Telling the Story - The Art and Technique of Digital Color Correction - page 350

Fig. 8.37 This was done with just a primary grade.
Fig. 8.38 Data from Primary room.
“Then I decided to go warm with it. I think that's a better it. It has
more contrast anyway. And this one (bright and warm) has the most grit-
tiness to it I think” ( Figure 8.45 ).
Chris Pepperman also worked on this image and had this take on it:
“The first thing I think about is what this picture can look like. And I see
this guy in an element that is real gritty. I see that it's a monochromatic,
almost black and white, with a little bit of color and a very hard shaft of
light coming through and he's training very hard. He's getting ready for a
fight and he's really intense about it. How can we tell a story with color?
I'm going to start by doing what I typically do, and that is adding contrast.
I'm going to see what I can work with clip-wise. So I'm coming down on
highlights and I'm coming up on setup to see where my detail is,” Pep-
perman explains as he adjusts both tonal ranges simultaneously with the
dials around the trackballs that control master gain and master setup.
He's getting ready for a fight and he's really intense about it. So how
can we tell a story with color? I'm going to start by . . . adding contrast.
- Chris Pepperman, NASCAR