CineMatch Makes Camera Color Matching Easy

April 10th, 2019

CineMatch, a FilmConvert company, is an Adobe Premiere Pro plugin that will save you time when trying to match color between different cameras. The idea is to select your main camera, choose the manufacturer/model, same goes for your B camera, and let the plugin magically convert the colors.

CineMatch_01

CineMatch Makes Technical LUTs a Thing of the Past

CineMatch is a one-click plugin solution to match different camera in post-production, easily. The first version has been launched at NAB 2019, and it is pretty impressive. The plugin will first be available for Adobe Premiere Pro, with future support for FCPX, DaVinci Resolve, Avid Media Composer and more on the way.

CineMatch is not merely a set of LUTs; it contains dedicated profiles for each camera based on it sensor and not by comparing the light situation of the scene.  Currently, the list of supported cameras includes the Sony a7 III, the Panasonic GH5, the FUJIFILM X-T3, the Nikon Z 6, and the BMPCC 4K. I do not doubt that the list will quickly expand.

Who is CineMatch for? If you are an editor, colorist, DIT technician, DP, or independent filmmaker, it can save you time. The first sample footages are impressive. It doesn’t matter if you shoot on one camera in LOG and the other in a Rec.709 profile. So, choose the picture profile that suits your scene and let the plugin do the magic for you. Also, no need to rent the same camera multiple times, shoot with what you have at your disposal and apply it in post-production.

There is no information from CineMatch about pricing and availability at the moment. We can’t wait to get our hands on it and make a review – stay tuned for more info.

Do you think CineMatch can save you time in post-production? Which camera do you wish was implemented in the plugin? Let us know in the comments down below!

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Ivo NoorlanderManfred BauligJohn ParkerDan Brockett Recent comment authors
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 Guy McLoughlin
Guy McLoughlin
MemberApril 10th, 2019

I have no interest until the DaVinci Resolve version arrives, or FilmConvert cooks up an external app to spit out corrected footage without the plug-in. ( I originally thought this was going to be a new feature of their FilmConvert app )

Sean P Phillips
Sean P Phillips
GuestApril 10th, 2019

If you’re already going to take it to Resolve, why not just use ACES (unless perhaps your cams don’t have IDTs)? This seems like a solution for those quick turns in Premiere when Lumetri is sufficient for your grading needs, and matching cams is the only reason you would need to do the Premiere/Resolve round-trip.

 John Parker
John Parker
MemberApril 12th, 2019

Hi Sean, John from FilmConvert/CineMatch here :) you’re correct, power users of Resolve will be able to get similar results, but we think CineMatch will be faster and more accurate because we profile each camera down to the individual picture style level (effectively IDTs, but there’s a bit more going on underneath), and our exposure/WB/tint controls operate on the camera sensor’s response curve, so adjustments will be more accurate relative to the camera.

 John Parker
John Parker
MemberApril 12th, 2019

Hi Guy, John from FilmConvert/CineMatch here – we’re definitely going to be doing an OFX version of the CineMatch in 2020.

Alex Pasquini
Alex Pasquini
MemberApril 10th, 2019

Nice. Get this onto FCPX and i’m sold. I wonder how well it does regards to different lenses. I.e having a Canon 70-200 on one cam and a Zeiss on the other, very different colour and contrast. Even on the same same camera, same sensor. I suppose there will always be an element of manual tweaking. Looking forward to the beta!

 Dan Brockett
Dan Brockett
MemberApril 10th, 2019

Right there with you. I have been manually matching C200 Canon Cinema RAW Light with Fujifilm X-T3 F-Log and I am not much of a colorist. It appears that this plug in would make my life much easier.

Vasily Schpraga
Vasily Schpraga
GuestApril 10th, 2019

Looks handy

Nate B
Nate B
GuestApril 10th, 2019

Isn’t this what ACES already solved?

Sean P Phillips
Sean P Phillips
GuestApril 10th, 2019

Exactly. But, I would love to have the ability to do this in Premiere as well (without having to round-trip to Resolve). I wonder, though, if the process is similar to ACES in that it puts everything into a super-wide gamut before the output transform (to Rec709/2020, etc.), or if it just automates technical LUT transforms. The latter would seem like a lowest common denominator approach, and wouldn’t give you the opportunity to apply adjustments in a wide gamut, but rather in the narrower, more limited color space.

 Ivo Noorlander
Ivo Noorlander
MemberMay 9th, 2019

Actually ACES only linearises the camera’s log curve and maps its color space within the big AP0 color space. From what I understand from CineMatch it matches the full spectral response of one camera sensor to the other. Is that correct, John? Can you explain a bit more about that?

 Battle Jive
Battle Jive
MemberApril 10th, 2019

Hope they supported all types of cameras in the market (even drone/sport camera like gopro). Even old cameras. Like mine. I own a canon 5dm3 and sony A7m3.. It wont click if it is limited. If does, i will get this plug-in.

 John Parker
John Parker
MemberApril 12th, 2019

Hi there, John from FilmConvert/CineMatch here :) yes, we’re planning to extend support to the majority of cameras in our library, including GoPros and drones. One limitation is simply the dynamic range of older cameras might not allow them to be matched as accurately as we would like, so we’ll be testing thoroughly to make sure each camera profile is suitable for CineMatch.

 Manfred Baulig
Manfred Baulig
MemberApril 19th, 2019

Do you also support different red cameras, cause we have four different models (epic-X, Raven, helium & Monstro) matching alsways takes some time.

Ian Hunter
MemberApril 11th, 2019

I’m more concerned that we’re still using the expression “plugins”

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