Creating Looks - The Art and Technique of Digital Color Correction - page 410

Fig. 10.20 Primary correction.
Fig. 10.21 Data from Primary room.
With the shot in a good starting position, Sliga turns his attention to
giving it a classic bleach bypass look. “We'll favor the bleach bypass on
the cool side,” he says as he takes the gamma and highlights toward blue
a little with the hue offset wheels. “Then we'll go to secondaries.” In a
secondary, Sliga doesn't bother qualifying anything before he pulls the
blacks down in the entire image—using the secondary like a second level
of primary correction ( Figures 10.22 and 10.23 ).
“I'm going to be clipping that blacks and blowing the whites out,”
he explains as he stretches the gamma back up a bit to compensate for
his big black drop. Then he drops saturation in each of the tonal ranges.