Everyone wants ARRI colors. It’s probably the most talked about and emulated color throughout filmmaking. I mean, it’s one of the big reasons that ARRI cameras are chosen for big cinema productions. Everything tends to look great. Matching the look is less easy if you are working with a mirrorless camera or even a more everyday cinema camera.
If you want to get ARRI colors with any camera, cammackey talks about how he uses CineMatch to get all his cameras into the ARRI look. Standardizing has more benefits beyond just looking good. It can help you have a more consistent workflow and look when working with tons of different cameras.
This software is only for DaVinci Resolve and Premiere Pro, so good if you have it, and there are some limitations on camera compatibility and if it is a newer camera it might not be immediate support. It essentially converts the camera’s profile to any other profile.
It is incredibly useful if you have different cameras. He works with RED, DJI, GoPros, iPhones, Canon, Sony, and more. Tons of different profiles and looks to deal with. And with this software you can actually convert all those profiles to a standard ARRI log that is easier to look with and more standardized.
The software is simple looking to use. You choose a source profile and you choose a target profile. That’s all to do the main conversion. There are even some quick Rec.709 options and adjustments that can be made to get the footage looking good very quickly. A few built-in monitoring tools can help fine tune as well. False colors are a good example to help with middle gray and skintones.
Tests here actually use a lot of different cameras:
- RED KOMODO
- Canon R5
- Sony ZV-1
- iPhone w/ Moment Anamorphic Lens
Just by setting everything up you are getting things very close. When you apply the 709 corrections you may notice shifts with more limited camera systems, like the ZV-1 and iPhone. In these cases you’ll want to be more careful. Maybe don’t apply the 709 conversion. Still, colors are looking quite close and that’s usually a big struggle.
You will still need to do your regular color grading work at this point. Do things like bring back your highlights, adding contrast, tweaking the tint or applying creative grades. A huge benefit of the standardization feature of CineMatch is that if you grade one clip you can actually copy/paste any following nodes and get things close with minimal effort.
If you are working with cameras from different manufacturers, CineMatch could be a huge time saver in post. Getting everything in the same ballpark with just a few clicks sounds like a winner to me.