I still haven’t had time to watch the workprint, but I’m just chiming in so you know I’m still following the technical details you’re going through in the thread, even though it’s above my head in terms of contributing anything useful to it.
That’s okay. All that’s going on at the moment is that I’m trying to find a good balance in the color grade between accurate skin tones and keeping the grading from going full orange and teal like so many present-day movies often do. It’s tricky, but worth it.
On the bright side, I found that I can save more time by grading the timeline instead of the individual edits on Resolve. That way, I don’t have to spend days color correcting every single edit I’ve made while also ensuring consistency across the entire movie. So there’s a good chance I might be able to fix the issue sooner rather than later. I still have to watch the edit in full to see if I’ve missed something, but I’m feeling confident in the results.
I never did much colour correction other than fixing big obvious differences between shots, but I remember the people who were very meticulous with it would usually apply a standard grading across a whole scene, then go in and tweak individual shots for consistency. That was with raw footage, which I realise is different than working with footage that’s already been graded and finalised, but I figure the same principle would apply.