![]() ![]() Presets also include film stock, both the negative and positive films, log looks and much more. I don’t recall the previous version having that cool feature. What is also great about all of the presets is the realtime rendering of the effects - that is faster than the previous version - with a display of the tools used as you hover over them. These allow you to colour grade your footage without having to start from scratch - very useful! The new presets that I liked the most are the grading setups and headstart looks. Red Giant claims to have added 198 new customisable presets compared to version 2 and I don’t doubt there word one second. The presets department is downright impressive now. Meanwhile, Magic Bullet Looks 3.0 has more in store than just good looking font rendering. All gone now, clean, sharp, as it should be. I’m sure I wasn’t the only one who was put off by the ugly jaggies and blotchiness of the previous version’s font rendition. The best way to admire the improvements is to open Preferences and take a good look at the font rendering. It’s also very clear from the finally clean and sharp fonts used throughout. That’s immediately reflected in the mouse-hover behaviour of the drawers for Looks (presets) and Tools. Magic Bullet Looks 3.0 has a refreshed interface and better user experience. Personally, I don’t mind not having presets for Mojo in Final Cut Pro X, as Magic Bullet Suite includes Looks 3.0, which has all the presets you can wish for. fcp files cannot be read by Final Cut Pro X, so that doesn’t work. You can get them back by installing the included. In fact, the presets that were in the previous version have all gone. I found Mojo working a lot faster - no more spinning wheels! - but with the same set of controls as in the previous version. The styliser that gives your footage a grunge or “Bayou” look has been updated as well. Like all other Magic Bullet modules, it uses your GPU to achieve highest speed. In Adobe products it’s faster than the previous version. The smoothing works well, but it takes a bit of exercise in order not to apply too much ‘correction’.Ĭosmo used well and within reason is really brilliant and in Final Cut Pro X it works like a charm and really fast. It’s amazing how quickly you can change a healthy person in a really sick one this way! Or vice versa, of course. With the Cosmo controls, you can see which areas Cosmo correctly recognised, then fine-tune the results using sliders and apply both tint and smoothing. Just like other apps (or was Cosmo first and did the others follow?) in Red Giant’s portfolio, Cosmo ‘sees’ skin tones using a fairly intelligent algorithm that recognises skin colours. Cosmo 2.0Ĭosmo is, to put it simply, a skin enhancer. I know you’re not supposed to use Log when shooting in Protune CamRAW with a HERO3+, but should I use Flat or Video? Professional film producers may know it, I am not so sure. There’s one thing that I lacked in Magic Bullet Film: a thorough explanation of when you better use the initial “Flat” setting in the footage type drop down menu. Film also lets you protect skin tones, something other film emulation plug-ins won’t. The adjustments in terms of hue, tint, grain, etc are slider based and with realtime visual feedback, are as simple as they get. The combination allows for endless variations. Magic Bullet Film gives you a generous choice of negative films to choose from and four “print” films for output. That makes it a bit more complicated to work with, but to be honest: much more rewarding. Let’s start with the new module in all supported hosts. I also briefly tried it within Adobe After Effects. I tested Red Giant Magic Bullet Suite 12 with Final Cut Pro X. Those two apps unfortunately haven’t been updated and still only run in the Adobe apps After Effects and Premiere Pro. The Suite also includes Denoiser II and LUT Buddy. I tried every one of them and had a lot of fun, not in the least because this is the first truly professional colour grading/looks suite that I don’t have to switch applications for to work with. The new Suite includes one completely new application, Magic Bullet Film, and new versions of Looks, Colorista, Mojo and Cosmo (which also for the first time runs within Final Cut Pro X). That’s the first big change - improvement in my book - that makes Magic Bullet Suite 12 a need-to-upgrade. It preferred Adobe After Effects, Adobe Premiere Pro or FCP 7. Until recently, Red Giant’s Magic Bullet Suite didn’t run from within Final Cut Pro X. Magic Bullet Suite apps are also faster and the interface fonts finally look perfect. You don’t need Adobe After Effects anymore to get perfect skin colour or to work with Colorista. With Red Giant Magic Bullet Suite 12, you get a myriad ways to create perfect video in terms of colour accuracy, colour creativity and film emulation - in any editing environment, including Final Cut Pro X. ![]()
