Creating Looks - The Art and Technique of Digital Color Correction - page 435

Fig. 10.63 Data from the outside of the qualification.
I'm trying to do is eliminate that and balance it to what it would look
normally by eye.”
“You're assuming that the green is not something the DP wants,”
I interject. “That's right. Assuming that that's not what he wants. Now I'm
going to take this image and do it like we're doing a very high-contrast
almost reenactment kind of scene, and what I would do is, in this particular
case, I'm going to take the primaries and I'm really going to go to town and
crank the video levels up and bring the black levels down and create this
very, very high-contrasty look. As I'm doing that, it's affecting the greens
in the highs and the midrange, so I'm going to clean that up a little bit as
we go along. I can see it in the wall. The background is almost blue and
the pillars themselves almost have a green texture to them, which doesn't
bother me. I like it. Everybody tries to stay away from that green green
green. I kind of like it where you can really stylize. Everybody always used
to stay away from that yellowish-green because it always looked like it
was bad video. Looks come and go. Everybody does windows. Everybody
does the cross-processed look. It's the guys who innovate and try to melt
those looks together and come up with different images.
“Right now I'm adding just a little warmth into it,” he explains.
“There's still a little contamination in the blacks, so I'm really trying to
clean that up a little bit. I'm seeing a little bit of purplish in the blue. I just
want to add some cyan. I'm liking what I see, though it's cyanish here,”
he says, pointing to the shadows in the truck ( Figure 10.64 ) . “Now once I
got that look, I would isolate the reds and bring the reds down a little bit.”