Primary Color Correction: Color Manipulation Tools - The Art and Technique of Digital Color Correction - page 123

Fig. 4.21 This correction raised red and lowered green and blue equally.
I will drag the midtone hue offset wheel to extreme values around the cir-
cumference of the color wheel and show the corresponding RGB Parade
waveform. Remember that the starting point for all of the midtones is about
50IRE and not quite perfectly balanced, but close. Note the direction of the
hue offset change (exact degrees are indicated by a number under the hue
offset wheel) compared to the movement of the midtones in the RGB Parade.
Saturation Controls
Before we discuss some of the other tools for making color corrections
that are available in some of the color correction applications and plug-
ins, we have to discuss saturation controls. Any good color correction
application should have the ability to control saturation in the highlights,
in the shadows, and across the entire image as well.
It's kind of fitting that I've left the discussion of saturation so late in
the section about color, because as I watched the expert colorists, most
of them didn't do changes to saturation until fairly late in the process. As
with so many things in color correction, this is not a hard and fast rule,
but it does make a lot of sense because of the way that many of the other
primary color corrections can alter saturation. Changes in black level,
brightness, contrast, and color balancing can all affect saturation. So until
these things are all set, the real saturation of the image remains fluid.
Changes in black level, brightness, contrast, and color balancing can
all affect saturation.
Once the tonal range and color balance are set, there are several
reasons for adjusting the saturation controls. Obviously, we need to have
“legal” colors, and if raising the gain has also raised the saturation of