Forest Green foliage less dark green to softer matching.

Ok so I am a davinci resolve newbeee. So I am trying to color match various cameras. I like the BMPC but have some other DSLRs and looking at the foliage leaf's, and green plant in the forest there is a stark difference in color rendering. Most Samsung s20, 10bit king of raw, Olympus em5 & canon have a different rendering of plants. The BMPC 6K has a softer green look, kind or warm but like a lighter green. Most other cameras that I run into have a dark tint/tone not sure what it is but it is noticeable.

If a person were to lighten up the plant colors of the phone/Dslr fotage what would be the best way? I have played with shadows/highlights/tints/saturation and hues. Feel like I just cant seem to get very close, and in many cases not close at all.
A few scenes will match but a majority feel like a huge miss. Any tips? Again this is a forest scene so more than likely just about everything is green in the scene so I would think that would make it easier?

I would go mainly with HSL curves, working with the hue, saturation, AND lightness of the greens/yellows. If you haven't used HSL curves, find a YT tutorial to get a grasp on it. For matching the cameras I'd recommend using use the Vectorscope to see where the hue and saturation are, not just going by eye. Again, find a tutorial on how vectorscopes work. Find the shot with the greens you like the best and then match the others to it using the vectorscope as a guide.

- set input transforms carefully to get the starting gate as cleanly as possiable
- use color warper at the end of the node tree, and use care as it is more than capabile of creating artifacts at the drop of a hat

i just shipped a feature with a long scene set at a football match, shot across several days with lighting shifting constantly - green / yellow / blue astro turf endlessly shifting about - ended up with the football pitch matching green shot to shot, was not easy tho

all camera's used were reltivily close from the get go - 2x Alexa/Arri RAW, 3x RED Gemmni all with leica primes, so as flexiable a neg as one could wish for

still a PITA

- set input transforms carefully to get the starting gate as cleanly as possiable
- use color warper at the end of the node tree, and use care as it is more than capabile of creating artifacts at the drop of a hat

i just shipped a feature with a long scene set at a football match, shot across several days with lighting shifting constantly - green / yellow / blue astro turf endlessly shifting about - ended up with the football pitch matching green shot to shot, was not easy tho

all camera's used were reltivily close from the get go - 2x Alexa/Arri RAW, 3x RED Gemmni all with leica primes, so as flexiable a neg as one could wish for

still a PITA

Wow even with that gear you had matching isssues. Much thanks for the advice.

I would go mainly with HSL curves, working with the hue, saturation, AND lightness of the greens/yellows. If you haven't used HSL curves, find a YT tutorial to get a grasp on it. For matching the cameras I'd recommend using use the Vectorscope to see where the hue and saturation are, not just going by eye. Again, find a tutorial on how vectorscopes work. Find the shot with the greens you like the best and then match the others to it using the vectorscope as a guide.

Thanks have not used any of those items so, will do more education in that area..