Telling the Story - The Art and Technique of Digital Color Correction - page 344

Fig. 8.26 First secondary correction lowers the glare on the wall and hides detail in the shadows.
Fig. 8.27 Data from first secondary.
covers less of the top of him and is bigger at the bottom where the flash-
light pool is. So my thought is to keep his head cooler, and it will be more
interesting if more of the warmth comes from the bottom,” he explains.
“I'd like to keep his head cool, and it's too dark up there,” Jannotta
continues as he plays with the original shape to better define the beam
and pool of the flashlight. “So I'm just trying to now to see if I can—even
though it's not like a flashlight beam—try and have it feel more like a
source light. I'm pulling out the softness on the bottom, 'cause I really
want to feather that bottom.”