Magic Grade - Its REAL! Questions Answered & NEW Features

0:00 What's going on folks?

0:01 It's Alex here and yes, Magic Grade, it's real.

0:06 It is real.

0:07 I just didn't put two and two together and I

0:09 did the announcement on April the 1st like an idiot.

0:12 Wasn't intentional.

0:14 Sorry about that.

0:16 But it is indeed real.

0:18 So, I'm here today.

0:20 This is like a really open, honest, uncut,

0:23 no fancy YouTube nonsense, no salesy, pitchy kind of video.

0:27 It's just I've got some questions.

0:29 I've made some progress.

0:30 I've got some new features.

0:32 I'm going to answer your questions and show you some stuff.

0:38 So, let's crack on with it.

0:40 First of all, is it real?

0:43 Because you all asked.

0:44 I've kind of already answered that.

0:45 Yes, it is.

0:46 It is real.

0:47 It's something I've been working on for quite some time.

0:49 It's kind of been built in a really backwards way.

0:52 I didn't exactly know what I was building when I started.

0:55 I've just been playing.

0:56 I've been learning.

0:56 I've been trying to figure out collory stuff.

0:59 And it's it's come together in a very, very strange kind of way.

1:04 But now I really know what it is and I'm really happy with it

1:06 and this is Magic Grade and this is what's going to be available at some point.

1:12 Release date, that was another question.

1:14 This is actually I've got a question for you lot.

1:17 So, when do you want it?

1:21 Essentially.

1:22 I could continue working on this and get it

1:24 to a point where like the website is bang on.

1:26 I've got the some other things I need

1:28 to work on which I'll show you in a second.

1:30 That could all be done.

1:31 And the guides that'll be ready and it'll be polished.

1:35 I'll do loads of beta testing with people and all this.

1:38 We could release it, you know, in 6 to 8 weeks.

1:40 Or I could release it in like a week or two with the notion that if

1:45 there might be a few issues here and there and then we can just go,

1:48 "Okay, you've bought it.

1:50 It might be a bit ropey in places,

1:51 but we'll work on it." The only thing is it's slightly

1:53 bad timing because I'm heading out to NAB literally in a week.

1:57 So, if I was to try and get it, I would be away,

2:00 which would then be difficult for me to fix any issues.

2:03 So, I'm kind of open to your your input on that, to be honest.

2:07 Would you be happy to get it a bit earlier

2:08 knowing that there might be a little bit of work,

2:11 but then you can maybe contribute to getting it to the best place it can be,

2:15 or would you rather I continue to polish it in the back Right,

2:18 another question, and I'm going to show you some new features.

2:21 Someone asked in the previous video,

2:23 "Is this just on the edit page?" cuz I demonstrated it on the edit page.

2:27 The answer is no.

2:28 It will potentially work in the future in the Fusion page.

2:31 Currently, it crashes.

2:32 I know why it crashes.

2:33 I just need to fix it, but it also works really well in the color page.

2:37 I like to demo it in the edit page because that's kind of like a whoa,

2:41 color grading on the edit page,

2:42 but it does it works really well on the color page, too.

2:45 So, let's jump into that.

2:46 I'll give you a quick demo.

2:47 I want to show you some new stuff.

2:48 So, in my testing, this is how I've been doing it.

2:51 We've got a bunch of clips and they have nothing on at the moment.

2:55 So, what I'm going to do is just grab Magic Grade,

2:58 and then we'll grab Magic Texture, and then let's just grab all these clips,

3:03 and we're going to right click, or we could middle mouse click,

3:06 and we're going to apply the grade.

3:08 So, now all of these clips have just got

3:10 blank versions of Magic Grade and the texture on here.

3:14 Now, there's a little shortcut you can do on the color page,

3:16 and I only learned this recently because of doing all of this stuff,

3:20 and it's shift and F,

3:22 and then you get a full-screen preview with the effects library.

3:26 And then if you use the up and down arrow keys, you can jump between your shots.

3:31 So, now we can just start working.

