Correcting Shots - The Art and Technique of Digital Color Correction - page 275

Fig. 7.16 This is my grade
following Field's suggestion
to pull a key on the win-
dow (and shirt), eliminating
even more of the green,
then adding a garbage
matte to the HSL qualifica-
tion to bring the windows
down in master gain.
Fig. 7.17 Here's the Sec-
ondary room data on the
inside of the HSL qualifica-
tion, plus a garbage matte
on the windows.
I point out that Festa is also unapologetic about his use of presets.
“Exactly, I designed them. There's no sense doing that work over and
over—and I wouldn't be able to get through the volume of work I have
without using them,” Bajpai continues, though he is quick to point out
that he is working without the context of the story.
Bajpai narrates, “I can see that there is this nice mica feel to the
picture and again I'm thinking of the light source now. And I'm looking
at the window. With light coming in through the window, I'm going
to enhance what they have already shot, I'm going to go in and use
a mask [ Figure 7.21 ], and it also allows me to go outside of that and
create that three-dimensional depth. I don't like losing texture.” He
also adds a mask around the banker's light to bring that element down
( Figures 7.22 - 7.24 ).