Telling the Story - The Art and Technique of Digital Color Correction - page 345

Fig. 8.28 Second secondary focuses on the flashlight.
Fig. 8.29 Data from the inside of the second secondary.
Jannotta creates another secondary vignette. “What I think I'm going
to do now is get his head with a triangle kind of thing. So they'll be over-
lapping, but this one on top is going to be so I can light up his head a little
bit, but keep it cool. I like the way that shot feels now.”
Continuing with his definition of the image using secondaries, Jan-
notta draws an upside-down dome along the top middle of the picture,
selecting the bright practical lights near the top of the frame then pulls
the highlights down ( Figures 8.33 and 8.34 ) , explaining that he didn't
like emphasis on the bright lights over the actor's head. “That looks more