Creating Looks - The Art and Technique of Digital Color Correction - page 436

Fig. 10.64 Pepperman's primary correction.
Fig. 10.65 Data from the Primary room.
Pepperman qualifies the skin tones with an HSL key and starts to add
a vignette to garbage mask them, when I warn him that the shot is a Stea-
dicam shot that follows the team. Pep continues, “I use vignettes all the
time on motion, and I just track it and keep it very soft” ( Figures 10.66
and 10.67 ).
Pep adds another secondary, creating an oval, then rotates it and
changes its position and aspect. I notice that Pepperman falls into the
“grade-with-vignettes-sharp” camp. He agrees, “Right, because I want to
see the difference between the two. I always do softness last. I want to
see the difference.” He cranks down the gain outside and cranks up the
gain inside before softening the oval. “See now I went too far, so I'm just
backing off the vignette a little bit. See how I like to go deep, and now I've
come off of it a bit. So now you can't see the vignette. It's transparent”
( Figure 10.68 ).