3:33 So, let's just make sure we're on our OpenFX overlay, which we are.

3:37 This looks different.

3:38 I'll come back to all of this in a moment.

3:40 Let's just do a tone.

3:41 Let's go with the classic film, and we'll do our on-screen.

3:44 So, we're going to hold control, drag up and down.

3:47 Let's get our exposure.

3:48 Let's go a bit brighter for this.

3:49 White balance, alt and control, click that.

3:53 Oh, it's gone a bit cool.

3:54 Let's warm that up.

3:55 And hold shift, some saturation.

3:59 Something like that.

4:01 That looks all right to me.

4:03 Now, we can also do control and shift to adjust the darks, mids, and lights.

4:07 So, before it was just lights and darks, now we can do the mids as well.

4:11 So, if we click on this bottom section and drag up,

4:13 now we're technically reshaping the contrast curve here,

4:16 so it has a knock-on effect across the whole image,

4:18 but I don't think that's a bad thing.

4:20 I think it works better anyway.

4:22 So, let's just amend that, and we can also drag up and down.

4:25 There you go.

4:26 Now, we can also hold the shift and alt to do vibrance if we want.

4:31 So, that's slightly different to saturation.

4:34 And there we go.

4:34 So, we've done our basic controls.

4:36 These Open FX plugins differ from the Fusion stuff that I've made before.

4:40 With the Fusion macros, what you're doing is you're saying like,

4:43 "Here's the transform node, just give access give people access to the zoom,

4:49 the size, or the position." And that's You're not writing anything per se,

4:53 you're just kind of saying, "This tool already exists.

4:57 There you go." With Open FX,

4:58 what you're doing is basically like at an RGB pixel level,

5:02 you're saying, "What color is that one singular pixel?

5:05 Let's change the color of it." And that's it.

5:10 So, if we don't like the way saturation works, we can change it.

5:15 If saturation doesn't quite give us the filmy saturation dense

5:18 thick kind of look that we want, we can change it.

5:21 Contrast doesn't work in the way that we want, we can change that, too.

5:26 So, we can take the stuff and make it nicer, which is really, really cool.

5:30 That's why I decoupled contrast and saturation,

5:33 cuz usually when you increase contrast, you get some saturation.

5:36 You increase saturation, you get more contrast.

5:38 I've separated the two,

5:39 so you can have really punchy contrasty images with no saturation,

5:44 essentially, which almost gives you like a bleach bypass kind of look.

5:48 Let me give you a demo.

5:49 Let's put loads on this.

5:51 There you go.

5:52 Like it almost looks like we've lost saturation

5:57 just because we've given it loads of contrast.

5:59 Now, I think for that shot, that actually works really well.

6:02 It looks cool.

6:03 But if you wanted to give it some saturation to bring it back, we can.

6:06 And then if I'm happy with the saturation,

6:07 but I want to adjust the contrast, I can.

6:11 And we're not adding or removing saturation by by changing the contrast.

6:16 On that note, someone said like it shouldn't be

6:18 too hard to add noise reduction in as well.

6:21 And I was like, noise reduction is really hard.

6:23 And I think that was kind of the perception that I

6:25 could just drill into the noise reduction that already exists and go,

6:28 "Yeah, there you go.

6:29 Now you've got controls for that." It's not the case.

6:31 We'd have to rewrite our own version of the noise reduction,

6:34 which is really hard.

6:36 Because noise reduction says "There's nothing there.

6:40 Imagine what was there and put it back in." Just tricky.

6:46 Essentially.

6:47 Now, we've got some new stuff.

6:48 So, first up, at the very top here, we've got mode.

6:51 We're in normal mode.

6:52 We also now have a color mode.

6:54 As we change to different modes,

6:56 our little key down here in the bottom left will change.

6:59 This is color control.

7:00 So, this was in the previous version,

7:02 but it was just like a dedicated keyboard shortcut,

7:04 which meant you could only do one thing.

7:06 I then realized that we can reuse all

7:07 of the keyboard shortcuts if you change modes.

7:10 So, then we can do loads of different stuff.

