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then adds a little key blur before starting his adjustment of the qualified
area. “I'll try boosting the saturation to the keyed area then I'll try swing-
ing the hue around. See what it gets me, if anything. Swinging it away
from yellow. At that point, you can go back to the primaries because
you've got the secondary on. If you increase that towards yellow, you're
going to get more green because you've got a secondary working on top
of it. Like I say, it's all about separation and contrast, so now I've got
something that may not be the kickiest-looking picture in the world, but
it's a lot better than what I started with” (
Figures 7.50
and
7.51
).
It's all about separation and contrast.
- Mike Most, Cineworks Miami
Most talks through his other options. “The other thing I might do is
go into another secondary—I hate using multiple secondaries. I honestly
do, because I think it's a crutch. I think you've got to get things separated
by balance before you start going into secondaries, but when you've got
Fig. 7.50
Secondary cor-
rection of the foliage.
Fig. 7.51
Data from the
Secondary room.
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