A Sony and a drone filmed the same light and did not record the same picture. LumaSync measures what separates them and gives you a correction you can look at, judge, and take into your edit.
Pay with the email address you bought Synchromatic with: that is how your key is found again.
The panel opens on the timeline you already synced. Move the playhead and both cameras are read again at that instant.
Why it is possible
Any tool can compare two pictures. Only a synced timeline knows which two pictures were taken at the same second of the shoot. What is left between them is then the camera, and not two different moments of the light.
The number on screen is a cross-validation: the correction is fitted on half the sampled instants and measured on the others. A correction that flatters itself on the moments it was built from is how a colour tool lies to you.
The distance between the curves is the figure itself, so the picture and the number cannot contradict each other. And the legend names your cameras, not abstract roles.
How you use it
A wipe to judge the small differences, side by side to read them at a glance while you adjust. Full frame, and what you see is the LUT that will be exported, not a nicer approximation of it.
The fine controls are inside the model, not next to it. Every slider is a departure from the measurement, baked into the LUT, so the app tells you what your touch-up costs the match. A tool that lets you retouch without measuring turns a measured correction into an impression.
A 3D LUT per rush, in .cube, plus the ASC CDL when you want the parameters. In DaVinci Resolve a script places each LUT on the right clip, matched on file name, and leaves untouched any clip it has not measured.
The scopes
Three channels, three curves each: the reference camera, the other one before correction, and the same one after. They are read over the sampled instants of the whole shoot, not over one picture: a histogram of one frame tells you about that frame, this tells you about the shoot.
The limits
Nothing is rewritten, nothing is transcoded. Your files stay exactly as the camera wrote them, and the correction travels as a LUT that your editing program applies.
When the shoot splits into passages that measure better apart, it says so and offers one correction per passage. It does not tell you a setting changed: a changed setting, moving light, and two very different scenes look too much alike to call.
Below eight sampled instants the export is closed, and the reason is written on screen. A correction fitted on three moments is worse than doing nothing on one shot in eight, and nothing on screen would tell you which one.
One honest limit, before you pay: the script that places the LUTs inside DaVinci Resolve has not yet been run in a real Resolve. The .cube files it writes are ordinary 3D LUTs and load by hand like any other, in Resolve as in Premiere Pro. The rest of LumaSync runs daily on real footage.
Pricing
One payment, no subscription, no per-project fee. Works on every Mac you own. Every update is free up to version 2.
The colour upgrade, added to a licence you already own.
Pay with the email address you bought Synchromatic with: that is how your key is found again.
Add LumaSyncMost complete
Both, from the first day. Sync the shoot, then match the cameras, in the same window.
€4.99 less than buying them one after the other.
Buy bothWaveform sync, drift correction, rendered preview, FCPXML and FCP7 XML export.
You can add LumaSync later, for its own price.
Buy SynchromaticPaid through Stripe. Your key is shown right after payment and emailed on request if you lose it.
Apple, the Apple logo and macOS are trademarks of Apple Inc. Final Cut Pro is a trademark of Apple Inc. Adobe Premiere Pro is a trademark of Adobe Inc. DaVinci Resolve is a trademark of Blackmagic Design Pty Ltd. Synchromatic is an independent product and is not affiliated with, endorsed by or sponsored by any of them.