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- เผยแพร่เมื่อ 4 พ.ค. 2021
- This could be the easiest way to accurately colour match different cameras on your next pro shoot... or just a lot of fun making your iPhone look like an Arri Alexa!
CineMatch - www.cinematch.com
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I haven't paid for this software but this is an independent review. Any opinions expressed are my own, nobody gets to see the video before I publish and there has been no attempt to gain editorial control. There has been no payment for the content by outside persons or manufactures. As usual, I always reserve the right to say whatever I genuinely think about any product featured on extrashot.
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I love these software engineers, they make our photographic lives that much simpler from year to year! It is a great time to be an image-maker! Thanks Paul!🙏🏾
Cheers Eugene!
I use it for matching zcam s6 and gh5 cameras on interviews all the time. It's very easy and gets them close with just a couple of clicks. Love it.
I love your videos.
Arri alexa that's what we all want
Facts literally I’ve tryna emulate arri colors forever
Thanks for sharing! Very interesting piece of software. It's brilliant
This is amazing just finishing our doc and we used several different cameras this is going to be very helpful.
Perfect use!
Great video as usual. I can listen to your voice all day.
I just recently found this channel. I have never hit SUBSCRIBE so quickly!! Thank you so much for priceless content!
Thanks Kevin, that's appreciated!
Super cool. Very obviously if it can make my FX3 look like an ARRI I'm absolutely in love with this.
Ha!.... but the FX3 with Cinetone looks pretty good !!! 😂
Great as usually! Thanks! Ill be looking for thisnwhen it releases for fcpx. In the meantime, the biggest challenge I have is matching my A6400 to my A7C.
Sign up on the CineMatch website for updates and we'll let you know the the FCP version is available for download
Superbly helpful video and your humor, especially Peter Griffin's unexpected "Tadaa", just killed me. Please keep up the wonderful work, can't wait to check out all your other videos!
Thank you!
just because i'm a fcp user, i'll wait untill they update for fcp release.
Under that condition this workflow does it flawlessly, i wouldn't be worrying about buying B or C cam for matchability.
Sign up on the CineMatch website for updates and we'll let you know the the FCP version is available for download
Love the thumbnail (and the vfx)! Awesome creativity as always.
Brilliant will buy when FCPX comes out.
I just downloaded CM a few day ago, and I am more than delighted. Not only does it allow me to re-use the same color grading node tree I built for S1H V-Log footage for iPhone 12 Pro Max footage whichs completely working in Arri LogC. Instead, I feel that transforming S1H V-log footage into Arri Log C with CM looks much better than doing it with a color space transform node.
The only downside: I feel the strong desire to re-grade most of my footage now.
😂... Glad you like it. I finding grading rewarding and frustrating in equal measure!
Thank you! Very good video and really informative. Keep em coming!
Amazing video with very valuable information. Thanks so much for the effort!
Very compelling. Thank you.
Great stuff!
i think when they add xdcam camera's , panasonic p2 and ursa broadcast its best way for small broadcast productions to step in the game because lot of people dont have the money to buy a 30k xdcam body
thanks for those suggestions - you can submit camera requests through our website and we'll factor those in to our profiling decisions
Always great. Thank you!
Like always, thank you 🙌
Cheers Carlos!
Thanks a lot, great Info, very helpful!
Great video. Many thanks
Excellent review! 🙂
Wonder if I can get a RED camera to match my HPX171 😂
In DaVinci color space transform I’ve found to do something very similar for free, though I don’t know if it’s as accurate :)
This sounds great for professionals!
CineMatch is actually a lot more accurate than CST in Resolve, because we build our camera profiles on actual sensor data captured from the camera, rather than just applying the manufacturer formulas. The match results with CineMatch will be a lot closer out of the box, plus CineMatch supports a much larger library of cameras too :)
@@cinematch113 that makes sense and I’m sure it’s a great tool for professionals who need various cameras with sometimes wildly different colors to match so the colorist doesn’t work through hell. 👍🏻
i tried matching an a6400 to a gh5. i was not impressed. especially the blue it got very wrong/inaccurate. this might work ok if you have multiple cameras at the same time and bring them in editing and apply cinematch and do some further tweaking, but that presupposes that you already have the camera you want to match to. if you just have one single camera and want to make it look like another camera that you don't actually own and you can't actually test, then you would have no idea if the matching was done correctly or not, and after a6400/gh5 i'm quite suspicious of how well the developers actually did the work behind this software..
that said, there's apparently no alternative to cinematch, and manual tweaking colors to match is quite cumbersome, especially with 8bit, imo..
What if you are using DaVinci resolve color managed? Which, as I understand is looking at the color input transforms from the metadata from various camera sources to create color management across HDR and SDR outputs. Does Resolve color managed have to be turned off for this to work correctly or does it work in conjunction with it?