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![]() You can speak to the residents of the town and your strewn-about party members alike, but ultimately, you're going to need to head to the Cobasna Timberlands. You won't find much in the way of treasure (though you'll likely stumble across treasure chests containing a Sacrificial Doll, some Lux Sandals and Shamshir if you search closely enough), but the trek around this icy town is worth it simply to garner new information about just what's going on. So, let's explore first, and speak to everyone in the town to get some much-needed information on just what's going on. When you regain control, you'll have a new party member (Vic) and free reign over Kolton. When he's struck down, you'll then be treated to a lengthy series of cutscenes, which you should naturally watch before proceeding. Capell still won't be able to strike the enemy, but keep playing Precipere to ensure that the enemy is visible for the rest of the party indefinitely. Then, allow the rest of your party the ability to damage the foe. Play Precipere with Capell's flute to make the foe temporarily visible to everyone. The mysterious foe your instantly pitted against with little other explanation can't be seen by anyone in the party (save Capell), and making matters worse, not even Capell can damage the foe only he can see. Upon arriving there, more cutscenes ensue, but you'll ultimately regain control of your party in the middle of a heated conflict. Speak to the man standing aside the docked ship, and you'll be able to travel to a far-off place called Kolton. As you go back to the dock, you'll see a huge ship there. After that takes place, you'll again find yourself back at the town's inn, but there's more to see this time around. ![]() When you regain control, you'll want to head straight to the dock at the end of the port, where a cutscene will take place between Capell and the ever-bitter Edward. Green Drago Warrior, Killer Wasp, Green Drago Chief, Tequilo, Mandragora, Orthros (boss), Vermified Edward (boss).Īfter Niedzielan dies, your party will regroup at Port Zala's inn. Miraculous Medicine, Staff Paper, Black Berry Potion, Malus Wood. ![]() ![]() ![]() Meanwhile, Waits in jazz-influenced beatnik mode sounds like an inspiration for this song, from the film that launched a thousand teenage goth backpacks. Tom Waits memorably turned Heigh-Ho from Snow White into the stuff of nightmares on the Disney-themed compilation Stay Awake. Oogie Boogie’s Song (The Nightmare Before Christmas, 1993) More winningly rerecorded by Peabo Bryson and Regina Belle, Aladdin’s big ballad knocked Whitney Houston’s I Will Always Love You off the top of the US charts – incredibly, the only Disney song ever to make No 1 in the US. A Whole New World (Aladdin, 1992)Ī song that can survive being performed a d eux by Peter Andre and Katie Price is clearly a song that is exceptionally well constructed. And, like the best 60s sunshine pop, something shady lurks beneath the carefree breeziness of its tune: lyrics that offer a masterclass in passive-aggression. The writer of Hamilton, Lin-Manuel Miranda, came up with this homage to the 60s sunshine pop of the Turtles or the Association. Photograph: Allstar/Walt Disney Pictures 22. Sometimes, Disney songs work because they hit their emotional target, and sometimes they work because they’re just infernally catchy, lodging in your brain whether you want them to our not: a cod-Gallic ode to gluttony sung by a candlestick, Be Our Guest fits into the once-heard-never-forgotten-without-extensive-therapy category. Be Our Guest (Beauty and the Beast, 1991) The big ballads and comedy songs garnered most of the attention, but one of The Lion King’s greatest moments is this alternately witty and chilling evocation of evil, the music’s darkly militaristic take on a tango underlined by the distinct hint of the Nuremberg rally about the scene in the film it scores. The film that kicked off the “Disney renaissance”, The Little Mermaid was more knowing than the organisation’s previous work, complete with a villain inspired by the drag queen Divine and Under the Sea, on which jaunty calypso masked social comment and the thought-provoking lyric: “Darling it’s better, down where it’s wetter.” 