Daryn Okada offers a great look at how a cinematographer approaches color-timing a feature in this latest video from [The Academy](https://www.youtube.com/watch?v=mOnTvkm00h4&feature=youtu.be):
It’s important to remember that when you see the dull, flat “before” footage, it’s not a mistake. These films aren’t saved in color timing, the way fashion models are transformed by Photoshop. Rather, modern DPs plan for color timing from the start, making choices both in prep and shot-by-shot to get the best possible image.