Reverse Shot matching?

Hi all,
SO I wanted to see if anyone had some suggestions here. For a project we need to colour match some shots. The automatic tool does a great job, but here's the issue. The footage will be going to an FX project, and then we need to be able to take some "edited" material back into the Resolve and basically undo the Shot Match.

In an ideal world this would just be the situation of inverting the values from the correction. However you can't see the values that a shot match has changed. So, is there a way to see that information? Or, does anyone have an alternative idea how we could Correct something and then reverse it back to it's original image?

Any question, please just ask and I'll try my best to help, but I'd def appreciate some expert brainstorming.

Honestly, without any sarcasm, this is what a colorist does: come up with looks and match them throughout a project. We are the Shot Match mode. We use eyes, hands, experience, scopes, and still frames to help make those judgements. There is no automatic mode, no inverse mode -- it's just good judgement.

What do you mean by "back to its original image?" I don't quite understand what you're trying to do. You can bypass all the color correction, and that will show you how the shot was supplied right out of the camera.

When you say "FX," do you mean "VFX"? If so, what I generally do is create a Viewing LUT for each shot, and I export that and send it along with the shot material and have the VFX people use that at the top of their stack as they do the composite and animation work. Once the VFX is completed, then they just remove the LUT and export that in a high-res format, then we bring the VFX shot back into Resolve, apply the original correction, and it "should" theoretically work. This is pretty basic VFX workflow, but note there are quite a few different ones now, particularly with ACES and other color-managed systems.

Well yes those would apply in a normal situation. Let me see if I can explain the goal here better

So in a typical scenario yes. Sorry I should have explained more detail as this is far from that.

So basically we have material grade baked in. We need to take a lot of material from different scenes to MATCH one. DO some stuff with that content and then populate it back into various scenarios.
it's original scenes too.

It's a complicated thing that I can't go into. But I need to see if there's a possible solution. Shot matching works perfect for what we are doing on the output. And in an ideal world we'd be able to just see those changes and essentially invert/reverse them back to the original look when we're done.

I apologise for not being able to give more information beyond that.