To answer a couple of your points in the video, you can save a preset in Premiere by right clicking the effect title “CineMatch” In the effects panel, this will save all of your settings, so if you commonly match the BMPCC to the A7S3 then choose the cameras in source and target and save a preset as “CineMatch - BMPCC to A7S3". This will then appear in the Presets folder in effects. The limited/ full option is an option for cameras that can shoot externally or has the option to change full/ limited in camera. If you shot internally without toggling any limited/ full settings in camera then it is safe to leave this dropdown as the default setting. However, if you have recorded externally then the data range may have changed on capture which is when you would use this dropdown.
@@adrianleano6685 we're hoping eventually to add support for older cameras, it's trickier with older models as they have lower dynamic range and don't shoot a true Log profile, but we're testing out some different approaches to solve this
I wondering about that, if one would use it as a color grading tool and not necessarily only for camera matching, as Nate suggested. I installed the trial version (which is the full version with a nasty watermark) and I have to say that it does a better/faster job at getting me to my desired look, being that I am a novice color grader. I will play with it some more!
@@salvamando1 it’s not a matter of being a beginner IMO - I totally know how to grade without it, but it’s cool to pull up a c200 sensor response on a Panasonic for example
I think it’s a great way to see what colors look like from different cameras, and determining what cameras you would like to use in the future. Although it’s not entirely meant for that, you can get a good sense
@@NatesFilmTutorials yeah it’s weird somehow. The S1 is great however the c100 has something to the picture which is hard to reproduce color wise although they might look the same after grading - talking same lens and setting of course.
Also they s1 seems to work particularly well with cine match compared to the canon - maybe because of the insane dynamic range. Using the ninja v for both
Looks really nice and fast way to match different cameras the Easy way. If you only want to change your log profile to let’s say arri log for the looks you don’t need this plugin. You can just use color space transform within davinci Resolve.
Definitely! From what I'm told Cinematch has a different process compared to Resolve's built in tools to transform the color space. But yes you can still get the arri look in resolve!
Great to see how you are using Cinematch Nate. I've been using it for the last couple of weeks as well as using the x rite video colour checker just to get that fine tuning using Hue vs Hue inside of Premiere and the combination of the two has meant that I've stopped using LUT's entirely. How have you found the exposure tools within Cinematch in comparison to just using the exposure tools in Lumetri?
Hey James, glad you're enjoying using CineMatch! The exposure tools in CineMatch should give you more natural, intuitive results when making adjustments, because they are customized to the specific color response of the camera you're using
@@NatesFilmTutorials That's what I've found and its so much less destructive. It's made a huge difference to my colour correction and grading already. Good to be back Nate, I have been rather slacking as of late on the TH-cam game 😉
@@cinematch113 Thats exactly what I've found when using it, such a powerful tool. I absolutely adore the "match colour" feature that was missing in the original beta version. Now I've got Cinematch, I'm never going back and have reccomended it to other Premiere editors I know 🙂
CineMatch made me realize I prefer Color Transforming via Sony Venice OVER Arri Alexa. For color grading, I highly recommend skipping the sensor match and seeing how you like that!
I’ll give it a shot! I remember looking at the difference between Arri and the Venice and the Venice seemed slightly cooler from what I remember but it was subtle…
Hi Shaheed! Cinematch doesn’t have a reader for it to standardize the colors like in Davinci Resolve. However you can still reference the color checker which I do often. If you are properly exposed you should be able to check the middle grey in Cinematch and will highlight in green. A pretty seamless way to make sure your exposure of good in post! Hope this is helpful!
@@NatesFilmTutorials I'm speaking on using the Color Checker using Resolve's Color Match then using the Cine Match to match the two Cameras. I just bought Cine Match and was going to buy the Calibrite Color Checker Video.
