Creating Looks - The Art and Technique of Digital Color Correction - page 433

Fig. 10.59 Jannotta's
primary correction.

Fig. 10.60 Data from Primary room.

Feeling in his element with the action of the scene, the colorist for 24 ,
Larry Field, also gives the image a shot.

If this were 24 , we'd have this nice and warm, desaturated, and as
grainy as we could get it.

- Larry Field, Level 3

Field explains his approach, “It's yellow/green. It could be changed
to a few different things. I'll just quickly balance it. We can neutralize it
somewhere in there. Those white balanced gammas weren't too bad. You
may want contrast in a shot like this because crazy things are happening.
It would add to the excitement—the intensity of the shot. If this were 24 ,
we'd have this nice and warm, desaturated, and as grainy as we could
get it. Then do a lift of luma-only, which grits it out and gives it a bleachy
feel. Then, because it's film, we can really push the grain; desaturate it.