7:12 Now, you can't change that mode with a keyboard shortcut,

7:14 which I'd really like to be able to do.

7:16 You know, like shift and F2 to jump to a different mode.

7:19 And it means you don't have to move your mouse over to change that mode,

7:22 but you can't do that annoyingly.

7:25 It's actually interesting, just being up front, what we're doing here,

7:28 what I've done with this open effects,

7:30 is we're basically hijacking the Wacom interface.

7:34 So, within the open effects parameters,

7:36 it's designed so that people could build apps to be used with a tablet and pen.

7:40 What we're doing is just jumping on that, which is why we

7:44 get the control shift and alt modifiers with pen up and pen down.

7:48 And that's allowing us to change it.

7:50 Which does means this, in theory, will work really well if you use a Wacom.

7:54 There was another quick question someone asked, will it work on the iPad?

7:57 And it would be amazing if it did,

8:00 cuz it'd be a really great sort of showcase and use case for it.

8:03 Unfortunately not though,

8:04 because you can't run OFX plugins on the iPad version of DaVinci Resolve.

8:09 I don't think it's a Blackmagic limitation, it's an Apple thing.

8:12 They don't allow you to run other stuff.

8:15 They lock everything down, which is a real shame.

8:18 Anyway, color.

8:19 So, this is our color mode, and color mode tallies with this color drop down.

8:24 So, this There's a bunch of different ones in here.

8:28 I'll come back to the naming structure in a moment,

8:30 but we can go with like a balanced boost,

8:32 or we can go to bold and dense, or we can go to skin tone, or blue shift.

8:37 And they just have different color kind of looks.

8:41 Let's go with a saturated film.

8:43 There you go.

8:44 I think that It's a bit oversaturated, but it looks quite cool.

8:47 But then we've got shift, control, alt, and then shift and alt to do cross talk,

8:52 aka the RGB mixer, saturation, density, and hue.

8:56 So, let's start off with hue.

8:58 Let's grab this pink over here.

9:01 Grab the pink.

9:02 It will say, well, red.

9:03 And then I can drag up, down to change the hue of the red.

9:08 So, again, we can just do it on screen.

9:09 You don't need to go click on a qualifier and then find the right thing to move.

9:13 You just go, there you go, we're changing the hue.

9:16 If you want to change the saturation, we hold control.

9:18 Let's click somewhere down here.

9:19 Green's always show up as like oranges.

9:21 Green is mostly orange, which is weird, but it works.

9:25 We can drag the saturation up and down,

9:28 so we can kind of get the saturation out of the green,

9:31 out the stuff in the background.

9:33 If we hold alt, we We density, so we can do the same thing.

9:37 And then we've got crosstalk.

9:39 Now, crosstalk is another name for the RGB mixer, essentially,

9:43 and I didn't know a huge amount about

9:44 this, and I started playing with it and was like,

9:47 "Whoa, I like this." So, this is actually one of my favorite things.

9:52 Let me show you it on a different image cuz kind

9:54 of need some explanation if you've never heard of it before.

9:56 So, this is the RGB mixer within the default version of DaVinci Resolve.

10:00 You've got red.

10:01 Red is made up of red, green, and blue,

10:03 but the moment it's all red with no green and no blue, which makes sense.

10:07 That's why it's red.

10:08 If we pull red down, we can pull the red out of red.

10:12 So, now red has nothing in it, which is why there's no red.

10:16 By default, what you'd do is you turn

10:17 this auto on, and then as you pull red down,

10:20 it puts more green and more blue in the reds.

10:24 So, it balances it out kind of thing.

10:26 You can pull the reds out, and you get more green and blues within the reds.

10:30 Long story short.

10:31 Now, if I was to grab the sky and let's do some hue adjustments,

10:34 we could make the sky a bit more cyan,

10:36 kind of less bluey blue and a bit more turquoisey cyany blue.

10:41 But if you have a look, nothing else changes.

10:43 So, it can sometimes feel a bit stuck

10:45 on, like you've kind of just changed the sky,

10:47 but you haven't changed anything else.

