Primary Color Correction: Color Manipulation Tools - The Art and Technique of Digital Color Correction - page 146

Fig. 4.61

(a) (b)

Fig. 4.62

three channels. Looking at the right side of the shadows, the blue chan-
nel starts at about the same level as the other channels at its lowest point,
but the portion of the trace from about 0IRE to about 20IRE shows that
the deep shadows above black are elevated above the other two tracks.
Also, looking at the highlights, the red channel is the lowest, and the blue
channel is the highest. Midtones are a bit hard to judge at the moment.
Let's set our black, lift, or pedestal level first across all three channels. We
have the nice black piano keys on the right to use as a very clean black, so
that should be relatively easy.