Matching Colors Between Cameras.

[webrunner5]

I think it is a pretty good article that seems fairly easy and well, Logical.

http://www.4kshooters.net/2018/01/18/matching-colors-of-the-sony-a6500-panasonic-gh4-and-ursa-mini-in-post/

[maxotics]

The drawback to that system of color checking is it uses 8-16 color samples at a one level of exposure/dynamic range.  I believe it works well enough.  Indeed, I don't think it that hard to match footage is you shoot standard profiles (with minor tweaking) with white balance set custom on each camera to the same reference gray card. 

Do many people care about this problem?  Does anyone?  I'm not suggesting you made an unimportant post @webrunner5 .  I'm really curious.  I've been developing a system that can use 100s of colors to perform what I believe would be a very precise match.  But I've lost interest.  Maybe I'd put more time into it if I felt people would use it, have an interest.  So, does anyone have a real-world problem matching their cameras?  

Or, as you know, I've explained how LOG profiles are destructive of color information, yet everyone seems to use them EVERYWHERE.  Maybe that makes matching that more important?  Again, curious what people think.

[webrunner5]

1 hour ago, maxotics said:

The drawback to that system of color checking is it uses 8-16 color samples at a one level of exposure/dynamic range.  I believe it works well enough.  Indeed, I don't think it that hard to match footage is you shoot standard profiles (with minor tweaking) with white balance set custom on each camera to the same reference gray card. 

Do many people care about this problem?  Does anyone?  I'm not suggesting you made an unimportant post @webrunner5 .  I'm really curious.  I've been developing a system that can use 100s of colors to perform what I believe would be a very precise match.  But I've lost interest.  Maybe I'd put more time into it if I felt people would use it, have an interest.  So, does anyone have a real-world problem matching their cameras?  

Or, as you know, I've explained how LOG profiles are destructive of color information, yet everyone seems to use them EVERYWHERE.  Maybe that makes matching that more important?  Again, curious what people think.

Well your "experiment" will fall on deaf ears on here. I would not bother either. But it does sound somewhat complicated, but interesting also so... But that "simple" system seems to have worked for longer than we have been doing this.. Not saying there is not room for improvement.

[IronFilm]

I've used a X-Rite ColorChecker Passport on a lot of shoots over the year, and just late last year I purchased my own one!

You need to use it sensibly, thinking about where you place it in the scene to measure from, and perhaps even use it in even shot if there is any notable change in lighting at all from shot to shot. 

[TheRenaissanceMan]

The ACES workflow in DaVinci makes matching your cameras easy as hell--as it should, since that's what it was designed for. If you haven't tried it, go give the tools a spin. You'll be stunned what you can get out of it.