Correcting Shots - The Art and Technique of Digital Color Correction - page 306

another look at the sidebar “Thinking about the Budget” from the end of
Chapter 2 .
To begin his correction, Sliga checks the highlights to see if there's
anything that he can “unclip.” He decides that there's not much that can
be done to rescue detail in the highlights, so he starts balancing the blacks
in the image using the shadow trackball on the Tangent Devices con-
trol panel. After balancing them, he takes the blacks down to around
0IRE before he warms up the gammas using the red channel gamma level
adjustment in the Primary Room Advanced tab. Then he brings the reds
in the blacks down again using the red channel lift slider to compensate
for the interaction with the gamma adjustment ( Figure 7.67 ) .
With the image in the ballpark, Sliga moves to secondary corrections.
But for Sliga, his use of secondaries at this point is more closely akin to
another layer of primary correction, because he doesn't qualify anything
before he starts tweaking. “This jacket has a nice little highlight of blue
on it, so I want to keep that. We're going to use that to our advantage a
little later.”
Fig. 7.67 Sliga's primary
correction is minimal due
to his workflow of using
secondaries as additional
layers of primaries.
Fig. 7.68 Data from Primary room. Note the information under the wheels and that he did some corrections in the Advanced tab with
individual color channels.