Overview:

Matches the current layer’s color that of the target layer. It analyzes the colors of both layers and allows for detailed control over matching. Match by analyzing either the whole of the target layer or just a section of it.

The analysis happens only when clicking “Grab Colors” or when selecting a region in the composition window. It is not happening in “real time” while rendering.

 

Note:
Both the source and target layers need to be “within time range” when grabbing the current frame. Grabbing while either layer is out of it’s “in/out” time range will not yield valid matching results.

 

Grab Specific Region:
To match the source to a specific region of the target, while the effect is selected in the effect’s control window see the caption in the composition window saying to “shift+click and drag” to analyze the colors within that rectangle only.

 

 

Parameters:

 

Match Target:

Selected the target layer to match to. Needs to be set while analyzing, but doesn’t have to be set at other times (as in the case of copying the effect to another layer. No need to re-select the target unless analyzing again)

 

Analyze Current Frame:

Triggers the color analyzing, and sets the source and target colors. The analysis happens on the current frame only. For animated analysis, set keyframes for the color parameters and analyze again at key points over the layer’s span.

 

Apply Correction To:

Easy toggle switches to see which ranges should be corrected for best result. Switching a range off is equivalent to lowering it’s amount in the “Correction Amount” parameters to 0.

 

Source Normalize:

Full color matching requires mapping source colors to target colors, otherwise it’s a “blind” tint and not a matching correction. This parameter determines how much the source is taken into account when matching.

0 - Just a tint using the target colors.

100 - Full source to target matching.

 

Source Colors:

These parameters hold the analysis result for the low, mid and high color points of the source layer. Keyframe these parameters to allow for matching over time by hitting “Grab Colors” at different  times.

 

Target Colors:

Same as “Source Colors”, but representing the analyzed colors of the target layer.

 

Correction Amount:

Allows for fine adjustment of the correction applied to each part of the range by controlling the Luma and Chroma correction amount.

0 - No correction.

100 - Natural correction.

200 - Overcorrection.

 

Operation:

There are 3 modes of operation that determine the nature of the process.

Full Correction - Matches the source colors to the target colors. This is the common use case.

Tint with target colors only - Ignores source colors, similar to a tint effect.

Normalize Source Only - Ignores the target colors, and does a “white balance” to the source. Good for when multiple sources need to be made similar without tinting them. When this mode is selected, there is no target layer to select.

 

Clip Result At Target Colors:

Choose whether the resulting pixels may exceed the target highlight and shadow colors. That can occur when the analyzed source colors do not represent the absolute highest and lowest points.

 

Analize:

The methods with which the image and background will be analyzed.

Source Analyze Method - Applies for the input image.

Target Analyze Method - Applies to the selected target layer.

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The two methods differ in what situation they're best at.

Strict - Analyzes the image without being affected by extreme colors in the image. For example, An image with a person wearing a red shirt should not be "corrected" to a grey shirt and cyan skin. This method is best suited for analyzing the forgeround image, as it keeps the result neutral.
Mood - Analyzes the image while picking up the general tone. This method is best suited for analyzing the target image. For example, A background with a red wall covering most o the frame should affect the tone of the objects in front of it.

Imporant Note:
Having two different analyze methods for the source and target is the best practice when matching a foreground object to a background. When matching shots in a sequence or multiple camera angles of the same scene, it is best to use the same analyze method for the source and the target. Either of the methods will do, but in this scenario it is best when they are the same.

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Blur Before Analyze:

Helps eliminate the effect of noise on the analysis, as it’s undesired that a single white pixel in a dark scene would set the highlights in a misrepresenting way.