Correcting Shots - The Art and Technique of Digital Color Correction - page 271

Kassner chooses to fix the color on the outside of the “lamp vignette”
instead of going back to primaries. “Looking mostly at the vectorscope
in this case, I'm getting a little more of the green out,” he says, using the
highlights trackball. “It doesn't have to be pure white. And actually his
skin tone is going a little bit reddish, which is not bad, but maybe a little
bit too red. So what I want to do now is pick a red secondary” ( Figures
7.10 and 7.11 ).
Fig. 7.10 This secondary
brings down the light lumi-
nance inside the vignette
and slightly pulls highlights
away from green outside
the vignette.
Fig. 7.11 This is just the data for the inside of the vignette. The outside data is just a slight highlight correction away from green.