From the course: DaVinci Resolve 12 Essential Training

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Shot match workflow: Matching exposure

Shot match workflow: Matching exposure - DaVinci Resolve Tutorial

From the course: DaVinci Resolve 12 Essential Training

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Shot match workflow: Matching exposure

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- I've been kind of harping a little bit on how we add nodes. When do we decide when to add nodes when we're color correcting here in Resolve. I keep saying, when you have a new thought. And I keep saying, you know what, shot matching is a new thought, so when you're shot matching, add a new node. I want to take a couple moments to talk about how we build up our corrections when we're shot matching. Let's take a look at the timeline I have here. If you have access to the exercise files, it's 11_02 Shot Match Workflow. We are in Chapter 11, Shot Matching. I've got two shots set up for us. Let's open this up, hit Play. We've got this leopard, and a second shot of the leopard, clearly shot with two different cameras. One is giving us a full image, full contrast, lots of color. The other feels like much more like a lag camera, like it was recorded lag. I actually happen to know that that particular camera was a DSLR set with its flat settings. Not technically lag, but a very laggish look.…

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