Primary Color Correction: Tonal Range Primer - The Art and Technique of Digital Color Correction - page 12

Fig. 1.10 Senior colorist Pankaj Bajpai at Encore Hollywood grading images from the topic using a Lustre.
He has an OmniTek scope prominently displayed, set to show an RGB Parade and vectorscope. Pankaj has
been the colorist for Justified, Lie to Me, Sex and the City, Hung, Rome, and How to Make It in America.
Before his career as a colorist, he was a director of photography. Later in the topic, Pankaj will walk you
through some corrections, step by step starting on page 258 and 276.
All of the colorists, except Pankaj Bagpai and Bob Festa, who
worked in their own personal suites with their own equipment, used
a Tektronix scope for these sessions that enabled them to view four
different panes of information on the monitor. They all configured the
four-pane view to display an RGB Parade waveform display and a vec-
torscope. Some colorists set up an RGB Parade waveform showing the
entire height of the waveform and then a second RGB Parade that was
zoomed in and focused on the 0IRE line to better see how to balance
their blacks. Most also set a fourth monitor pane to see the standard
full waveform luminance display. This setup is similar to what I saw in
the suites that the colorists worked in every day. Almost all of them had
four dedicated outboard scopes—or a single display with four scopes—
set to different views or displays ( Figures 1.11 - 1.12 ) , which allows
them to see information in multiple presentations at a single glance
without having to switch between views by pressing buttons on a
single scope.