Creating Looks - The Art and Technique of Digital Color Correction - page 448

“One of the things to remember in day-for-night is that saturation isn't
plentiful. A lot of people really overdo blue,” states Sliga. “You should feel
it, but you shouldn't be hit in the face with blue.”
That's how I come across a lot of my looks. I'll walk around and look
at things and almost reference them like I have a video scope.
- Bob Sliga
I ask, “So you use the science of how the eye sees at night time?” “Exactly.
And that's how I come across a lot of my looks. I'll walk around and look
at things and almost reference them like I have a video scope. I mean, I've
done it for so long. I'll look into shadows. I'll look into other areas. Overall
color textures. Highlights off of building reflections downtown. Then think-
ing, 'How would I emulate that in here?' Then at night, you go outside; after
a while, obviously your eyes will adjust, and you can see more and more
into the night, but you never see more and more color. It's not there.”
“I remember reading that your eye has a harder time seeing red satu-
ration in low light,” I say.
Fig. 10.88 Primary correction.
Fig. 10.89 Data from Primary room.