10:50 Also, if you've made any changes to color and you want to reset, you just reset.

10:54 That will just work whichever mode you're in.

10:56 If we do shift for crosstalk, click on the sky and drag down, it goes teal.

11:02 We get that cyan.

11:03 But if you look, watch this red area here.

11:08 That also changes.

11:09 The balance of all the other colors change.

11:12 So, you just get really nice filmy sort of tones because as you pull

11:16 the sort of the red or the green or the blue out of different things,

11:20 it affects the whole image.

11:22 So, the whole image can just look nicer.

11:25 Input and output device transform support.

11:28 Someone was asking about inputs and outputs.

11:30 Basically, CSTs.

11:32 Does it do color space transforms?

11:34 And again, this is something I'm really open to your interpretation on.

11:38 My immediate thought is no,

11:40 and I haven't built any sort of CSTs into this at all.

11:44 I've been working on it in a in DaVinci wide gamut.

11:48 So, I've been Let me show you.

11:51 I've just been using color management,

11:52 YRGB color managed, HDR DaVinci wide gamut intermediate.

11:56 That's the space I've been working in.

11:59 And then we can just bring any of our footage in.

12:01 If it's Blackmagic RAW, it just works.

12:03 If it's anything else, you could right click, input color space,

12:07 and then you just tell it what color space it is,

12:10 and then it just sort of works.

12:12 Alternatively, you can jump over to the color page,

12:14 and obviously you could use a CST.

12:17 Now, there's a very particular reason I've not built that in.

12:21 Because the Resolve version's really good.

12:24 And if I try and take that on, it's a massive thing to A, make sure it's right,

12:28 B, continually update it when new cameras or versions change,

12:32 and all that sort of stuff.

12:33 And it does have to be right.

12:36 A lot of Magic Grade at the moment is It's kind of It's interpretable.

12:40 Like I've said, this is how I think saturation works,

12:43 or this is how I like the contrast to work.

12:46 But I can change it, and if you think there's better ways,

12:48 we can kind of adapt it.

12:49 CST has to be right.

12:51 You have to go, this camera transforms to this.

12:54 This log format transforms to this.

12:56 And it has to be 100% accurate, otherwise it causes issues.

13:00 That's a massive undertaking for me as like a solo dev man to take on.

13:04 Especially when as mentioned, it already exists, and it's already really good.

13:09 CSTs exist, and they're already really good,

13:12 and the automatic Resolve management works.

13:14 And it's really good.

13:16 Now, as mentioned, I've been doing

13:18 this in DWG with log footage and whatever else, but it will still work in 709.

13:24 Some of the sliders will be different.

13:26 Like they will do the same thing,

13:29 but the amounts will change depending on whether

13:31 you're in 709 or whether you're in wide gamut, but it will fundamentally work.

13:37 But yeah, I'd love to know your thoughts on that.

13:39 That's my thinking.

13:42 Blackmagic have done a really good job,

13:43 and if we can keep them updating it and making it good,

13:47 it means we I don't have to, which means I can keep the price

13:50 down cuz I don't have to do as much of that sort of stuff.

13:53 Couple more questions, and then I've got something else to show you.

13:56 Someone asked mid detail, is it worth adding?

13:59 Yes, added.

14:00 I'll show you that in a little while.

14:02 Processing power, more or less or equal compared to doing

14:05 the same thing with regular nodes on the color page.

14:07 This is a a decent laptop I'm running on at the moment,

14:09 but it all runs really smoothly.

14:11 I did some render tests earlier on this timeline, which is all Blackmagic RAW.

14:16 The first one had nothing on it,

14:19 and the second one had all of my grain, halation, and some looks.

14:23 Exactly the same times.

14:25 On a different timeline, which is all like heavy 10-bit 422 4K footage,

14:31 with nothing it running 19 seconds,

14:33 with mine again forge dumping everything on, 35 seconds,

14:37 and then using the film look creator just as a benchmark,

14:40 that running in 48 seconds.

14:41 So we're somewhere in there.

