Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 211

Fig. 6.8 Scopes showing source image, from Tektronix WVR 7100. Upper left is RGB Parade. Lower left is
RGB Parade expanded to show black level. Upper right is composite waveform. Lower right is a vector-
scope at standard zoom.
change so that they had a better sense for the way the correction would
actually look when it was complete. Leffel puts himself in the first camp,
saying, “I find it easier to change the shape before I change the softness
of a vignette. But I'm kind of in both camps. It depends on what I'm
trying to do. If I'm trying to do something that's really extreme, then I
don't need to see it, but if I'm trying to do something subtle, or I'm try-
ing to just fix something, the more subtle it is, the more I like to have
less softness so I can see what I'm actually doing instead of assuming it's
working with the softness turned up. This one I'm gonna start hard just
to see.”
First, Leffel does a primary correction. This correction mostly involved
the master black, gamma, and highlight levels. Leffel also tweaked the
highlight balance toward red and slightly moved blacks the same direc-
tion ( Figure 6.9 ).
All colorists worked in FinalTouch HD, because Color was not yet
released. This screenshot is from the Primary room of FinalTouch HD.
He continues the correction with a secondary qualification on the
grass ( Figure 6.10 ) . He grades inside and outside that qualification.