Correcting Shots - The Art and Technique of Digital Color Correction - page 274

Fig. 7.14 This image was
recreated by watching the
videotaped session with
Field and re-executing the
grade. This is the primary
correction.
Fig. 7.15 Rcreated data
from the Primary room.
Field is not happy with his correction yet, as it's veering toward
magenta. Instead of continuing with the correction, I ask him to sim-
ply explain what he would do next. “I think it's that window up there
where you can see things are going magenta,” Field mentions as he points
to the vectorscope. “That looks pretty hot up there, so I'd put a key on
that,” he explains, pointing at the window over the talent's left shoulder.
“Then I'd bring it to neutral. Or I can use the Power Window with a soft
edge. Or I could put a Power Window over his shirt and white balance
the window out. A few different techniques, all of which would work”
( Figures 7.16 - 7.19 ) .
Encore's Pankaj Bajpai demonstrates another approach. “With this
image, I would probably use a preset curve that desaturates and gives me
higher contrast very quickly. I do use a lot of presets. This is a cocktail of
elements I created” ( Figures 7.20 and 7.21 ).