With a general approach under your belt, in Part 2, we solve a more extreme problem by introducing a new tool set. Plus, we look at keyframing our base corrections to fix an extreme auto-color balance issue. Then, it’s on to shot matching. As I mention in the video, the shot-matching stage balances moving our focus between our scopes and the image itself. We use our scopes to help identify areas of mismatch, which then help us identify which tools we want to use to solve those problems. In a few shots, you’ll see how I might try two or three different tools to target the same problem