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Automatic color and texture matching that addresses problems of multicam and stereo shoots.
RE:Match is our solution to help you with camera matching problems.
Re:Match takes the color and tone from an image and transfers it to another image. People who are not familiar with color correction can use it to get more matching clips, and professionals can use it to pre-grade to simplify their workflow.
Match colors automatically – Color correct one shot to match another when using multiple takes or cameras.
Easy to control – RE:Match can match using the whole image or part of an image, and can use any point in time.
RE:Match Feature Specs:
Color matching – Set a color correction using several automatic methods. Color correct using a particular point in time of the sequence to match.
Mask SHapes – Perform automatic whole-image color correction based on a smaller window of pixels for each of the image sequence. (Not available with Catalyst Edit, Hitfilm, DaVinci Resolve, Vegas Pro)
Footage requirements – RE:Match assumes that both image sequences are taken roughly at the same location but perhaps were not shot at the same time or from the same point-of-view.
Color Correction Dissolve – Dissolve color corrective matching between user-selected reference frames along the timeline. Great for the shot-to-shot match. Your reference can even be a set of stills. (Not available with Catalyst Edit, Hitfilm, DaVinci Resolve, Vegas Pro)
Reuse a color correction – Ability to store the current color correction and use it on other sequences via cut-and-paste of the plug-in to another clip
HDR Imagery – Works well with over bright values and very wide dynamic ranges
Crop window – Perform automatic whole-image color correction based on a smaller window of pixels for each of the image sequence. (Not available with AE, Premiere Pro)
Handles more than one cut – Control the color correction for different cuts within your sequence by setting up one to four images and color match by choosing among them. This reduces the need to cut up your footage before processing. (Not available with AE, Premiere Pro, DaVinci Resolve, Vegas Pro
Nick Brooks, Academy Award and Emmy Award winner for visual effects, says RE:Match provides “amazing color matching for stereo pairs… really!!! The specular and optical aberrations matching is high quality and very effective. Like all RE:Vision Effects software, it’s nicely parameterized for pro-users, but works out of the box.”
Johnathan Banta, stereo pipeline designer, says “The smart guys at RE:Vision Effects have created a very cool toolset that I have been lobbying for for a long time. Brilliant!”
What’s new in Re:Match v2
Regular license works with After Effects, Catalyst Edit, DaVinci Resolve, HitFilm, Premiere Pro, and Vegas Pro. (Note: Pro license works with After Effects, Baselight, DaVinci Resolve, Flame, Smoke, Fusion Studio, HitFilm, Natron, Nuke, Premiere Pro, Scratch, and Silhouette. Pro license also works with regular product of any supported host.)
After Effects CS6, CC, CC 2014, CC 2015, CC 2017, CC 2018, CC 2019, 2020
Premiere Pro CS6, CC, CC 2014, CC 2015, CC 2017, CC 2018, CC 2019, 2020
Note if using AE CC 2015, that you will need to use 2015.0.1 (13.5.1) or later.
DaVinci Resolve 15.1.1 (and up)
Catalyst Edit 2017.2 (and up)
HitFilm 4 (and up)
Vegas Pro 64-bit only, v10.0e (and up).
The same OS and hardware requirements for the version of the Host that you are using.
Version 2.4.1 | July 6, 2020
Trial version could make app crash in Windows
Version 2.4 | June 8, 2020
Issue with LAB Global Color Space Wider Baseline
Color Plus: Adds a new transfer method: HistoRGB vs LumSat
Color Plus and Stereo: Improved RGB Histogram (less artifacts in highlights – clipping)
Color Plus: Adds a Gamma Space menu (AE only, Premiere is always gamma 2.4)
Version 2.3.1 | October 16, 2019 – Adobe Version
All plug-ins: Processing in LAB Space produced the wrong results
Version 2.3.1 | October 16, 2019 – Baselight, Catalyst Edit, DaVinci Resolve, Flame, Smoke, Fusion Studio, HitFilm, Natron, Nuke, Scratch, Silhouette, Vegas Pro
All plug-ins : Processing in Lab Space produced the wrong results
OFX Hitfilm: Could crash with RE:Match Basic in Render Queue when a second input is connected.
