When you decide to ‘up your game’ and take color correction seriously – you need to develop workflows that are adaptable. And why would we do that? Because there are endless variations of cameras, lighting, subject matter, lenses, exposures, recording formats, and bit depths that expecting a single workflow to work every time… it’s totally unrealistic. Of course, with a basic workflow in place – we can riff ‘variations on a theme’ to further refine our workflow. We then took our conclusions about how that feature works to develop a workflow for more consistent results when using Resolve’s Color Match tool. In previous Insights we’ve explored why using Resolve 11’s Color Match feature is so hard. How to Build Your Own Manual ‘Color Matching’ Node in DaVinci Resolve 11 Why is Camera Matching with Color Charts so hard.Tutorials / Why is Camera Matching with Color Charts so hard / How to Build a Manual Color Matching Node in DaVinci Resolve, Part 3 Series
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