The slider has been mapped to your chosen camera profile, so you can adjust the exposure as if you had changed it in camera. Use the exposure control to match your exposure across the two shots. Once you’ve applied the correct sensor settings, you will be looking at two Log images for your A-cam and b-cam clips, matched to a single Log picture style. If your contrast doesn’t look right after applying CineMatch and making your primary corrections, try switching the Data Range. The Data Range tool allows you to specify the data range of your footage. ![]() ![]() However, if your footage has been transcoded or recorded to an external device, this can change the data range for your footage, so CineMatch won’t interpret the footage correctly. The CineMatch controls operate on the underlying Log footage, even with the Output Transform applied, so you can make corrections without fear of clipping your footage.īy default, the CineMatch profile you use will be applied using the data range native to the in-camera setting. The Primary Corrections in CineMatch are customized to the response curve of your camera, so you will get more accurate and intuitive results with the CineMatch controls than the generic sliders in your editor. To do this, drag CineMatch onto the A-Cam clip, specify the Source camera settings, but leave the Target Camera Settings blank. We recommend adding CineMatch to your A-Cam clips as well. You can copy and paste the effect, or apply it at the Master Clip level if you’ve got several instances of the clip in your project.ĭo I need to apply CineMatch to my A-Cam footage? On each clip, simply tell the plugin what profile you shot in (Source) and what profile you want to convert it to (Target).Įxample: to match S-Log3 SGamut.Cine footage from the Sony A73 to C-Log2 from the Canon C200, choose the following settings:Īpply CineMatch to all your b-cam clips the same way. Don’t apply any other LUTs or corrections to the clip before CineMatch, or else the matching engine won’t be able to apply the correct transformation. If you can get a common reference in both shots, it will give you a much better idea of what the colors looked like on the dayĬineMatch is designed to work on Log footage straight from the camera. Shoot a few seconds of a chart on both cameras.CineMatch is designed to accept the camera’s default settings, and may not be able to recover if the image recorded departs wildly from the neutral settings. Don’t adjust too many other parameters in-camera, such as contrast or saturation.Redo your white balance at every new setup or change in lighting ![]() Ensuring your camera is capturing the correct white value for your scene’s lighting is essential. If you don’t have a white or grey card, you can use a phone app to get a light temperature reading and dial that into your camera. White-balance each camera using a white or grey card.Most modern cameras and monitors will allow you to apply a display LUT to help you monitor exposure while shooting, but make sure not to bake this in to your footage This will maximize the dynamic range able to be captured by your camera, and give CineMatch the most data to work with. To ensure your best chances of getting well-matched footage, try to follow good shooting principles: However, if you follow good shooting practices and the steps below, CineMatch will significantly speed up your workflow for matching footage from multiple sources, giving you more time to spend on the creative side of your grading. Even with perfectly balanced footage from both cameras, differences in shooting conditions and sometimes the materials present in the scene can throw off the sensor match. While CineMatch provides extremely accurate results, it’s unlikely you’ll get a 100% perfect match just by dropping the plugin on your footage. We’ve also included False Color views to help visualize the color information in your images and guide your corrections. ![]() The CineMatch workflow includes sensor-matching technology which aligns the color values of your Log footage, RAW-like controls for exposure, white-balance and tint for making camera adjustments, and an intuitive collection of tools for final tweaks. Just tell CineMatch the settings of your source footage, and which camera you’d like to convert it to, and CineMatch handles the rest. The plugin fits into your existing color workflow by replacing the manual step of camera matching (or time spent hunting for the correct technical LUT for your camera), with a simple drag-and-drop application. CineMatch is a set of tools designed to help you match footage shot on different cameras to a baseline technical level – a seamless, matched timeline in Log or REC.709, ready for creative grading.
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