Version 2.3 | October 9, 2019 – After Effects, Premiere Pro
Mac OSX – Catalina Ready
Import Premiere project in AE with our plugins, there could be a parameter offset
Version 2.3 | October 7, 2019 – Baselight, Catalyst Edit, DaVinci Resolve, Flame, Smoke, Fusion Studio, HitFilm, Natron, Nuke, Scratch, Silhouette, Vegas Pro
Mac OSX – Catalina Ready
Linux: Plugins did not load in Fusion
Intel Embedded Graphics support fix
On some computers initialization could return embedded graphics card instead of discrete card
Linux: On some more recent linux flavors users could get a wrap memcpy error message
Version 2.2 | August 15, 2019 – OFX
RE:Match Plus now available in Resolve Color page
Fixed overlay issue in Resolve 16
Version needed for Vegas v17 and over
Version 2.1 | April 19, 2019 – Baselight, Catalyst Edit, DaVinci Resolve, Flame, Smoke, Fusion Studio, HitFilm, Natron, Nuke, Scratch, Silhouette, Vegas Pro
Adds support for Flame and Baselight in Pro version
Version 2.2 | January 25, 2019 – After Effects, Premiere Pro
Fixes hanging and crashing bugs in Premiere Pro
The Store button is now hidden in Premiere in CC 2017 and over. This due to a crashing bug in Premiere Pro when reading images in UI thread with some formats (including mp4 h264).
Fixes in-plugin activation/deactivation in Premiere giving a low-exception error.
Version 2.1 | December 3, 2018
Implements new RE:Vision Effects licensing scheme.
AE only: fixes an issue with Keyframe Match mode producing black frames. Reference can now be set to NONE to be applied on the clip itself (when keyframing in match shot-to-shot context) so the effect takes in consideration effects before in layer.
Version 2.0.1 | February 8, 2018
PREMIERE ONLY: Fixes a bug where RE:Match Color could return the wrong image(s) when keyframing reference frames.
RE:Match Color : Now split in 2 plug-ins, Basic and Color.
RE:Match Basic: allows you to perform some basic match grade using the whole image.
RE:Match Color: To get a good color correction it is often necessary to focus the analysis between clips in regions where there is overlapping content. RE:Match Color now offers many ways to mask the analysis.
RE:Match Color: New method that estimates matching Color Matrix, Gain, Gamma, and Offset automatically.
RE:Match Color: We changed some labels, now within RE:Match we have standardized to Source as the image to color correct. Reference now refers to the image to match to, or what used to be called Get Color From Image.
RE:Match Basic – Added Chroma-only in Color Space. Also Luminance-only now works with all Transfer Methods.
RE:Match Color: Settings are now provided to control the correction amounts applied for Luminance, Hue and Saturation individually. Also added are Lift controls for the shadow and highlights levels to further fine tune the analysis result.
RE:Match Color: a Better user interface to mask areas to limit regions to analyze. Also, the ability to provide a matte for each image.
RE:Match Color and RE:Match Basic – Premiere: No more orange frames when the main input is not the same size as the sequence.
RE:Match Color: Old V1 projects will load in RE:Match Basic and display the old controls, otherwise for new projects use RE:Match Color which has more controls than the old Window Match controls.
RE:Match Color: New way to animate correction settings by entering key frames along the timeline. Now much easier to handle dynamic color changes and harsh shot-to-shot cuts. The old Match to Stills UI is gone!
RE:Match Stereo: Maintain alpha is repaired.
RE:Match Stereo: Histogram 1 replaced with Histogram Wider Baseline (slower but…). Histogram 1 was a workaround to deal with unrelated images matching which does not apply here. Local Match Mode now second option is now Global Match, allowing you to still filter and refine the global match result. Now, this tool addresses a wider baseline (such as two cameras side by side but not in a S3D configuration, or even with slightly different zoom).
What’s new in Version 1.4?
Version needed to run in AE CC 2015
Fixes Histogram method 2 to work much better in both RE:Match Color and RE:Match Stereo.
Better results when refinement mode used in RE:Match Stereo
Adds support for RVL_NOGUI_LIC and RVL_QUIT_LIC_FAIL environment variables during render-only use in After Effects.
What’s New In Version 1.3?
RE:Match Color: Fixes incorrect times when setting up Stills within Premiere Pro CS6 and up
RE:Match Color: Adds gamma compensation controls to make it easier to work in linear colorspace
RE:Match Color: Automatic gamma space correspondence mode added to give better results when there is a large gamma difference between the sequences
RE:Match Color: Increases maximum number of frames supported to 300,000 to support longer sequences than the previous version
RE:Match Color: Because of limitations within Premiere Pro CS5 and CS5.5, we’ve turned off the UI that seems to allow the setting of Still times within PP CS5 and CS5.5. Because it does not work, we now reflect that in the UI capabilities of RE:Match Color within PP CS5 and 5.5.