Hey! Both are useful tools! Cinematch is great for matching colors between camera systems, so if you have a Canon and a Sony it will be a bit easier to get a consistent look. Whereas the color checker it great for grabbing proper white balance and for reference in post. For weddings you may not have time to setup a color checker. But getting the cameras to have proper exposure and white balance settings so they match in camera is always best practice!
@@NatesFilmTutorials Thanks Nate. I am just now getting ready to get into editing for myself so this is all new to me. As for the Exposure and White Balance is the Color the best efficient way to go ? I shoot with multiple LUMIX S5 II
@moneyboys2010 Nice! Because you use the same camera, you only need to make sure your have proper white balance on the day. Simply getting a custom white balance in camera with a grey card can help you with that, geni.us/AeXunD Colors should be consistent out of the camera, then just do a color grade in post!
I’ll have to watch this on my desktop, but it wasn’t that much of a difference in the time and your manual color on mobile looked better. I’ll have to check.
@@NatesFilmTutorials gotcha. Idk why but some of the video felt perhaps more 30p for a little bit. I know at least in the the TH-cam space, 30 p is becoming more popular (like MKBHD)
Yep! That was my inspiration for trying it. Definitely a subtle difference, if you want your videos to stand out, but since I’m a filmmaker maybe I should stick to the trusted 24p lol!
![[Sub Thai] APT. - ROSÉ & Bruno Mars](http://i.ytimg.com/vi/bYjhzP8x_uc/mqdefault.jpg)
Thanks so much for the great review Nate! If anyone has questions about CineMatch, reply here and we'll do our best to answer
To answer a couple of your points in the video, you can save a preset in Premiere by right clicking the effect title “CineMatch” In the effects panel, this will save all of your settings, so if you commonly match the BMPCC to the A7S3 then choose the cameras in source and target and save a preset as “CineMatch - BMPCC to A7S3". This will then appear in the Presets folder in effects.
The limited/ full option is an option for cameras that can shoot externally or has the option to change full/ limited in camera. If you shot internally without toggling any limited/ full settings in camera then it is safe to leave this dropdown as the default setting. However, if you have recorded externally then the data range may have changed on capture which is when you would use this dropdown.
@@cinematch113 Hi, will there be support for older gopros? I have older gopros other than Hero 8.
@@adrianleano6685 we're hoping eventually to add support for older cameras, it's trickier with older models as they have lower dynamic range and don't shoot a true Log profile, but we're testing out some different approaches to solve this
I want it
Will you release a profile for the Canon m6 ii?
I use cinematch to emulate different cameras with my Panasonic S1. I love it
I wondering about that, if one would use it as a color grading tool and not necessarily only for camera matching, as Nate suggested. I installed the trial version (which is the full version with a nasty watermark) and I have to say that it does a better/faster job at getting me to my desired look, being that I am a novice color grader. I will play with it some more!
@@salvamando1 it’s not a matter of being a beginner IMO - I totally know how to grade without it, but it’s cool to pull up a c200 sensor response on a Panasonic for example
I think it’s a great way to see what colors look like from different cameras, and determining what cameras you would like to use in the future. Although it’s not entirely meant for that, you can get a good sense
@@NatesFilmTutorials yeah it’s weird somehow. The S1 is great however the c100 has something to the picture which is hard to reproduce color wise although they might look the same after grading - talking same lens and setting of course.
Also they s1 seems to work particularly well with cine match compared to the canon - maybe because of the insane dynamic range. Using the ninja v for both
Looks really nice and fast way to match different cameras the Easy way. If you only want to change your log profile to let’s say arri log for the looks you don’t need this plugin. You can just use color space transform within davinci Resolve.
Definitely! From what I'm told Cinematch has a different process compared to Resolve's built in tools to transform the color space. But yes you can still get the arri look in resolve!
Great to see how you are using Cinematch Nate. I've been using it for the last couple of weeks as well as using the x rite video colour checker just to get that fine tuning using Hue vs Hue inside of Premiere and the combination of the two has meant that I've stopped using LUT's entirely.
