Why cameras do not match
Two cameras pointed at the same scene will not produce the same picture. Different sensors, different processing, different white balance. The cut between them is where the audience notices.
Matching cameras is the single change that most makes a multi-camera production look deliberate rather than assembled.
Start with automatic balance
Open the Colour room, select a camera and press Auto Balance. It analyses the picture and gets you most of the way in one click. For many productions that is enough.
Camera matching
Pick the camera whose look you like. Then use Match to bring every other camera toward it. Work one camera at a time and cut between them as you go — the differences that survive a cut are the ones that matter.
Reading the scopes
The waveform shows brightness across the frame. Keep faces around the middle and do not let anything sit flat against the top.
The RGB parade shows the three channels side by side. If one sits consistently higher than the others, you have a colour cast — that is what to correct.
The vectorscope has a line marked for skin tone. Faces should sit near it. This is the fastest way to tell whether a correction has gone too far.
The histogram shows the whole range at a glance.
Wheels, curves and secondaries
The three wheels control shadows, midtones and highlights. Small movements. Colour work is a series of adjustments so small that each one looks like nothing.
Curves give finer control when the wheels get you close but not there.
Secondary correction isolates one colour so you can change a backdrop without changing skin tones.
Exposure aids
Zebra stripes anything about to clip. False colour maps the whole frame to exposure values. Focus peaking highlights the edges that are genuinely sharp.
Turn these on while setting up and off before you go live.