14:44 Let me show you something else that is new,

14:47 and then we'll add loads of questions

14:48 about copying and pasting and saving presets, which is also new as well.

14:52 So I'll show you that in a second.

14:53 Right, we're already on this image.

14:54 We've got punchy, let's give it a bit of color.

14:57 And let's just go with that.

14:59 Now, we've also got look.

15:00 So looks are different from color.

15:03 Color is your hue versus hue,

15:04 your cross talk, your saturation, and your density.

15:07 It's basically going, look at this color and make it different color.

15:11 Essentially.

15:12 Look is a curve.

15:14 So we're actually adding or amending the the curves, the RGB curves.

15:19 So we've got like a cinema one or a film one.

15:23 These are all rough.

15:24 These are more me just playing around.

15:26 A rose one which gives you like a little rosy tone kind of thing.

15:29 Now naturally, we've got a curves mode.

15:31 Now this is brand new.

15:33 Love this.

15:33 Really happy with this.

15:35 So let me just turn the look off at the moment.

15:38 Down here we've got print controls.

15:39 RGB shift control alt.

15:44 If I hold shift, we get our three rows.

15:47 If I click on the bottom and hold,

15:50 we're now doing the red shadows and we can see my curve appear.

15:53 So then if I lift up, we can add red into our shadows.

15:57 And if we pull down, we can remove red from our shadows which looks wicked.

16:02 Like if I pull the red,

16:04 we get a really nice kind of bluey greeny cyany sort of look.

16:08 That cinema sort of look.

16:10 If I was to click in the middle, can add remove from the mids.

16:14 And if we click at the top, add remove reds from the top.

16:17 If we do something like shift and control for orange,

16:21 lift in the middle which is usually where the skin should be,

16:24 we can make that a bit nicer.

16:27 And then maybe let's just for the sake of it put some pink in the highlights.

16:32 You can sort of see it here.

16:34 And now we've made that look.

16:39 A couple more questions then we'll get onto

16:41 the big one which was stream deck integration.

16:45 Yep, in theory, it's just control shift and alt

16:47 so you could just assign them to something else.

16:50 And you'll be good to go.

16:51 Right, last but not least,

16:53 presets and something else I want to show you because it's really really cool.

16:57 And again, I'm going to be nice and honest and just explain this entire process.

17:01 So not too long ago when I was making this, I

17:05 felt to me like it needed all these really cool presets.

17:08 It was going to be very preset driven like here's

17:10 the presets to allow you to do these cool things.

17:13 And then I started to figure out a lot

17:14 of the UI stuff and I realized that's the USB.

17:16 That's the big selling point.

17:18 It's being able to do this stuff really quickly.

17:21 The drop downs help,

17:22 but it's being able to do stuff really quickly on the screen.

17:24 So, then I was like I'm less bothered about some of the preset things.

17:29 And then I got thinking, well, if people are making their own looks,

17:32 they're going to want to save these as presets.

17:35 Now, you can do the obvious stuff like on the color page, you can take a still.

17:42 That will go within your gallery.

17:43 That will house all of this so you then you can apply to other clips.

17:47 You can obviously copy them from one to another.

17:50 On the edit page, if you've applied a magic grade to a clip,

17:56 you can then do a copy,

17:57 head over to this one, alt and V for your paste attributes and do the plugins.

18:02 That will work, but that wasn't good enough.

18:06 So, we've built a whole thing about presets and stuff and LUTs, too.

18:13 Huh?

18:14 Which is cool.

18:15 So, down here we have an export and import routine.

18:19 Export presets, export LUTs, import preset,

18:22 import folders, and then browse presets.

18:25 So, earlier on I very quickly showed you color, utilities, film.

18:29 If you go to browse presets, there is a folder and you've got three folders.

18:34 Master is this master preset.

18:37 This allows you to configure everything within the app

18:40 so you can have these like top-level presets.

18:42 Ignore the fact that I've got one called Becky and test boy.

18:45 I was testing.

18:48 But then they can figure everything.

