This is not shifting the color Matrix but rather just doing what Color Space Transform Plugin does. This is how you can achieve the exact results within Resolve; -Create 3 serial nodes -On the first node add the CST Plugin -Select the Input Color Space as Rec.709 (If you shoot without any log curve in FiLMiC Pro) -Select the input Gamma as Rec.709 - For output Color Space choose whatever Camera you wanna match to -For output gamma choose the gamma of the respective Camera -Then disable Gamut Mapping -On the 3rd node apply a custom curve, or use the CST to transform to rec.709 or add a PFE LUT. -Do your balancing in the second node -Save the setup as a Powergrade preset so you dont have to repeat the process every time. This process is obviously just changing the Color Space and not shifting the color matrix hence its not very accurate
So excited about this and was anxiously awaiting the release of Cinematch iPhone 12 support. Was hoping it would be for FILMic Pro Log V3 and you all delivered big time! This is my exact A/B Cam set up right now too! Just shot some footage today for a small corporate opportunity, and as I head into post editing and color had a question... When setting up your project in Davinci Resolve, do you make any changes to the default Color science and/or Timeline color space? Does the Timeline color space make a difference if you ultimately click "Apply Rec. 709 transform" in the Cinematch Color node? I'm assuming the Color Space & Transforms settings in Color Management of the Project still have an impact on the footage but still learning Davinci so wasn't sure.
Hi Michael, when setting up your project, use the DaVinci YRGB project setting, and then add CineMatch as the first node in your tree. The Apply REC.709 transform button is optional and there to help you get a quick, viewable image, but you can leave it off and add your own LUT or grade manually out of Log as well
I have a question please. If I apply a cinematch pluging to Flilmic Pro logv3 to match my shot with Blackmagic camera without apply rec. 709, what is my process of colograding then? Could I create a colorspace transform node in the end of my node tree (Blackmagic to Rec 709) and do a colorgrading between the cinematch node and the colorspace transform node? Or I need to do my colorgrading before a cinematch node? Does a cinematch destroy my image like a lut? etc?
Yes if you convert your footage using CineMatch and leave it in log, and apply your REC.709 transform on the last node or timeline node, then you can grade in those in-between nodes with no loss of quality We have a free trial of the CineMatch available so you can test it out in your workflow to make sure it works for you
Help I’m on the other side of the fence. My main camera is actually my iPhone 12 and my B camera a Panasonic S5 IIX. I like the built in iPhone “Dramatic” filters. How would I match the Panasonic to the iPhone 12 camera?
That is awesome to hear. It looks like Cinematch supports the Panasonic S5 (but doesn't mention the IIX). Maybe write to them and see if your model is support :)
For maximum compatibility, LogV3 follows the ITU BT.709-2 standard for Color Primaries, Transfer Function, and YCbCr Matrix. Upon import to Resolve, the input gamma will be 2.2.
Unfortunately not. LogV3 is built onto of Apple's 10-bit video capabilities that were first made available with the iPhone 12 and newer (so also supported on the iPhone 12/13/14 series).
Sorry to hear that. Compared to a usual post-workflow for camera matching, this was the simplest we've ever seen. But Cinematch do a great job of explaining it here: www.cinematch.com/cinematch-workflow
We've only profiled the FiLMiC LogV3 on the iPhone 12, but you can certainly test out the trial version on footage from older phones and see if you get decent results
I gotta say, I love when I see a video from you guys. Thanks.
Our pleasure! Thanks for watching.
Very, very interesting!!
Glad you think so!
💥This is exciting stuff. FiLMiC Pro is one of my top 'go-to' filming apps. 🤩 This just making things even more impressive!
This is not shifting the color Matrix but rather just doing what Color Space Transform Plugin does. This is how you can achieve the exact results within Resolve;
-Create 3 serial nodes
-On the first node add the CST Plugin
-Select the Input Color Space as Rec.709 (If you shoot without any log curve in FiLMiC Pro)
-Select the input Gamma as Rec.709
- For output Color Space choose whatever Camera you wanna match to
-For output gamma choose the gamma of the respective Camera
-Then disable Gamut Mapping
-On the 3rd node apply a custom curve, or use the CST to transform to rec.709 or add a PFE LUT.
-Do your balancing in the second node
-Save the setup as a Powergrade preset so you dont have to repeat the process every time.
This process is obviously just changing the Color Space and not shifting the color matrix hence its not very accurate
Absolutely brilliant! Thank you, again.
