Matching Shots - The Art and Technique of Digital Color Correction - page 369

a couple ways. First, I'm going to start with the blue gamma and bring it
down into this area here. Then I'm going to bring the red gamma up a tad
and then go back and forth.”
Sliga changes gears again and jumps from the Advanced tab correc-
tions back to the trackball for midtones. “This is one of those places where
it's easier to do with the trackballs, so I'm going to do the rest of the
correction over here. We're getting warmer overall. We're probably not
going to match it totally 100 percent exactly, but the idea is to get it pretty
darn close and we should be able to. If we had to use windows and that,
we could. Remember I'm just in the primary in room for this right now.
So I'm just going to add a bit of color to it. Looks like we have a little bit of
a green balance,” he says as he adjusts the highlight trackball. “I'm doing
this by eye at this point. Then I'll come back to the gamma with a little
bit more green. Now I'm using shadow sat [saturation] and pulling down
some of the saturation that was building up in the shadows.”
With most of the work done in the Primary room ( Figures 9.11 - 9.14 ),
Sliga moves to secondaries, explaining, “I'm going to use the Saturation

Fig. 9.11 The shot Sliga used for his match. Fig. 9.12 The primary correction.

Fig. 9.13 The main primary data.