24. Dr John appeared elsewhere on the soundtrack, but, produced differently, Friends on the Other Side wouldn’t have sounded out of place on his dark 1968 debut album Gris Gris. Randy Newman’s soundtrack for The Princess and the Frog offered up a series of wonderful pastiches of New Orleans music, from R&B to zydeco, but its greatest moment may be this paean to voodoo. Friends on the Other Side (The Princess and the Frog, 2009) Mother Knows Best (Tangled, 2010)įor all Disney’s increasing interest in commissioning songs rooted in mainstream pop, its films can still feature stuff that sounds like traditional Broadway, such as this fabulously hammy inventory of the world’s ills, from violence and disease to “large bugs”. ![]() ![]() He is initially reluctant to join Funeral Parlor, despite having the very ability that could benefit them, and even gets into some conflicting loyalty between them and GHQ. Initially, Shu is rather cowardly and has a very low opinion of himself. There are hints that he may have some kind of disorder, as he notes that his mind might be out of step with everyone else's, though nothing concrete is ever confirmed. He also has trouble making eye contact with people, saying that when he does, he gets nervous and forgets what he was going to say. He can also be rather apathetic and self-absorbed when scolded for making a carelessly cold remark, he can only think about his own feelings that got hurt instead of feeling bad about what he said. Just about everyone calls him out for his inability to read between the lines, from Hare, his friend at school, to Kenji, a mass murderer responsible for an infamous terrorist bombing. In fact, at the start of the series, he's only been able to forge "friendships" by going along with what other people say. He is frequently rude and insensitive, largely because he never knows what to say to others. Initially, Shu is a rather withdrawn person who usually keeps to himself, spending most of his time surfing the net and watching Egoist videos. In Lost Christmas, he appears as a 7 years old child with the same features are the main story, except he doesn't have his blond streak and is a cowlick instead, which may hint that his streak is dyed. Shu may have been blind in the epilogue, because if you look at his ears in the start of the series and the end you can see he has something in ears unlike all the other characters and in the middle of the series when he had the void his eyesight may have been fixed. Shu's hair greatly resembles his father, Kurosu's. Also, he gained the Apocalypse Virus on the right side of his face (1st Stage of Apocalypse Virus). In Episode 17, he lost his right arm which was replaced with his Void in Episode 19 after injecting himself with the third Void Genome ampule. ![]() ![]() Since he acted as the King of japan (motivated after seeing Hare die in his arms), he wore a green coat, a scarf, a white t-shirt, black pants, and a chain. For his time with the Undertakers, he wore their standard uniform. ![]() He has brown hair with a blond streak forming from the crown and maroon/red eyes that occasionally appear blood-red. He is usually seen wearing his school uniform. ![]() ![]() The Macallan takes great care to source, craft, season and care for these casks, as they account for approximately 60% of the final aromas and flavors of the whisky, according to a study commissioned by the distillery. Macallan 18 Year Old Sherry Oak Single Malt Scotch Whisky is aged for nearly two decades in a combination of sherry-seasoned Spanish oak and sherry-seasoned American oak casks. This "cut," which is among the highest of any Scottish distillery, results in a more full-bodied and and rich whisky. In addition, the curiously small stills - some of "the smallest stills within the Scotch whisky industry," according to production manager Alexander Tweedie - produce a whisky with a heavy, oily flavor.įollowing distillation, The Macallan distillers remove the heads and tails of the whisky and collect approximately 16% of the spirit to fill into casks for maturation. The copper comprising the stills acts as a catalyst, and enhances the formation of sweet esters while minimizing impurities such as sulphur. Then, the barley is fermented with a specially cultured yeast before being distilled twice through The Macallan's copper-pot stills. ![]() The Macallan 18 Year Sherry Oak Single Malt Scotch WhiskyAfter the barley is harvested in late August and early September, it is malted before being mashed in one of The Macallan's two mash tuns, a process that takes between four and eight hours. ![]() |