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In my nearly 30 years of working in sound, matching the acoustics of the location production sound was recorded in has always been important to me. I might have found the holy grail in the form of Chameleon 2! It has never been so easy to simulate the acoustic properties of production sound to help integrate ADR and Foley, or widen the sonic space. Not only does Chameleon do this with ease for any environment (both as a realtime plugin or as a processed/audiosuite), but it never sounds "off" or unnatural. I'm excited to see and hear where Chameleon will go from here.

Steven Ghouti - Yellow Cab StudiosArrival, Love & Friendship, In Safe Hands

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Chameleon is the plugin that I have been asking for, for a long long time. It has saved me a great deal of time, when trying to match as closely as possible the acoustics of production film sound. Whether it be bedding in ADR or matching radio mics to the booms, Chameleon does an outstanding job!

Dan Morgan - Sound SupervisorLast Night in Soho, Baby Driver, In Bruges

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I used Chameleon multiple times during the edit of Yorgos Lanthimos' 'Poor Things'. We were given the task of completing the edit using zero ADR. It's fantastic ability to model a room reverb. Chameleon enabled me to fix multiple dialogue overlaps without feeling like lines were cut short, giving the overlapping lines a natural reverb tail that worked the first time, everytime. Saving hours of time manually finding reverbs to match production dialogue.

Tristan Baylis - MPSEPoor Things, Nope, American Symphony

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Chameleon has become an essential tool in my workflow. From getting ADR to match a space flawlessly, to getting Foley to sit perfect in the mix, and tailing out cut-off sentences Chameleon is the best way to achieve seamlessness in a soundtrack. The ability to capture and apply unique reverbs quickly has been like a sound design dream.

James David Redding - III MPSE Re-recording MixerThe Queen's Gambit, Carol, The Patient