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v2.x RE:Vision Effects RE:Match Pro

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RE:Vision Effects RE:Match Pro


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RE:Vision Effects RE:Match

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RE:Vision Effects RE:Match Pro

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.

RE:Match Features

  • 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.
  • Stereo match – RE:Match improves stereo footage by knowing that the two views are captured at the same time with a small distance between the views. (Not available with Catalyst Edit, Hitfilm, DaVinci Resolve, Vegas Pro, Fusion)

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, Fusion, Natron, Nuke, Scratch, Silhouette)
  • 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 a shot-to-shot match. Your reference can even be a set of stills. (Not available with Catalyst Edit, Hitfilm, DaVinci Resolve, Vegas Pro, Fusion, Natron, Nuke, Nuke, Silhouette)
  • 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)

RE:Match Pro Feature Specs

RE:Match Pro has all the above features and adds the following features:

  • Auto image registration – Matching for stereo pairs takes advantage of internal per-pixel registration using optical flow methods.
  • Occlusions – Stereo pair matching takes into account occlusions between the two views.
  • Frame edge differences – Stereo pair matching takes into account that the two images may not have corresponding details at some of the edges of the frame. (Not available with Scratch)
  • Refine within matte – Stereo matching has controls for making details, such as reflections, lens flares and specular highlights match between the two views. Methods provided to remove or attenuate on-lens artifacts (such as water drops on a lens).
  • No stereo alignment required – You can use at any point of your pipeline. Because RE:Match uses internal pixel registration, stereo matching does not require image alignment prior to use. Visualization modes are provided to guide what RE:Match is doing internally.

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, a stereo pipeline designer, says “The smart guys at RE:Vision Effects have created a very cool toolset that I have been lobbying for a long time. Brilliant!”

What’s new in Re:Match v2

Automatic color matching for multicam and stereo shoots. Features in stereo can be matched, taking occlusions into account. In this example, you will see that RE:Match matches one view to the other, despite the fact that the two camera system picks up slighty different colors in each view because of the reflective property of the car.



What’s new in Re:Match v2?

  • 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 standardised 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: Better user interface to mask areas to limit regions to analyze. Also, 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 same size as 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 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 1.4.3? Posted September 29, 2015:

  • Fixes a crashing bug in Premiere Pro.
  • Fixes a bug that Premiere Pro 9.0.2 introduced when processing floating point images. The only solution is that RE:Match now works only in 8 bits per channel within 9.0.2. This does not affect other versions of Premiere Pro.

What’s new in version 1.4.2? Posted September 18, 2015:

  • Fixes a bug that Premiere Pro 9.0.2 introduced when processing floating point images. The only solution is that RE:Match now works only in 8 bits per channel within 9.0.2. This does not affect other versions of Premiere Pro.

What’s new in version 1.4.1? Posted June 30, 2015:

  • Version needed to run in AE CC 2015.
  • Fixes a crashing bug in AE CC 2015.
  • Fixes an issue in Premiere Pro not properly storing the Frame Number (when using Match to Stills) with 24 FPS and other integer frame rates.

What’s new in version 1.4.0? Posted June 16, 2015:

  • 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. Read more here.

What’s new in version 1.3.6? Posted September 22, 2014:

  1. Fixed issues with licensing that some users were seeing
  2. Fixed sluggish performance issue in After Effects

What’s new in version 1.3.5? Posted June 13, 2014:

  • RE:Match Color: Fixes a problem where Adjustment Controls were not properly taken into account with Stored Analysis.
  • RE:Match Color: Enables Limit setting (slider might have slightly different effect than previous versions since it now works in a more expected way).
  • RE:Match Color: Fixex images produced that could be too bright when using Adjustment Controls with Limit slider on floating point images.
  • RE:Match Stereo: Fixes issue with alpha when using Maintain Alpha mode.
  • RE:Match Color: Fixes a problem where the Store Still Time action could be writing wrong frame time depending on Premiere version.

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 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.

Adobe Hosts

  • After Effects CS6, CC, CC 2014, CC 2015, CC 2017, CC 2018, CC 2019, 2020, 2021, 2022
  • Premiere Pro CS6, CC, CC 2014, CC 2015, CC 2017, CC 2018, CC 2019, 2020, 2021, 2022
  • Note if using AE CC 2015, that you will need to use 2015.0.1 (13.5.1) or later.

OFX Hosts

  • Autograph (all versions)
  • Baselight 5.2.11675 (and up)
  • DaVinci Resolve 15.1.1 (and up)
  • Catalyst Edit 2017.2 (and up)
  • Flame, Smoke, 2020 (and up)
  • Fusion Studio 5.2 (and up)
  • HitFilm 4 (and up)
  • Natron 1 (and up)
  • Silhouette 6.1.3 (and up)
  • Vegas Pro 64-bit only, v10.0e (and up).

System Requirements

The same OS and hardware requirements for the version of the Host that you are using.


Version 2.5.4 | October 4, 2022 (OFX)

  • Adds support for Autograph

Version 2.5.3 | March 10, 2022 (OFX)

  • Fixes how we process on GPU in Flame Linux latest versions

Version 2.5.2 | February 16, 2022 (OFX)

  • Adds support for new OpenFX Draw Suite.

Version 2.7.1 | November 8, 2021(AE)

  • Fixes issue on Mac with AE 22

Version 2.5.1a | November 2, 2021 (OFX)

  • Installer needed for Mac OS 12 (Monterey)
  • Updates REVisionActivate 21.12.6 (Windows)

Version 2.7a | October 27, 2021 (AE)

  • Installer needed for Mac OS 12 (Monterey)

Version 2.7 | July 29, 2021 (AE)

  • Exclusion Matte in RE:Match Stereo was broken – fixed!

Version 2.6 | June 15, 2021 (AE)

  • Add support for Apple M1 for Premiere Public Beta
  • Fixes issue with REVisionActivate on some Mac systems

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 2.2 for OFX | August 15, 2019

  • 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 for OFX | April 19, 2019

  • Adds support for Flame and Baselight

Version 2.2 for Adobe | January 25, 2019

  • 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.

Burning Question: What's the difference between RE:Vision Effects Pro & Regular plugins?

RE:Vision Effects Twixtor, ReelSmart Motion Blur, and RE:Match offer Regular and Pro versions of the software, so how do you know which version you need?


Re:Vision Effects Re:Match - Intro to Re:Match Color

This tutorial covers the basic concepts and use for RE:Match Color. After Effects and Premiere are used in this tutorial, although the controls are similar for all host applications.


Using RE:Vision Effects RE:Match:Pro; Matching Color From Separate Cameras/ Settings

RE:Match takes intuitive color and texture matching to a whole new level by addressing common problems on multiple shot, multicam and stereo shoots. RE:Match is a set of plug-ins to match one view of video or film to another so that it looks as if it was shot with the same camera and settings. 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.