Set a color correction using several automatic methods. Color correct using a particular point in time of the sequence to match.

Perform automatic whole-image color correction based on a smaller window of pixels for each of the image sequence

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.

Dissolve color corrective matching between user-selected reference frames along the timeline. Great for shot-to-shot match. Your reference can even be a set of stills.

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.

Ability to store the current color correction and use it on other sequences via cut-and-paste of the plug-in to another clip

Works well with over bright values and very wide dynamic ranges

Matching for stereo pairs takes advantage of internal per-pixel registration using optical flow methods.

Stereo pair matching takes into account occlusions between the two views.

Stereo pair matching takes into account that the two images may not have corresponding details at some of the edges of the frame.

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).

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.

Use to match film scan to video (e.g. DVD with baked color correction), negative versus graded version/positive.