How to make auto color consistent over multiple shots? deselect temperature and tint?

Autocorrect in software seems like auto-WB in camera ... it might work sorta at times, but never close enough I would waste time on it. Certainly doesn't in Resolve either. And as someone who works for/with/teaches pro colorists, mostly based in Resolve, I've years of experience "over there".

There are alot of things about Lumetri that aren't ... well, optimal for speed work, nor particularly suited for targeted work. SpeedGrade was of course vastly superior. I actually still have that on my old desktop btw. Though it doesn't 'link' to the past-2015 versions of Premiere. 

There you could apply a grade to or copy a grade from up to 9 clips either way of the current selected one. As you note you wish you could do in Lumetri. And no, you can't copy a part of an effect to paste ... you can only copy the whole effect.

Ah well ...

To get the most out of Lumetri, you need to learn that you do not work in Lumetri in the same patterns as you do in Resolve or SpeedGrade. It's a different beast in so many ways.

That said, there are roughly "analagous" processes to what you do elsewhere. But you have to plan and group the work differently. If you do, it is both rather more capable than thought and can be pretty fast. 

I also suggest for any serious color work either amateur or pro, a good 'control surface' is even more essential in Lumetri than Resolve or SpeedGrade. I run a full Tangent Elements panel on my desktop, which can be mapped for TONS of things all across Premiere. Audio track mixing? Oh, heck yes! Volume and pan those knobs, sweet! Sizing, rotating, poisitioning any screen element? Sure thing! For example.

In color the control panel allows you to work multiple controls simultaneously, which you cannot do with a mouse. I have mine mapped so I can not only work at times 3-4 controls at the same time, they are from different tabs of Lumetri! And this ability is needed to get targeted, confined corrections. Even the Ripple unit, which I use with my laptop, is a great help.

I do agree, that with all its limitations, Lumetri is not "generally" good for shotmatching. Until, of course, you do it in the way Lumetri is made to work. First things first, right?

Chip charts are crucial in Lumetri, for any camera used. But not as people normally teach using them! You need to get the basics of matching or 'normalizing' your clips taken care of from the chip chart. WB, tonal shape, and hues of each camera close to similar using the chip chart. Notice I said 'close to similar'.  

We're not going for 'perfect', just to get things closer together. If your Reds aren't close to each other for hue center, no shotmatching in Lumetri can fix it. Don't waste time ... just get things close.

For example, do NOT set the color boxes to the prescribed boxes near the outer limit of the Vectorscope. Do NOT go there! That's way too far. 

Set the WB from the chip chart neutrals. You can use either the Basic WB or the Creative Tab's "Tint" controls, I often use the Tint ... 'highlight' sets your typical white balancs, bring the pivot slider down to about 25% from the left, and the Shadow now cleans up any shadow cast.

Set your grays to what kind of tonal response you want.

Now use Hue v Hue to set each color chip to the vector for it, then Hue v Sat to set each to about halfway between center and the outer box. NO FARTHER! You'll get artifacting or weird gunk going farther out.

Now ... apply that Lumetri in the bin to every clip from that camera. Do this once for each camera, and now ... your timeline should be dramatically closer to matched. If some scene is dramatically "off", you may need a second pass for that set of clips. I normally don't.

Plus, you now have the clips close enough you can match them in Lumetri. Basically, this is like unto setting a proper IDT in Resolve in the Media Pool.

And once done, you can go into those Lumetri effects, which are on the Source effects tab of the ECP, and adjust WB as needed per clip ... if needed. I shoot well enough controlled I don't need to finetune WB that much per cllip.

That's the kind of thinking needed in Lumetri. Figure out how to apply bulk corrections to groups of clips first. Then, and only then! ... do shotmatching down a sequence.

Another wise choice ... stack named Lumetri effects on a clip, doing different things in each instance. That allows you to cut and replace part of the grade, without touching other things.

I've spent enough months working on shotmatching, year after year, to know it just has too many  limitations.

But ... approached from the front end, so to speak, rather than the timeline ... well, I can do stuff I'm told Lumetri can't possibly do. And right fast, also.

It's just a very different mental process and series of steps.