Correcting Shots - The Art and Technique of Digital Color Correction - page 283

he's in shade, I'd bring him up a little bit, just so he reads a little better on
the screen. And then with the gammas—gammas are your friend, I have
found—you can do a lot of things in gammas where you might contami-
nate the picture too much using highlights and lowlights. Gammas are
good for skin tones, I find. I'm trying to get it natural here. I'm not going
for a 'look.' So, maybe I went too far there, because now it doesn't look
so shady, so I'm going to back off the red in the gamma. Cool it off just a
little bit. Somewhere between where it was originally and where I went.
Some place, kind of a compromise, because he is in shade.”

Gammas are your friend, I have found.

- Neal Kassner, CBS

As you can see, the idea that you need to take a correction past where
it should go to see where it really wants to end up is a common thread
among all of the colorists ( Figures 7.32 and 7.33 ).

Fig. 7.32 Kassner's primary correction

Fig. 7.33 Data from Primary room