Matching Shots - The Art and Technique of Digital Color Correction - page 370

Fig. 9.14 The data from the Advanced tab of the Primary room.

curve. What I really want to do is deal with that yellow that's coming in
to the warmth of the bricks.” He pulls the saturation down on the yellow
vector of the cure ( Figure 9.15 ) .
“When you're actually doing matching like this, you end up trying a
lot of things to make it happen because you're forcing one into the other.
And so this one here, by pulling the yellow out, it got our stone [the
foundation of the lion] a lot closer, except we've got a little bit of color
up in there that's different,” he explains, pointing to the building façade
between lion and first doorway. “So I came back up here figuring I could
get away with a gain change, that gets it in the ballpark. And if we wipe
between the two just to see where we're at—the building itself is pretty
darn close.”

(a) (b)

Fig. 9.15 (a) The first secondary correction, pulling yellow out of the façade. (b) Data for the first secondary correction.