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The amount of color correction; the shape of the window; the softness of
the window. All those things play together.
- Janet Falcon, Shooters Post
Fig. 6.48
The effect of the correction to the outside of the second vignette.
I point out the different “camps” of colorists who prefer adding soft-
ness to the vignette early or later. Falcon walks the fence on this deci-
sion, though she seems to land in the “soften early” camp. “I like to get
the window positioned the way I think I'm going to want it and then I
go back and forth. For me they all go together. The amount of color cor-
rection; the shape of the window; the softness of the window. All those
things play together. I know a lot of other people do it the other way.
They'll put the color correction in first and then do the luminance key. I
know Kevin Shaw does that.” Kevin Shaw is a prominent color correc-
tion trainer and consultant. “If he wants a luminance key of the sky, he'll
make a color correction in a circle, then create a luminance key and bring
that correction into the luminance key. I create the key as close as I think
I can get it and then I color correct it. Then I go back and touch up the
softness and the positioning. I do a lot of back and forth. I know I work
differently than other people. I've seen people do it the other way and
I can't understand how they can do it that way.”
Falcon tweaks the aspect and rotation of the circle to include his face
and some look room and darkens outside of it. Then she pulls a secondary
HSL key on the highest chroma part of the banker light. “I think it helps
to knock that light down a little bit.” I can tell she's not quite happy with
her correction because she's unfamiliar with using FinalTouch/Color.
“I like to be very, very, very specific about what I affect and what I
don't affect. Some people aren't that specific. I'm kind of neurotic about
it. Like, his face looks like he's sick. It's kind of pink here and green here,
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