CineMatch Makes Camera Color Matching Easy

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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Guy McLoughlin
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Guy McLoughlin

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
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Sean P Phillips

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
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John Parker

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
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John Parker

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

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Alex Pasquini

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
Member

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
Guest

Looks handy

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