I followed up with them, now waiting to hear back more: All is present and accounted for in After Effects, the problem is Premiere only for me. The Magic Bullet Color Suite folder isn’t even in Premiere anymore. I did notice, however, when I opened a project that they were listed as missing, plus the “push” transition from filmimpact. It's good to conform your workflow to Resolve generally speaking because as you move through the world of production it's a dominant software platform.and exports up to 1080 are in the lite version.so the adoption cost is very very low.I just heard back from Red Giant and they gave me this advice (see below). They just generally don't work out as well as you might imagine.Īnyway. However, it doesn't nullify presets as an option. It all depends on context.generally presets are looked down on because they're generic, when most problems are specific. Then again, if your turn around is a matter of hours, presets and plugins can be an absolute lifesaver.

One thing to consider with plugins though, is if you round trip a project file through several people.everyone must have the same plugins or your software will throw an error and it may generate errors in your renders. I've also done convention work where ingest to final export is only a few hours, and you do all the grading with adjustment layers in Premiere. I've done television programming where lock cuts must be very specifically conformed and organized for the colorists working in resolve. The post-pipeline you work in can be a factor. In my experiences, you're balancing workflow against quality results.

Red giant colorista