The camera-matching software that made waves upon its release is back again. CineMatch v1.06 is now out and includes new camera profiles as well as support for M1 Macs. If anyone thought this app was just a flash in the pan, CineMatch is hard at work proving them wrong.
Compatible with both Mac and Windows operating systems, the CineMatch plugin works with Adobe Premiere Pro and DaVinci Resolve. It allows users to quickly match footage captured by different cameras. For more info about the company and its product, check out our coverage from NAB 2019. CineD also did an interview with the Cinematch CEO’s.
Version 1.06 – More Goodies
The new update is a quick one but provides some much-needed support for the Mac platform. CineMatch v1.06 adds native compatibility for the new M1 Macs from Apple. So no more using Rosetta 2 to translate that machine code, even though some apps can run faster on Apple Silicon than on Intel. Users can also now explore LUTs from the plugin settings to use on monitors or in-camera. A very cool feature that will be a welcome addition to any production with multiple cameras. Especially if they are from different manufacturers. Here’s a cool tutorial on how it all works way back from the v1.02 days.
In addition, the new version has improved the HSL auto-match color accuracy tool and adds support for the Canon C300 Mark III and Sigma fp. CineMatch now supports over 70 Log and RAW camera profiles from all the major camera brands. As well as some smartphones and action cameras. Here’s a link to all of the compatible cameras. You can even request support for cameras not on their list!
You want it, but do you need it?
CineD readers can purchase the CineMatch Plugin for 20% off. You can either purchase individual plugins from Adobe Premiere Pro or DaVinci Resolve. Or you can take the third option and get the bundle, in case you jump from one program to another.
CineMatch is a robust tool that fills a very important niche. It might not be a perfect solution for narrative productions. Especially those with an established color management pipeline. But documentary filmmakers that shoot on different cameras, or projects that utilize stock footage, will find CineMatch a perfect addition to their toolkit.
Do you use CineMatch for your projects? What has been your experience? Do you have thoughts on how it can be improved? Let us know in the comments!