Creating Looks - The Art and Technique of Digital Color Correction - page 450

Sliga notices the strong red tones of the blanket. “This is still coming
through pretty strong,” he complains as he goes to the saturation curve
in secondaries. “So I'm just going to go in and try to grab reds in the satu-
ration curve and pull them down. Attempting to fix the redness of the
blankets with the saturation curve does not create the look he is after, so
he resets the curve and tries another tack.
Rich Lerner
Rich Lerner was the director of photography for the Academy Award-winning short
documentary “A Story of Healing.” He also developed and coproduced “Instinct” with
Anthony Hopkins and Cuba Gooding, Jr. He worked on the National Emmy-winning
episode of Nature titled “Urban Elephant” and has shot more than 1,000 fashion retail
spots. He has also worked extensively as a cinematographer for National Geographic. He
has shot several feature films and feature documentaries. His background was primar-
ily in shooting 35 mm and Super 16 mm film, but he currently does a lot of his work in
HD and digital cinema. He's also shot several independent feature films, including The
Torturer and Natasha Kizmet: The Movie.
“I'm going to go into another secondary and pick that red. That's a
very strong selection, because it's looking back at the original color of the
source. I'm going to use the color picker to isolate that down just a little
bit more. Then I'll throw a little blur on it. On the inside of that qualifica-
tion, I'm just going to pull saturation down. We can even come down on
the outside of the qualification and bring the red gain down as well,” Sliga
adds as he goes into the Advanced tab to affect the red gain ( Figure 10.92 ).
Fig. 10.92 Second secondary correction bringing down the red saturation in the blanket, mainly.