Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 233

“I like green. A lot of people don't like green. Normally, what I would
do is qualify it based on that that's a darker color or a more colorful
color. That's why I was trying to pull up the bottom end of the lumi-
nance to eliminate the darker green in the door from the qualification
in the shirt. What I would normally try to do is get the greener parts
of the shirt. Let the tie stay beige. But there's green in here,” she says
as she points to the shadowed folds of shirt ( Figures 6.46 and 6.47 ) . “If
I make a qualification that's stronger on the green parts and maybe a
little bit grayer, like not so much of a qualification on the white parts,
so that when I make the color correction, it affects more of the greens,
the stronger greens. And it might affect the lighter parts too, but not as
much. I personally don't want to affect [the green in the window of the
door] unless the client or somebody told me, get rid of the green in the
window.”
When I ask why she doesn't simply use a vignette to save the green
light in the window of the door she responds, “Usually it's easier if you
can do something without windows, because you never know where
you're going to end up later. Maybe we'll come back to this shot later
Fig. 6.44 Falcon's primary correction.
Fig. 6.45 Data from the primary correction in FinalTouch UI.