Matching Shots - The Art and Technique of Digital Color Correction - page 375

one doesn't look as good to me. This one looks more realistic because
there are different shades. There are lighter areas and darker areas. This
one looks flat, so I'm trying to make this one look like that. So basically
I need more yellow in the highlights because there's too much blue in
the highlights. Then put a little blue back in the lowlights.” Falcon points
at the middle of the doorway arch closest to the lion, commenting, “I'm
going back and forth between looking here for blacks, here for gammas,”
as she points to the top edge of same archway. “And up here for whites,”
she says, pointing to the far right square of building façade above far right
archway. “It's a little pinker.”
Falcon points out that as you get closer to getting a match, it's easy
to forget which side of the correction you're adjusting. She explains that
on a DaVinci, when you're wiped over a still, you see a green bar so you
know you're on the reference frame. See Figures 9.24 - 9.27 .
Fig. 9.24 Primary correction on the warm, “base” image.
Fig. 9.25 Data from the primary correction to the “base” image.