18:50 But then you've got looks and colors.

18:52 So, if you want to just have make your own looks, which is your curves, you can.

18:56 If you want your own colors, you can have your own colors.

18:59 You can make your own folders within here

19:00 and then they will appear within the necessary area.

19:04 So, let's go to colors, utility.

19:06 Here they are.

19:06 So, we've made our own file formats.

19:08 We've got an MG color.

19:09 It doesn't store everything like you probably don't want the white

19:12 balance in there cuz you're always going to change the white balance,

19:14 so it doesn't do that.

19:15 It doesn't do exposure and this, that, and the other,

19:17 but all the main stuff it does.

19:19 So, then we can export this preset.

19:21 I'm going to be lazy and just dump it on my desktop.

19:24 And then if we import the preset, it will say it's imported.

19:28 You do then need to restart DaVinci Resolve to have them appear,

19:31 but then it will appear in the relevant area, which is really cool.

19:34 You can import a folder,

19:36 so if someone sends you a folder that has a bunch of stuff,

19:40 so it's got some looks in it, some colors, and some master presets,

19:43 as long as the folder structure within that folder is good,

19:46 it will do everything else for you and kind of update your entire system.

19:50 Now again, a nice honest moment which you may want to hear, I don't know.

19:55 So, I was thinking about this from a from our point of view,

20:02 and then also from other creators' point of view and colorists or whatever.

20:06 Lots of people sell LUTs, right?

20:09 Now, I'm not expecting Magic Grade to kind

20:10 of to take over and people want to make loads

20:12 of stuff for it or anything crazy like that, but I

20:15 did think it would be cool if people could.

20:18 So, if you make something cool and you

20:19 want to share it for free, that'd be nice,

20:21 but then I thought it would also be nice

20:23 for people to be able to do something a professional,

20:26 for example, could tweak some things

20:28 and then sell some additional stuff for this.

20:31 So, everything you export from here, if we load one of these up,

20:35 let me just do bold and dense, for example,

20:38 in the color, it updates all of these sliders.

20:41 So, this one just has mostly saturation.

20:43 So, then you can see what has been done.

20:47 But if I go to this one, there's a test one in color called locked test,

20:52 and as you can see, it's changed things, but the sliders don't update.

20:57 So, then these just become additive.

20:58 You can still come and customize them, you can still make changes,

21:01 but you can't necessarily see what that locked one did,

21:05 which means if people wanted to kind of package

21:08 them up and make them a sellable thing, people can.

21:13 Which is neat.

21:14 You may also want to use a look you've created elsewhere.

21:17 So, there is an ability to export a 3D LUT.

21:21 So, let's just dump this on the and then you can re-import

21:26 that into DaVinci Resolve and it'll have all of your color changes.

21:29 Obviously, the grain and the halation stuff won't come through,

21:32 but everything else will all of the color changes will.

21:35 So, that's an option as well.

21:37 And then the obvious thing came about, well,

21:39 how are we going to figure out these looks?

21:42 How are people going to create their own and share them

21:44 for free if they want to do that with other people?

21:46 And how will people also then going to be able to share

21:49 paid ones if that's what they want to do as well.

21:52 This is a work in progress, but there's going to be something like this.

21:57 So, once the Magic Grade website goes live,

21:59 there's going to be a preset community.

22:01 And you'll be able to list your presets.

22:04 So, I'll figure out some way of you create a login, you create a profile.

22:09 You can list them, you can do like before and afters, they can be packs,

22:11 they can be singular things,

22:13 and then we'll figure out a way to either do them for free,

22:16 where people download them, they can see everything you've done,

22:18 they have access to all of the sliders,

22:20 or you can lock them up and then you can sell them for a price.

22:24 Let me know what you think about that.

22:25 Obviously, lots of people will just say,

22:27 "I want everything to be free." And I understand that, but I thought this was

22:32 a cool way for for other people that spend the time, they could go,

22:36 "I'm going to spend a bunch of time

22:37 and like make realistic film stocks with this and actually

22:41 try and make them look like old film." And then if they put in a bunch of time,

22:44 they should be able to make some money back off them.

