CineMatch

[QuickHitRecord]

From the creators of FilmConvert:

Match footage from a range of digital cinema cameras, mirrorless and DSLRs in a few clicks.

Seems like this would get a lot of use. But isn't it already available for free in Resolve (Color Space Transform)?

[QuickHitRecord]

I'm no colorist. I think that this plugin may be better than anything I could pull off in Resolve, even using Color Space Transform. From a recent shoot with three very different cameras:

[John Parker]

Hey there, John from FilmConvert here. Thanks very much for checking out CineMatch! If anyone has questions about the software, be sure to download the free trial and check it out - as you noted, we've included some significant improvements over the CST workflow, so it's worthwhile trying it out to see the difference.

[mcgeedigital]

I have it and agree it works very well.

[QuickHitRecord]

John, are you able to use the camera profiles you already have created for FilmConvert? In other words, will we see the cameras supported in FilmConvert all eventually be ported over to CineMatch?

[John Parker]

John, are you able to use the camera profiles you already have created for FilmConvert? In other words, will we see the cameras supported in FilmConvert all eventually be ported over to CineMatch?

CineMatch initially supports only Log and RAW profiles on the cameras in our library, as we need to ensure the matching engine has enough data to create an adequate match, so any camera that is capable of shooting in a Log profile will eventually be supported.

[ahalpert]

I'm no colorist. I think that this plugin may be better than anything I could pull off in Resolve, even using Color Space Transform. From a recent shoot with three very different cameras:

what are the cameras?

[QuickHitRecord]

what are the cameras?

Red One MX, Canon C200, BlackMagic Pocket 6K. But can you tell which is which?

[NorBro]

I'd say the middle one is the old RED as the sensor is just destroyed during the correction (see below).

Then the Pocket for the wide and the C200 for the other CU (I'm thinking the Canon would be assigned to handle the skintones CU, but maybe not to offer more of a challenge for this test).

Clip.jpg

[NorBro]

Actually also adding a curveball.

If the C200 didn't shoot CRL, there's a possibility the one with the noise is the Canon and then I'd move the RED to the wide and the Pocket to the other CU.

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The fact-of-the-matter is it's difficult to tell, which is the point - but now I'm interested in knowing which camera is falling apart so quickly because it obviously didn't like whatever it was done to it.