Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 251

“I'm creating an effect. I'm blowing them out. I can pull the blacks down
even further if you want. But you can see as we pull the blacks down that
it's going to kind of naturally funnel in. That's why sometimes I really
won't do that. That's why I do a lot more with the gamma. Pull that satu-
ration back down. Maybe warm the gammas back up a little bit.”
Switching gears from the more traditional method of building con-
trast, Sliga attacks the image by using the secondaries as they're designed
to be used: with a qualification. “Now let's use it as more of a secondary
tool. We're going to create a luminance key.” Sliga sets the luminance
Fig. 6.73 Secondary correction on both sides of the luminance qualification.
Fig. 6.74 Data for the outside of the secondary. Note the numbers under the color wheels.