CineMatch has been updated to work with the new color science features in Premiere Pro v25.2. Specifically, CineMatch now supports Premiere Pro’s working color spaces, Rec.709, Rec.2100 HLG, Rec.2100 PQ, ACEScct and the output color spaces, Rec.709, Rec.2020, Rec.2100 HLG and Rec.2100 PQ.
CineMatch will work with or without Premiere’s new color management, and is backwards compatible with previous versions of CineMatch.
The workflow in CineMatch does not change much from the previous version, but there are a few things you will need to know.
If Color Management is on in Premiere Pro, CineMatch will need to know what the Working Color Space and Output Color Space settings are. Technically it only needs to know the Output Color Space if you are using the color pickers.
If Color Management is off in Premiere Pro, then CineMatch only needs to know the Output Color Space. In this case it needs to know the Output Color Space for the color pickers, and if you want to use the CineMatch Output Transform.
CineMatch will only work correctly if Premiere Pro interprets your footage either correctly or
not at all. That is to say, if Premiere Pro interprets your F-Log2 / Rec.2020 as Rec.709 (Use Media Color Space: Rec.709), then you either need to set the Override Media Color Space to F-Log2 / Rec.2020, or turn off the input color management by checking the Preserve RGB Checkbox.
Similarly, if Premiere Pro does not support your footage at all (there is no correct override option available), then you need to turn off input color management, rather than let it use the default Rec.709 setting.
Input Tone Mapping should be off in Premiere Pro to achieve the most accurate match. We do not recommend using the Rec.709 working space as this space will almost definitely require input tone mapping to be used, and the highlight data will be crushed before CineMatch can perform its match.
If you have any questions about this or your copy of CineMatch, please contact us at support@filmconvert.com