How have you found the exposure tools within Cinematch in comparison to just using the exposure tools in Lumetri?
Fantastic! They seem to adjust before the Rec709 is applied, which is how I typically work. Great seeing you again James!
Hey James, glad you're enjoying using CineMatch! The exposure tools in CineMatch should give you more natural, intuitive results when making adjustments, because they are customized to the specific color response of the camera you're using
@@NatesFilmTutorials That's what I've found and its so much less destructive. It's made a huge difference to my colour correction and grading already.
Good to be back Nate, I have been rather slacking as of late on the TH-cam game 😉
@@cinematch113 Thats exactly what I've found when using it, such a powerful tool. I absolutely adore the "match colour" feature that was missing in the original beta version. Now I've got Cinematch, I'm never going back and have reccomended it to other Premiere editors I know 🙂
full is for data levels and limited stands for video levels.
CineMatch made me realize I prefer Color Transforming via Sony Venice OVER Arri Alexa. For color grading, I highly recommend skipping the sensor match and seeing how you like that!
I’ll give it a shot! I remember looking at the difference between Arri and the Venice and the Venice seemed slightly cooler from what I remember but it was subtle…
Can you do a workflow with using both Cinematch and the Colorchecker?
Hi Shaheed! Cinematch doesn’t have a reader for it to standardize the colors like in Davinci Resolve. However you can still reference the color checker which I do often. If you are properly exposed you should be able to check the middle grey in Cinematch and will highlight in green. A pretty seamless way to make sure your exposure of good in post! Hope this is helpful!
@@NatesFilmTutorials I'm speaking on using the Color Checker using Resolve's Color Match then using the Cine Match to match the two Cameras.
I just bought Cine Match and was going to buy the Calibrite Color Checker Video.
But aren't the skintones supposed to be exposed like the middle grey? Why does the plugin seperate them?
Nate, would Cinematch or Color Checker be best for Weddings?
Hey! Both are useful tools! Cinematch is great for matching colors between camera systems, so if you have a Canon and a Sony it will be a bit easier to get a consistent look. Whereas the color checker it great for grabbing proper white balance and for reference in post.
For weddings you may not have time to setup a color checker. But getting the cameras to have proper exposure and white balance settings so they match in camera is always best practice!
@@NatesFilmTutorials Thanks Nate. I am just now getting ready to get into editing for myself so this is all new to me.
As for the Exposure and White Balance is the Color the best efficient way to go ?
I shoot with multiple LUMIX S5 II
@moneyboys2010 Nice! Because you use the same camera, you only need to make sure your have proper white balance on the day. Simply getting a custom white balance in camera with a grey card can help you with that, geni.us/AeXunD
Colors should be consistent out of the camera, then just do a color grade in post!
@@NatesFilmTutorials Thanks Nate !!!
Can I just say that the BPMCC and the S1H looks so much better than the A7siii.
Doesn't make any sense why Premiere Pro doesn't have the CineMatch feature built in. We pay enough for the Adobe subscription.
I’ll have to watch this on my desktop, but it wasn’t that much of a difference in the time and your manual color on mobile looked better. I’ll have to check.
But will it Cineblend?
Don't breathe this!
Do you shoot 24p or 30p?
I shoot everything 24p now. I experimented with 30p on TH-cam a couple years ago, but I feel 24p is more natural.
@@NatesFilmTutorials gotcha. Idk why but some of the video felt perhaps more 30p for a little bit.
I know at least in the the TH-cam space, 30 p is becoming more popular (like MKBHD)
Yep! That was my inspiration for trying it. Definitely a subtle difference, if you want your videos to stand out, but since I’m a filmmaker maybe I should stick to the trusted 24p lol!
🔥My brother.
Nice video man, it was helpfull, wanna keep in touch?
Nate, aren't you eating anymore? you're so skinny! Looking' good brother!
haha! The angle is removing 10lbs. Thanks Izzy
Maybe he's been getting paid in exposure😂