Glad you enjoyed it!
So excited about this and was anxiously awaiting the release of Cinematch iPhone 12 support. Was hoping it would be for FILMic Pro Log V3 and you all delivered big time! This is my exact A/B Cam set up right now too! Just shot some footage today for a small corporate opportunity, and as I head into post editing and color had a question...
When setting up your project in Davinci Resolve, do you make any changes to the default Color science and/or Timeline color space? Does the Timeline color space make a difference if you ultimately click "Apply Rec. 709 transform" in the Cinematch Color node? I'm assuming the Color Space & Transforms settings in Color Management of the Project still have an impact on the footage but still learning Davinci so wasn't sure.
Hi Michael, when setting up your project, use the DaVinci YRGB project setting, and then add CineMatch as the first node in your tree. The Apply REC.709 transform button is optional and there to help you get a quick, viewable image, but you can leave it off and add your own LUT or grade manually out of Log as well
Please make a video on Smartphone Filmmaking Gear Required to get the best cinematic footage.
Very helpful video:)
Appreciate the feedback. Thanks.
Super exciting stuff!
Does it work on samsung?
is this plugin useful if say you shoot a film on an iPhone and you just want a Black Magic look to your film?
Absolutely!
I have a question please. If I apply a cinematch pluging to Flilmic Pro logv3 to match my shot with Blackmagic camera without apply rec. 709, what is my process of colograding then? Could I create a colorspace transform node in the end of my node tree (Blackmagic to Rec 709) and do a colorgrading between the cinematch node and the colorspace transform node? Or I need to do my colorgrading before a cinematch node? Does a cinematch destroy my image like a lut? etc?
Yes if you convert your footage using CineMatch and leave it in log, and apply your REC.709 transform on the last node or timeline node, then you can grade in those in-between nodes with no loss of quality
We have a free trial of the CineMatch available so you can test it out in your workflow to make sure it works for you
Awesome & Thanks :)
Help I’m on the other side of the fence. My main camera is actually my iPhone 12 and my B camera a Panasonic S5 IIX. I like the built in iPhone “Dramatic” filters.
How would I match the Panasonic to the iPhone 12 camera?
That is awesome to hear. It looks like Cinematch supports the Panasonic S5 (but doesn't mention the IIX). Maybe write to them and see if your model is support :)
Is it completely out of the picture to try this workflow with iOS devices limited to 8bit filmic footage / Logv2?
At this resolution, with perfect light it will be hard to see the difference.
Why not for FCP X?
This is incredible!!!!!!!
Thank you :)
How come the 10-Bit in Filmic Pro doesn't support with Samsung Note 20/Ultra? :(
Love it!
Amazing.
Thank you! Cheers!
Works for iphone 8 plus, and in premiere pro?
The cinematch profile is designed for iPhone 12 series only.
@@Filmicpro log v3 no is designed for iphone 8 plus?
Does it convert iphone 12 clips too?
Sure does.
Q: After converting FilmicLogv3 to Arri log C, could you CST from there to Davinci Wide Gamut?
For maximum compatibility, LogV3 follows the ITU BT.709-2 standard for Color Primaries, Transfer Function, and YCbCr Matrix. Upon import to Resolve, the input gamma will be 2.2.
is that a dent on that lumix lens? D:
Yes! A crew member (a pet cat) knocked it off the table just prior to filming.
Awesome
Could someone say if using an iPhone 11Plus would work as well?
Unfortunately not. LogV3 is built onto of Apple's 10-bit video capabilities that were first made available with the iPhone 12 and newer (so also supported on the iPhone 12/13/14 series).
@@Filmicpro thank you!
Any plans to support FCP?
I know that the makers of Cinematch are working on that 👍
Hi Bill, the CineMatch plugin is now available for Final Cut Pro
@@cinematch113 Awesome!
Nyc video 👌
Thanks 😊
👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👍🏻🤝✌🏻🙏🏻
much too complicated explanation !!! frankly it does not make you want!
Sorry to hear that. Compared to a usual post-workflow for camera matching, this was the simplest we've ever seen. But Cinematch do a great job of explaining it here: www.cinematch.com/cinematch-workflow
@@Filmicpro Agreed!
Does it work for older iphone, like iPhone 11 Pro?
We've only profiled the FiLMiC LogV3 on the iPhone 12, but you can certainly test out the trial version on footage from older phones and see if you get decent results
@@cinematch113 thank you I am gonna try