StudioMatch erases the differences between cameras from measured color data, not eyeballed guesswork. Pick your source, pick your target, and the image transforms to match — then put real film texture on top: grain, halation and acutance measured off the same stock. Realtime at 8K, native in Resolve, no quality loss.
Drag the divider to compare, and toggle StudioMatch on and off. Open the full comparison tool →
Drop StudioMatch on a node in DaVinci Resolve, choose the source camera the footage came from and the target camera or film stock you want it to look like, and the image transforms to match. It runs on the GPU, realtime, at full resolution, the same transform for playback and final render. No draft mode, no quality split.
Other tools pick a lane. Camera-match plug-ins match cameras. Film-emulation plug-ins fake a look. StudioMatch does both, and its film match isn't an aesthetic guess. It's a measured rendition of a real motion-picture stock (Kodak Vision3 500T / 5219), captured on the same chart-on-film references as every camera in the library.
For film targets you also get a Neutralize control to pull toward a cleaner rendition and a Coupler control that drives film's dye-coupler saturation behavior, the way real stock builds color as exposure climbs. Both come straight from the measured chart-on-film data, so you're finishing with the stock's real response, not a stylized preset.
And the colour is only half of a film stock. StudioMatch runs the texture engine in the same node: grain with real size, structure and motion, halation that blooms off highlights the way light scatters back through an emulsion, and acutance — the MTF response that decides how a stock resolves an edge. Choose the base your target was shot on, and grain scales the way it actually does between formats. It runs on the GPU with the match, so there's no second plug-in, no round trip, and nothing to line up afterwards.
Full 8K in real time on the GPU, CUDA / OpenCL on Windows, Metal on Mac. No render waits, no proxy dance. It's also crash-hardened: if the GPU path faults, it falls back to CPU rather than taking Resolve down.
It's an OFX node, so it sits anywhere in your node tree and composes with everything else you run: CSTs, your own LUTs, grades, the lot. Nothing new to learn, no new app to open.
Matches are post-processed to roll off cleanly in highlights and stay smooth on skin and gradients, instead of just scoring well on a chart and falling apart on texture.
It behaves like any other tool on the timeline, except this one erases the differences between your cameras.
Tell StudioMatch which camera the footage came from: Venice, Alexa 35, Mini LF, Lumix, Nikon ZR, DJI Ronin 4D, Pyxis 12K, iPhone, and more.
Choose the camera you want it to match, or choose the film stock to lay a measured film rendition over the whole show.
If it needs it, line up mid-grey with your footage's exposure, watch it transform in realtime, and grade on top. The creative look stays entirely in your hands.
Every camera is measured against the same controlled references, and not just reflective charts, which are limited in gamut. We also measure emissive targets across Rec. 2020 for full-gamut coverage. The matching rests on measured fact, gathered in conditions nobody else can casually reproduce. That data is the moat, and it only deepens as more cameras are added.
Every other matching or "emulation" tool sells you a hero shot and never says in numbers what a good match actually is. We decided to put a real figure on it, across the whole color spectrum and not just one flattering frame. Every StudioMatch pair is measured in ΔE (Delta E), the visual standard for how far apart two colors look to the human eye, where anything under about 3 is the point the average viewer stops seeing a difference at all. Success here isn't a vibe or a nice still, it's a number you can hold us to. Drag the live compare up top, then check the ΔE below.
A ΔE around 2 is roughly where a trained eye starts to notice a difference at all. We weight the training toward where it matters most in real footage, skin tones and neutrals, which often land below 2 ΔE and are effectively imperceptible.
Camera-to-camera, measured. The strongest pairs in the library, straight off the scope.
| Source | Target | ΔE |
|---|---|---|
| Lumix V-Log | Nikon ZR | 0.83 |
| Lumix V-Log | Lumix LogC | 0.91 |
| Lumix LogC | Nikon ZR | 0.92 |
| DJI 6K | Nikon ZR | 1.04 |
| Lumix LogC | Lumix V-Log | 1.08 |
| DJI 8K | DJI 6K | 1.14 |
| Sony Venice | Nikon ZR | 1.19 |
| ARRI Mini LF | Nikon ZR | 1.20 |
| DJI 8K | Nikon ZR | 1.28 |
| DJI 6K | DJI 8K | 1.33 |
| Nikon ZR | Lumix V-Log | 1.46 |
| Sony Venice | DJI 6K | 1.57 |
| Alexa 35 | Nikon ZR | 1.62 |
| DJI 8K | Lumix V-Log | 1.64 |
| Sony Venice | Lumix V-Log | 1.70 |
| Nikon ZR | DJI 6K | 1.75 |
| Sony Venice | Lumix LogC | 1.82 |
| BM Pyxis 12K | Nikon ZR | 1.82 |
| Alexa 35 | Lumix V-Log | 1.83 |
| Nikon ZR | Sony Venice | 1.96 |
| ARRI Mini LF | Sony Venice | 2.06 |
| Lumix LogC | Sony Venice | 2.07 |
Live and sortable, all 110 pairs: open the full scorecard →
Cameras, film stocks, and integrations we're actively working toward. Add the updates subscription and you get them as they ship.
The same measured match, live on set. Your monitors, dailies, and editorial see one unified look from the first take, and the DP-approved look carries into post with nothing lost in translation.
Every body you shoot on, matched to every other. New cameras get added to the library as we measure them, and they match to every existing camera and film target automatically.
Additional negative stocks and print combinations beyond Kodak 5219 → 2383, measured the same way. If it can be exposed on a chart, it can go in the library.
The algorithm keeps improving as we gather more measured data on digital cameras and run more chart-on-film shoots. Every subscribed customer gets those refinements the moment they land.
A perpetual license with two machine activations.
The full plug-in. Camera-to-camera, camera-to-film, and the film texture on top — all measured.
One-time · perpetual · yours forever
So it's up to you. This is a full product and it works forever, no strings. If you see the value in where it's going and want future cameras, film stocks, print stocks, even better matches as we gather more measured data on digital cameras, run more data shoots, and push the algorithm further, there's an optional updates subscription. Skip it and what you bought keeps working exactly as it is.
Early-adopter pricing. Buy once and the version you own keeps working forever; updates are optional and separate. Two machine activations per license.
StudioMatch is built, installed, and running on Mac and Windows today. One purchase, two machines, and it works on every camera in the library.
Get StudioMatch →One-time purchase · two machine activations · updates optional.
StudioMatch