CineMatch

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:





 
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.
 
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?
 
QuickHitRecord said:
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?
Click to expand...

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.
 
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
 
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.

___

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.
 
You're right on the money with the BlackMagic. But surprise, the second frame is the C200 (shooting CRL) and the third is the Red One MX. I think we've disagreed about the level of noise coming off of the Canon sensor in past threads but maybe now you can see why it's a problem for me. This was at ISO 800. The decade-old Red sensor, also at ISO 800, is much cleaner and the noise that is there seems to be monochromatic and very fine.

I think I may be sold on CineMatch. Just hoping to see more cameras supported, like in FilmConvert.
 
QuickHitRecord said:
You're right on the money with the BlackMagic. But surprise, the second frame is the C200 (shooting CRL) and the third is the Red One MX. I think we've disagreed about the level of noise coming off of the Canon sensor in past threads but maybe now you can see why it's a problem for me. This was at ISO 800. The decade-old Red sensor, also at ISO 800, is much cleaner and the noise that is there seems to be monochromatic and very fine.

I think I may be sold on CineMatch. Just hoping to see more cameras supported, like in FilmConvert.
Click to expand...

That's interesting. Have you ever done a side by side with another C200 to make sure there isn't something funky going on with your copy? That seems like a LOT of noise for iso 800 in such brightly lit scene, even when shooting RAW.
 
QuickHitRecord said:
You're right on the money with the BlackMagic. But surprise, the second frame is the C200 (shooting CRL) and the third is the Red One MX. I think we've disagreed about the level of noise coming off of the Canon sensor in past threads but maybe now you can see why it's a problem for me. This was at ISO 800. The decade-old Red sensor, also at ISO 800, is much cleaner and the noise that is there seems to be monochromatic and very fine.

I think I may be sold on CineMatch. Just hoping to see more cameras supported, like in FilmConvert.
Click to expand...

I really always had a feeling your camera was faulty because I've read your consistent concerns about it (consistency is good) the past few years...

I'm surprised CRL broke apart so quickly.

For the record, I think Canon cameras introduce a lot of chroma noise during grading and complained about it again in August regarding the R5, but CRL has been pretty flexible, IMO.
 
BTW, the Americans make great cameras!

That thing was released around the end of the Industrial Revolution.
 
ozmorphasis said:
That's interesting. Have you ever done a side by side with another C200 to make sure there isn't something funky going on with your copy? That seems like a LOT of noise for iso 800 in such brightly lit scene, even when shooting RAW.
Click to expand...

I have yet to rent a second body for a two-camera shoot, but I've seen footage from other C200 shooters that seems to be consistent with the noise levels that I am seeing, unfortunately. Maybe it differs from body to body? But in my experience, cCanon bodies are usually pretty consistent (unlike BlackMagic).
 
NorBro said:
I really always had a feeling your camera was faulty because I've read your consistent concerns about it (consistency is good) the past few years...

I'm surprised CRL broke apart so quickly.
Click to expand...

Yeah, it's not great. Which is why I allocate time to apply noise reduction to every raw clip (these will receive the same before final export).

After this shoot, I backed up all of the raw footage from all three cameras -- the amount of recording time on each camera was about the same. The BM footage took 9 minutes to transfer, the Red footage took 8 minutes, and the C200 CRL files took almost three hours. Then I loaded them up until Resolve, and the C200 files are the noisiest of the bunch by far, and the hardest to play back. The C70 can't come soon enough!
 
Another question for John Parker, in case he checks back: how will updated camera profiles be handled? Will they be downloaded a-la-carte, like in FilmConvert? Or are they added automatically with new updates (like Adobe Camera Raw)?
 
QuickHitRecord said:
Another question for John Parker, in case he checks back: how will updated camera profiles be handled? Will they be downloaded a-la-carte, like in FilmConvert? Or are they added automatically with new updates (like Adobe Camera Raw)?
Click to expand...

Initially new cameras will be added in future versions of the plugin installer, so you'll need to install an updated version of the plugin to get the new cameras. We'll announce when we add new camera support via email and social media.

Eventually we'll start using the FilmConvert model, where additional camera packs can be downloaded and installed ala carte.
 
You must log in or register to reply here.
Back
Top