22:46 And it still benefits us cuz I'm like, "Yeah,

22:48 I'll pay you 10 bucks cuz you you made some really cool stuff." I

22:54 don't know if the website will be live when the actual product goes live,

22:58 but I'm trying my best.

23:00 We shall see.

23:03 And the last one, I don't have an answer.

23:05 The this came up a bit.

23:07 Price.

23:08 How much is it going to be?

23:09 It's not going to be 30 bucks.

23:11 Put a lot of that cuz a lot of work has gone into this and there's lots of work

23:14 that will continue to go into this to make

23:16 it the thing that I really want it to be.

23:18 But it's also not going to be hideously expensive either.

23:21 The color world is kind of strange.

23:23 It's it's fair a lot of the times cuz you know,

23:25 if someone's put 20 years into an industry,

23:28 they deserve to charge a certain amount

23:29 for the knowledge they have and you know,

23:31 the things they've they they've created.

23:36 I can't remember the point of that.

23:37 Oh, yeah.

23:39 That's what I kind of thought.

23:41 My my point was this can't be 30 bucks, but it's also not going to be 500 bucks.

23:46 It's going to be less than 100 bucks.

23:48 It's going to be somewhere between 30 and 100 bucks.

23:53 I need to figure it out really cuz obviously we've

23:54 got the time that we'll need to do some better support.

23:57 We need to get the website up and running.

23:58 We'll need to do some sort of kind of moderation with all

24:01 of this sort of things that will be an ongoing thing.

24:04 And then maybe I'll try and throw some money at some colorists and see if

24:06 they can make some cool stuff for us so we've got some additional things to use.

24:09 I don't know.

24:10 We need to figure all of that out.

24:11 But that this is where it's going.

24:15 That's the idea.

24:16 That's the community.

24:18 That's the service.

24:19 That's everything.

24:20 One other thing I forgot to mention which is relevant before we go away.

24:23 A lot of the time I when I do

24:25 these, there's always a paid version and a free version.

24:27 I can't really do that with this because again, it's an OpenFX plugin.

24:31 It just you can't really you can't do that.

24:34 It's just there's too much work involved to get them to get them out.

24:37 So you can't really do free versions.

24:38 However, there will be a free trial because

24:41 refunds are really weird when you're doing digital products.

24:44 And if I wanted to be able to like

24:46 take away someone's license after they've paid for it,

24:48 then we need to get servers and then if you log in and you've got no internet,

24:52 is it going to work?

24:53 And I don't want to do all of that.

24:54 There There a license key, but it's like once.

24:57 You use it once and then it will never check again, essentially.

25:00 And you can install it on as many machines as you like,

25:02 so you can install it on your laptop,

25:03 on your computer, on your desktop, and whatever.

25:05 And if you're on a plane,

25:06 it's not going to try and connect, and then you go, "Oh,

25:07 I can't use the thing." I don't want any

25:09 of that nonsense because it's dumb and it's annoying.

25:14 Essentially.

25:15 Oh, I'm on another tangent again.

25:16 I always forgot what I was going to say.

25:17 But, if we come down to the bottom, you get a 7-day free trial,

25:22 and then if you like it and you want to buy it, you can buy it.

25:25 And if you don't, just don't.

25:27 Just go go do something else.

25:29 And no hard feelings.

25:30 It's all good.

25:32 Oh, we have also we will have, when it works, like an actual update thing.

25:38 It kind of works.

25:39 The moment it's just if you're out of date, it doesn't know what to do.

25:42 It just tells you you're out of date, which is not that useful, really.

25:45 But eventually, it will just you'll be able to go and download the thing.

25:48 This was a longer video than I intended.

25:51 I'm not very good at sales pitches and all this crap,

25:53 but that's the thing I've made.

25:55 I think it's quite good.

25:56 I'd like to know your opinions.

25:57 If you can leave them down in the comments below, please.

26:00 Thank you.

26:01 I'm going to go have some food now.

26:05 Bye.