CineMatch Now Supports HDR Workflows in Premiere Pro

Software News

by Jeff LochMarch 10^th, 2022

CineMatch has just announced that their famous camera-matching plugin now supports HDR workflows in Adobe Premiere Pro. This addition, which was already available in Final Cut Pro, allows you to work with Rec.2100 HLG or Rec.2100 PQ color spaces. Let’s take a closer look at it!

CineMatch is a convenient plugin that solves a problem we’ve all had: easily matching different camera models from various manufacturers. Indeed, it can quickly become a nightmare if you don’t have the time or color correction skills to match cameras with varying picture profiles, color science, and settings.

Even different camera models from the same manufacturer can show differences. I bought a copy of the plugin and couldn’t be happier about the time saved matching a Canon EOS C70 and an EOS R.

Last year, CineMatch released its plugin for Final Cut Pro users. This version already had HDR capabilities, but it was a missing feature for Adobe Premiere Pro users until now.

CineMatch supports HDR workflows in Premiere Pro

CineMatch released a plugin update that now supports HDR workflows in Premiere Pro. The company added two new Output Transform options that support Rec.2100 HLG and Rec.2100 PQ color spaces.

To do so, you’ll need to set your Premiere Pro Sequence to the correct working color space. Next, you have to adjust your HDR Nits levels. Adobe recommends 203 (75% HLG, 58% PQ). Lastly, report your Sequence settings inside CineMatch, and you’re good to go. You can take a look at the entire Workflow guide on CineMatch’s website here for a precise step-by-step tutorial.

Also, this latest update includes support for the Dolby Vision profile on the iPhone 13 Pro. If you missed it, watch how the company tried to match the iPhone 12 Pro to the ARRI Alexa.

Price and availability

CineMatch camera packs and updates are always free, and so is this one for Premiere Pro users and iPhone 13 Pro shooters. You can download this update directly on CineMatch’s website here.

Do you often deliver projects in HDR HLG/PQ? Are you struggling to match different cameras? Don’t hesitate to let us know in the comments down below!