Primary Color Correction: Color Control Primer - The Art and Technique of Digital Color Correction - page 86

Fig. 3.17
Comparing the original image with the new balanced image shows a
marked improvement in both color balance and contrast. Comparing it to
the “correct” shot shows that the “real” image is perhaps a bit warmer.
There are exercises in matching shots later in the topic. We won't try that
right now, but you could pull up the gammas in the red channel a bit to
warm up the picture. Also, looking at the lettering in the banners in the
arched areas at the top of the picture, you might also see that the lettering
on the banners that is supposed to be white is fairly bluish, so you could use
the blue gain to pull down the amount of blue in the white of the lettering.
This is a tutorial for a specific purpose—balancing using the RGB
parade and individual channel levels—so we are not going to finish the
correction right now. This image is not ready for prime time, but we made
significant improvements. If you think that it is too dark, you could use
the Basic Tab's Master Gain and Master Gamma to tweak the overall level.
You could also bring down the level of the Highlight Sat. control as a
quick fix to the yellow tint of the sky.
Making these corrections while monitoring the RGB Parade and mak-
ing corrections with the red, green, and blue gain, gamma, and lift “slid-
ers” is very intuitive. But this is only one of the ways that you can balance
color. The other way is actually the more common way for an experi-
enced colorist to use, but instead of using the RGB waveform, it's much
more intuitive to use the vectorscope when using this other tool.