soon, according to their press materials.P2P group has released an updated version of “NewBlueFX TotalFX”.ĭescription: TotalFX features over 1,500 presets in 177 effects. Currently their video plugins are available for Corel VideoStudio, Adobe Premiere Pro, Avid Liquid, Avid Media Composer, Avid Xpress Pro, Pinnacle Studio, Sony Vegas, Final Cut Pro, and Thomson Grass Valley Edius. Based in California, NewBlue got their start in the audio effects business but in 2006 made the jump into the video effects market. One of the new contenders in the film look game that concentrates heavily on emulating the idiosyncrasies of film is NewBlueFX’s “Film Effects”.
I assume this shift is occurring because these defects cannot be replicated in-camera (at least at this time), and as a result many plugins seem to have made these features the central core of their film look software. Lately, though, it seems as if more companies are concentrating on emulating the grain, scratches, jitter and other such defects inherent in the film shooting, developing, and projection process. I’m a big fan of these, as I like to shoot totally flat, and choose my looks in post, adjusting them depending on the dramatic content of the scene (or shot). These software packages still offer the traditional gamma, saturation, and color cast emulations of film stocks. However, as technology has become more advanced the price of these plugins has gone down dramatically, and their focus has also shifted to different aspects of the “film look”. As with most things in this world, the expensive solutions ended up being the best as far as quality and ease of use, which was very frustrating for someone trying to work on a microbudget.Īfter a few minutes I was able to get Film Effects to pretty closely replicate a Super8 emulation I created from Magic Bullet's Looks and Misfire. As a result, during the post production process I experimented with numerous film-look solutions, from DIY methods using adjustment layers and transfer modes in After Effects to extremely expensive (at the time) plugins like Magic Bullet and Cinelook. I wanted the movie to look like it was shot on film, but at the time there was no such thing as a prosumer-level camera that shot 24p and had film gamma curves built in.
When I was shooting my feature film, Livelihood, I knew that it was going to need a lot of work in post production.
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