That's a good point... I was just working in the default DaVinci YRGB space outputting to 709... so effectively unmanaged. If you're using colour management, I believe it would need to read the metadata to apply the correct input colour space in order to manage the conversion to 709? I don't know if Cinematch changes the metadata to match the target source material ... I somehow doubt it... but you could always manually set the input colour space if resolve can't manage it. In the default (YRGB unmanaged) way, CineMatch appeared to be spot on.
@@extrashot yeas. Using Davinci color managed would eba sort of “double processing” and then its resolve that decides the input transforms of the log into whatever grading color space. Im wondering about the cinematch across the HdR and SDR spaces and how much tweaking you would have to di for output versioning. This may also be faster depending on how cinematch was built.
@@DavidBattistella correct, we recommend working in DaVinci YRGB in order to use CineMatch for matching different camera sources. We are planning to add support for RCM and ACES in a future update to the software, as well as HDR grading
CineMatch does not include the very popular FS7 camera? Thank you for all your reviews
The FS7 is included in my copy? Do you mean the mk2?
extrashot thanks for getting back. I mean the old bad boy, rhe FS7. I will take a look again to match my FS7 and GH5. Thanks!
extrashot I mean FS7. Thanks!
Thanks for sharing. I see you're using the Neon. Are you going straight into it via HDMI or using a "box"?
Hi Lee, It's not mine, I'm just testing before I have to give it back! I was using a thunderbolt to SDI connection from the laptop.
@@extrashot So no BlackMagic or AJA box for the HDR info?
@@LeeHerbet It was a Blackmagic UltraStudio but no HDR info for this piece... I was editing in DaVinci YRGB space but outputting SDR for TH-cam. I've been looking at the HDR side of the Neon for another video!
@@extrashot Cool, feel free to reach out if you have any questions. It's a topic I've been playing around with for a while. 😀👍🏻
Good video
With that lineup in the intro, I was imagining how your marriage was like!
what* your marriage was like
@@Station9.75 Thank you.
@@Tore_Lund - You’re welcome gorgeous.
Thanks for the info. What monitor do you have sitting on your desk?
It's an Atomos Neon.... not mine... just testing... more news later!
How can I match Panasonic AU-EVA1 to my B roll camera Sony A7S III. What is the best method to make the cameras match up? Should I shoot in VLOG and SLOG3? I have no idea 😬
Hi Gurmeet - yes, that's exactly right, shoot in VLog on the EVA1 and SLog3 on the A7SIII, then use CineMatch on both sources in your edit to convert to a common target
@@cinematch113 is there a tutorial online?
@@GurmeetSingh-fr8uo check out www.cinematch.com/cinematch-workflow
Great info, may I ask what brand is the monitor you are using with your laptop? Thanks
It looks like an Atomos Neon.
It was a Atomos Neon... not mine, just testing!
What about Footages captured by android camera?
Which one? Not sure there are any on the 'compatible list' right now.
Legit the only reason I’d get this plug-in is to make my footage look like ARRI Alexas 🤷🏽♂️
Can you transform android camera footages to Arri Alexa?
... and it does... although the Phantom LUTs do a good job too!
@extrashot - is this a paid promotion?
No payment, nor sponsored. CineMatch did not have any editorial input and weren't given advanced notice or viewing. After using the free trial, I requested a code to activate the full bundle without the watermark, which was provided.
I reckon there will even be people who get it to make their Arri Alex look like this iPhone 12. 😂
How true! 😂
If I try to make my sony footage look like canon, will my Mac over heat? 😂
Probably not... but it will turn off after 12 minutes 😂😂😂
@@extrashot 😂😂
I didnt know he didnt really have all those cameras on the beach.... and neither did you. Like to confirm
Clickbait thumbnail 😂
😂
Hi, I know whaT I’m doin. Cine-ballpark, not cine-match that be what I be call it. For dirty TV show like Discovery Networks or The Learning Channel basic popcorn work who like Amish exploitation shows where nobody the aidience not care what mactch what they noy wann see bonnets then long beards. You have said it the correct magic - filter array. Log has it be already affects by filter array threby changin the log later in optic chain impossible make perfect match. I talk the scientific perfect match. Addition ther be more plus filter which affect. So why RAW addition it do not mean perfect match in post becusase RAW depend on who makin the RAW. However I can make perfect match if custmer follows my instruction for camera choice, it may be different camera.
“Match” marketin term. I can proof this cannot make perfect match, easy. Cine-ballpark Okay.
Thank you Paul.
Adiditon for other chanells anybody who they have say yes no worries my froend you can make 2 camrera of differn company or same company differn model identical in color correction jus film RAW alternate log they are cute tiny baby 👶 who they not know how color image it be created by a camrera.
Thank you Paul.