Most common color correction problem I know - two exterriors of the same subject shot on two different days - one partly sunny and one overcast. Of course the director wants them edited back to back, right?
For the most part, I've been balancing contrast on the sunny day shot first, dropping a bit of the chroma and maybe a little warmth in the mids. I'm usually playing a guessing game when it comes to the cloudy stuff though. I've never been able to get it to where I'm happy. I remove some blues from the whites and add reds to the mids, but it just don't taste right to my eyes.
Has anyone discovered the recipe? I own a lotta colorist books, but they all fall short on explaining this one.