With CineMatch from FilmConvert you can match footage from different cinema, mirrorless and DSLR cameras in a few simple steps.
When it comes to color grading, one of the most tedious things to do is match up different camera sources in the class. This challenge is not only part of low budget projects, but also of any type of production. Cameramen mix ARRI with RED, Sony with Panasonic, film with digital.
The Last Jedi by DP Steve Yedlin shot half of his pictures on film and the other half digitally and was able to coordinate the two formats seamlessly.
However, not every filmmaker will have access to the most talented colorists or film processors there is.
This is where programs like CineMatch come into play, a plug-in for camera adjustment available for Premiere Pro and DaVinci Resolve. A version for Final Cut Pro X will be available soon.
If the name sounds familiar, the software has been in development for four years and we have followed its progress through 2017. The full version of CineMatch is now available.
CineMatch vs. FilmConvert Pro vs. nitrate
FilmConvert is also behind FilmConvert Pro, a popular film emulation tool that allows you to apply different types of footage to your video and customize them however you want. With the plugin, you could easily match multiple cameras with preferred footage such as Kodak 5207 or Fuji 8543. The downside is that it works via sRGB processing so all corrections are tied to the base note.
With the updated Nitrate, the emulation has been more flexibly controlled by switching to Cineon log and log processing, giving you more control over the shadows and lights without losing details.
The special thing about CineMatch is that it is a tool that can be used to adapt one camera to another at sensor level. Similar to Nitrat and FilmConvert Pro, CineMatch has special camera packages that you can use to convert your footage from a single log or RAW image profile to another. The camera packages are used to let the plugin know the exact image profile before applying the new color science.
Suppose you take a picture of SLog3 with one camera and C-Log with another. With CineMatch you can use the Sony camera package to fine-tune everything on SLog3. If you want to match Slog3 with ARRI Log C, you can do that too.
Essentially, you can use CineMatch to match log sources with log targets. Cool right? So if you have a favorite LUT designed for a specific camera, you can use CineMatch to match the cameras and then apply the LUT to the timeline instead of manually correcting the footage.
That saves a lot of time.
CineMatch offers camera packages for many of the major camera manufacturers including RED, Sony, Panasonic, Blackmagic Design, Canon, Nikon and even DJI and GoPro.
To further correct the image, the plugin has tools to adjust and adjust clips, as well as options to correct exposure, white balance, or mismatched lenses. There's also a false color view that can help you identify areas that need adjusting, as well as an HSL selector for changing individual colors. FilmConvert also told No Film School that CineMatch is more accurate than the color space transformation or ACES conversion in DaVinci Resolve.
The cool thing about CineMatch is that you can still use it for a single camera project. For example, let's say you shoot Sony and prefer ARRI's colors. You can use the ARRI Alexa camera package to take advantage of skin tone rendering. Better still, you can use CineMatch and Nitrate / FilmConvert Pro together.
Whether it is software that matches camera sources or AI with machine learning that has color qualities, technology today is heading in the direction of making our work a little easier.
CineMatch is available now for Premiere Pro and Resolve for $ 259. The company also offers a free trial if you want to try it out first before committing.