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If the resulting automated match looks good and plays well, then congratulations, you’ve got an
excellent starting point for additional grading. However, keep in mind that even if the resulting match
isn’t perfect, it may have taken care of enough inconsistencies between the clip you’re matching to
and the clips that are being matched, that you need only make smaller, easier-to-spot adjustments in
order to nail the final match between the shots in a scene. Either way, you can save time.
Suggestions for Using Shot Match
It’s certainly possible to select every clip in a scene and use Shot Match, and the results may be
wonderful depending on what kind of visuals are in the scene. However, for other scenes, this may not
always get you the best results.
Be strategic about which clips you select to match to one another. Don’t use Shot Match on shots that
you know already have the same lighting, as you’ll risk having Shot Match make a minor adjustment
that may actually make the shots match less well. Think of Shot Match as a tool for matching clips that
look different.
It can also help to use Shot Match an angle at a time, and to do a small test before committing yourself
to matching a bunch of clips. For example, suppose you have a scene consisting of angle A (an over of
character 1), angle B (an over of character 2), and angle C (a master shot), and you want to match the
scene entire scene to angle C since it has the best lighting. First, match one shot from angle B to your
favorite shot from angle C, and see how you like the result. If it’s good, then go ahead and select every
angle B clip and match them to angle C, before moving on to test one shot from angle A. This way, if
there’s ever an angle that doesn’t work well using Shot Match, you can try matching it to one of the
other angles in the scene that you’ve already matched to see if you get a better result.
NOTE: Keep in mind that, since each clip in the Timeline has its own undo stack, you cannot
undo a shot match operation applied to multiple clips all at once.
Beware of clips with large areas of color in the background that don’t match any of the other angles in
a scene, such as a shot-reverse-shot sequence that cuts between someone standing in a back yard
and someone standing against a purple wall. You can try it to see what happens, but this kind of color
distribution can often throw Shot Match results off.
Broadcast Safe
If you regularly deliver to restrictive QC standards, then you can enable Broadcast Safe in the Color
Management panel of the Project Settings while you grade to limit both the luma and chroma of the
video signal to one of three levels of acceptable overshoots and undershoots.
The Broadcast Safe parameters in the Color Management panel of the Project Settings
– Broadcast safe IRE (mV) levels: A drop-down menu for choosing one of three levels of
aggressiveness when limiting the signal. Choose the range that corresponds to your QC
requirements. The options are “–20 - 120” (permissive), “–10 - 110” (conservative), and “0 - 100”
(very conservative).
– Make Broadcast Safe: A checkbox that turns broadcast safe limiting on and off.
Chapter 126Automated Grading Commands and Imported Grades 2558
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