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FilmConvert is launching our new plugin CineMatch, designed for all filmmakers working with footage from multiple camera sources. CineMatch helps you quickly and easily match footage from over 50 different cameras and manufacturers, including Sony, Canon, Blackmagic Design, Panasonic, Nikon, RED, DJI, Arri and more. CineMatch works as a plugin in Adobe Premiere Pro and DaVinci Resolve, and we're planning to expand support to FCPX in the coming months. We'd love you to check out the free trial available at www.cinematch.com and gives us your feedback so we can continue to improve the matching tools and provide an even better experience for editors and color graders out there.

Hi guys, I am having sleepless nights not being able to figure out how to achieve this look: https://www.youtube.com/watch?v=TcJ80-B98Qs&t=541s (from 12 seconds onwards, but particularly the outdoors parts around 8 minutes). I'm shooting with the same camera, Sony A7SII, in CINE4. Obviously he has a few separate presets set up to be able to produce a quality video every day. The jist of the grade is cinematic, but not orange and teal, in fact I'm not seeing much colour in the shadows at all. I'm noticing lots of bloom from lights in the background, blacks are very black but the overall look doesn't seem that high contrast to me. Also, the image seems incredibly soft, completely different to the image I can make. (Maybe a purposefully dirty lens? - Vaseline on a filter?) If anyone can give me some pointers in how to get closer to this look it would be a huge help, I must be missing some really obvious things. Or even point me to some similar LUTS as a starting point if they exist. Huge thanks and I apologize if I'm using the wrong terminology.

Do you have any guide on how to export EDLs or XMLs from Premiere Pro CC to Davinci Resolve? I guess that XML can transfer more data than an EDL, so that is what I should use?

I have imported my media into Premiere Pro CC and it looks like the media needs to be buffered before use everytime I click a new clip. Meaning that some of the clips show this yellow screen a second or two before I see the actual footage. The machine is a beast and the media is DNxHD36, and should be read without any issues I guess. Anyone with any experience with this?

Hello, everyone. I'm a Ravensbourne student currently studying Editing and Post Production. As I'm in my final year, I'm currently in the process of writing my dissertation, which mainly investigates how advancements in digital technologies have expanded the creative capabilities of a colourist. If any of you have time, I would love it if you could answer some of the questions I've added below. These answers will definitely help expand/reconsider/polish a lot of the points I've already made. You do not need to answer them all, but if you could answer as many as you can I would really appreciate it. Additionally, if you have any interesting points you'd like to add, or want to suggest any more questions, do not hesitate to let me know. My email is francocuen@gmail.com Why do you think colour is such an important tool in filmmaking? Why do you think black and white was not enough? Do you think being colourist is primarily a technical or creative role? Where do you see the future of colour grading headed? What are some of the new technologies/tools that the industry has to start to consider looking into? What do you think makes colour grading an art in itself? What is your opinion on HDR? What are your opinion on LUTS As third-party plugins for NLE and colour correction software becomes more user-friendly, making it easier for anyone to learn and apply colour grading into their work, why do you think a colourist will still be relevant in 5 years time?

MXF is the native format for Avid, meaning they can be read without transcoding directly from the AvidMediafiles/MXF/# folders. That saves me a lot of time compared to importing files and even fast-importing files. How does this work in Adobe Premiere? Can Premiere work with a drag-and-drop folder structure like this? Any native formats that can be read without transcoding the same way as MXF for Avid?