Graphics Reference
In-Depth Information
You may think that we need to even out the discrepancy in the levels
in that 80IRE to 30IRE zone—which is definitely defined as “gamma”—
but consider the color of flesh. It's pretty red and fairly yellow, without
much blue. Considering that, the RGB Parade may be sitting just about
right.
But we wouldn't be doing our job—and I would be contradicting my
own advice—if we didn't try to focus our correction and see what we can
do with the skin tones and any other colors in the gammas. But trying to
focus color in gammas is not something you can generally do with scopes.
This is where you have to turn your eyes to the actual image and find
where the image is most pleasing or correct visually.
I started by making an adjustment to the blue gammas, and the skin
tone, and the tops of the piano keys quickly started getting too yellow as
I dropped the blue gammas. Raising the blue gammas added too much
coolness to the flesh tones in the hands.
Changing the green gammas downward pulled some green noise out
of the wood and skin tones, though going just slightly too far started mak-
ing the image go very magenta very quickly. Lowering the green gamma
also added a nice richness to the dark wood of the piano. Raising the
greens instantly started looking sickly.
Bringing the red tones down certainly doesn't help the skin tones.
Raising them creates a nice warm glow to the dark piano wood, but mov-
ing it too much adds an unnatural oversaturated look to the hands first
and then to the wood.
Here's where we started and where we ended up ( Figure 4.66 ) .
 
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