Primary Color Correction: Color Manipulation Tools - The Art and Technique of Digital Color Correction - page 144

Fig. 4.58 My numbers for the lift correction from Color.
Fig. 4.59 My numbers for the gain correction and the resulting waveform from my gain corrections.
Seeing this slight difference in luminance between the right and left sides
of the chart is very difficult to do visually, but is quite obvious with your
scopes. Also, you may notice that as you start to bring up the green chan-
nel gain, you can't really get to the top (100IRE) before the green channel
starts to compress and a strange interaction starts happening with the red
channel gain, which almost seems to start unclipping. Once this happens,
stop raising your green gain and bring your red gain down quite a bit (I
brought mine down to about 80IRE) until you can get the green chan-
nel to 100IRE without compressing. Then bring your blue channel up to
match green. See Figure 4.59 .
As you make changes to the gain—and especially to the gamma—you
may notice that your lift (black) has changed. This is because the gain cor-
rections were so drastic that they affected the lift. This effect is common.
If you were grading these sequences with a manual user interface that
allowed you to tweak the red gain and red lift at the same time, you could
do this much faster. By using a single mouse, you'll need to go back and
forth between the gain and lift controls until you've got both of them in
equilibrium. See Figure 4.60 .