John Parker

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.

On 6/10/2020 at 4:36 AM, Jeremy Dulac said:

@John Parker Hey John, 

I was wondering if I am using FC Nitrate for grain only, will the grain still be applied correctly to a log image, in terms of your luma based algorithms for applying the grain? I have selected Arri LogC  for my profile, and just was curious with film color and contrast turned off and grain at 100 strength, is the grain being applied based on the log luma values, and is 100 strength considered the most true representation of the film grain when taking the algorithm into consideration? I am going after an authentic workflow, so I apply my grain to my log/negative image and then add my PFE. I read your grain is applied to the color channels and luma values through an algorithm that accurately mimics real film grain.

Hi Jeremy. Responded via our support inbox, but for anyone reading: 

If you select any log profile then the grain will be applied in a way that is appropriate for cineon, so you should put FilmConvert on after your Cineon conversion.

On 2/15/2020 at 2:57 PM, James Lakey said:

Hi John,

I've been using the original FilmConvert in Resolve for a while now. 

I always place FC in a serial node after my primary corrector for exposure, white balance etc. That way when FC does the log conversion, I have already made my primary corrections while still in log. With this workflow, what's the advantage of Nitrate? Grain aside, as I can see the controls are more advanced there, how would I benefit from using Nitrate with this workflow.

Any pointers would be greatly appreciated. Thank you.

Hi James. In Nitrate, the primary corrections are now processed in Log, so you could do your exp./WB etc all in the Nitrate node if you wanted to without the prior node. Either workflow is valid

Our exposure, temperature and tint controls are also customized to the camera profile you're using, so you may find you'll get more intuitive results from the Nitrate controls rather than the generic operations in Resolve.

Hi all, Nitrate is now out for DaVinci Resolve and Mac and Windows.  Free trial version as always is available at www.filmconvert.com/download

Hi all, FilmConvert Nitrate is out now for Adobe Premiere Pro and After Effects - you can download a free, fully-functional trial version of the plugin from www.filmconvert.com/download

Nitrate includes

• Cineon Log film emulations of all our film stocks, matched to your camera picture style
• Full Log workflow - all color adjustments using the plugin are now calculated in Log, providing more natural, intuitive results when grading Log footage
• Advanced grain controls - adjust film grain in the midtones, shadows and highlights with our film grain response curve
• Metal GPU acceleration
• and more...!

Nitrate for FCPX and DaVinci Resolve are on track for release later this year. Sign up at www.filmconvert.com/nitrate for updates and access to the beta versions when they are available

Hi all, FilmConvert Nitrate beta is out now for Adobe Premiere Pro - go to www.filmconvert.com/nitrate and sign up to get the beta download links.

Nitrate will be coming to FCPX and Resolve by the end of the year.

On 4/6/2019 at 5:38 PM, Peter said:

Thats only for Premiere though. Hopefully there's a Resolve version coming. 

BTW I used FC in resolve for a short project and couldn't get real time playback. I can play RED footage in realtime on my system and this project was only Prores 422. Has anyone else had this issue? I like the image FC gives but its unusable unless I can actually play the footage.

Hi Peter, yes an OFX version for Resolve is definitely on our roadmap for 2019.

With a modern system and graphics card, you shouldn't be experiencing slowness issues with FilmConvert. If you send us an email to support@filmconvert.com with your computer's specs (including GPU and driver details, OS etc) we'll try to fix the issue.

Update for those going to NAB in a couple of weeks - FilmConvert will be doing private demos of the new print density film emulations in FilmConvert. Contact john@filmconvert.com to arrange a demo time. We'll be at C3359MR in the Central Hall.

On 12/6/2018 at 3:10 AM, Jeremy Dulac said:

@John Parker Any update on when the cineon scans will be available? Excited about this one..

We'll hopefully have a beta of the Premiere Pro plugin available early in the New Year. Aiming for retail version availability in April 2019.

If you haven't already seen it, check out Juan Melara's video on the "hidden film mode inside FilmConvert" 

FilmConvert is having a Black Friday sale this week - 40% off all software plugins for Premiere Pro, FCPX, DaVinci Resolve and Avid, as well as the Bundle license which allows you to use FilmConvert on all platforms.

www.filmconvert.com/blackfriday

FilmConvert is film emulation and grain plugin for all major editing platforms - 19 film stocks from Kodak, Fuji, Polaroid and Ilford, 6K grain scans and dedicated camera profiles for the leading digital cinema cameras on the market.

We've just released new camera profiles for the Fujifilm X-T3 and Blackmagic Pocket Cinema Camera 4K, and there will be a new camera profile for the DJI Mavic 2 Pro out this week. Happy grading!

On 11/2/2018 at 11:33 AM, Maria Karanam said:

@John Parker How does filmconvert compare to other emulation plugins like colourlab in your opinion? Or is it just matter of more options and choice but not the output for given same parameters?

We don't know much about how Colourlab develop their film emulation, but FilmConvert is available to the public, whereas they have a members-only policy

FilmConvert's emphasis is on getting fast, usable results straight out-of-the-box with our camera profiles, so it's a good choice for jobs which require a quick turnaround, look visualization or on-set LUTs. The camera profile -> film stock matching also means FilmConvert can be used as a good camera matching tool for projects with footage from multiple camera sources, but we're also working on a new tool called CineMatch (www.cinematch.com) which is going to improve camera-matching accuracy too.

We have 19 different film stocks in the plugin, each one was profiled separately so they all have the individual characteristics of that film stock.

We're planning an update to the software in the near future that will enable the original Cineon log scans to be used, instead of the projected film simulation. This will keep the flavor of the film stock but give more power and flexibility in grading.

Hi Peter. Yes, we have shot rolls of all of our film stocks in a controlled studio environment, so we have the print density emulations as our targets. We also profile each digital camera, down to the camera model and specific picture style, so we can create an accurate transform between the camera footage and the target film stock.

We have a free, fully functional trial version of the software available at www.filmconvert.com/download that you can try out - all the film stocks are enabled, and the camera profile packs are free to download as well.

also check out FilmConvert (www.filmconvert.com). You can get 10% off with promo code LOWEPOST too.

(disclaimer: I work for FilmConvert  but our film stock emulations are also really good)