Correcting Shots - The Art and Technique of Digital Color Correction - page 298

Bob Sliga also takes a pass at this image. Before Sliga starts to balance
out the image, I ask if he likes to use the expanded, or zoomed, RGB
Parade waveform display that so many of the other colorists liked to use
when balancing blacks. “No. I use the vectorscope for that. I mean, you
can. Every person does it a little differently. But it gives me the ability to
see what I need to see here,” he explains, pointing at the center of the
vectorscope, which has been zoomed in four times. “I'm looking for a nice
tight ball there. That gets me where black is black, but we're still so far
blue balanced,” he says, looking at the shadows of trees above the farm.
“Now I'm going to richen this up something like that,” he says as he
lowers the gamma and then warms it up. Then he pulls blue out of high-
lightsandtouchesontheshadowsbriely.“Itimemoreonthericherside—
little heftier blacks, heavier gammas, just to give you more pop through
it. Letting the highlights blow out. It's just the theory that if you don't
like that, it's very easy to time back” ( Figures 7.54 and 7.55 ).
At this point, Sliga goes to Sat Curve in Color's Secondary room and
cranks up the green point. “You'll see that the green and yellow second-
ary color correction will blend together.”
Fig. 7.54 Primary correction only.
Fig. 7.55 Data from Primary room.