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when automatically adjusting color balance and contrast. This control has been developed to provide optimal results when working in the Rec. 709 color space, and at a gamma of 2.4, so they work well in conjunction with using Resolve Color Management (RCM) to normalize media first.
The updated version of Shot Match has been designed to be used after you’ve used the A button on each clip in the operation, on both the clips you’re matching and the clip you’re matching to.
(Top) Original scene, (Bottom) After using shot match to match all selected clips to clip 62
Legacy Auto Color
The previous methods for doing Auto Color and Shot Match are available from the Color panel of the User Preferences, via two checkboxes named “Use Legacy Auto Color/Shot Match.” With these enabled, DaVinci Resolve looks for the darkest levels in the image to neutralize the RGB color balance in the blacks, and the brightest levels to neutralize the RGB color balance in the highlights. Furthermore, Master Lift and Master Gain are adjusted to maximize image contrast at the outer boundaries of 0 and 100 percent. Using this control with the Primaries Bars mode open makes it easier to see what’s been changed after these automatic adjustments are made.
Legacy Auto Color
The previous methods for doing Auto Color and Shot Match are available from the Color panel of the User Preferences, via two checkboxes named “Use Legacy Auto Color/Shot Match.” With these enabled, DaVinci Resolve looks for the darkest levels in the image to neutralize the RGB color balance in the blacks, and the brightest levels to neutralize the RGB color balance in the highlights. Furthermore, Master Lift and Master Gain are adjusted to maximize image contrast at the outer boundaries of 0 and 100 percent. Using this control with the Primaries Bars mode open makes it easier to see what’s been changed after these automatic adjustments are made.
Legacy Auto Color
The previous methods for doing Auto Color and Shot Match are available from the Color panel of the User Preferences, via two checkboxes named “Use Legacy Auto Color/Shot Match.” With these enabled, DaVinci Resolve looks for the darkest levels in the image to neutralize the RGB color balance in the blacks, and the brightest levels to neutralize the RGB color balance in the highlights. Furthermore, Master Lift and Master Gain are adjusted to maximize image contrast at the outer boundaries of 0 and 100 percent. Using this control with the Primaries Bars mode open makes it easier to see what’s been changed after these automatic adjustments are made.
Shot Match Guidelines
Keep in mind that Shot Match isn’t supposed to make your clips look good, it’s supposed to make them look the same as the clip you choose to match to, or to at least get as close as possible without creating a color correction that will do harm to the image. The purpose of Shot Match is to make it easier for you to match a scene’s worth of clips together so you have a starting point for building the rest of the look you want for that scene, on top of this initial match.
The clip you choose to match to may have a correction applied to it, but for the best results, you should limit yourself to simple Lift/Gamma/Gain primary adjustments. If you make Custom curve or secondary adjustments to the image, it will be much more difficult for Shot Match to give you a good result.
Shot Match works best with normalized clips. If you’ve got a timeline edited with log-encoded clips, you may want to use DaVinci Color Management to normalize all the clips in the Timeline before you use Shot Match, to get the most accurate results. It’s certainly possible to use Shot Match with log-