Originally Posted by TVOD
A fairly well known telecine engineer in LA originally from Australia once told me a several years back that the proper way of using traditional 6 vector secondaries was to turn down the telecine saturation and maximize the saturation on the secondaries. To my eyes this produced some very unusual colorimetry. The vectorscope looked like a star.
Eek! That is so absolutely wrong. Aside from inducing chroma noise, it will (as you point out) create a very uneven color gamut.
Those old six-vector color secondaries are now antiquated. Modern colorists use "power vectors" that can target a particular color no matter where it falls on the vectorscope. We can now qualify any color we wish to modify by hue, saturation, and luminance. But I would suspect on a regular TV program such as Letterman or Leno that secondary color correction is not utilized. The color differences between the shows are a function of camera setup, set lighting, and the taste of the producers and technical directors.
This is a facinating topic for me. I'm glad that AVS forum members are keen observers of the technical nuances of the video signal. I remember some time ago there was a discussion on this forum about the look of NCIS. Apparently the producers of that show used secondary color correction to make flesh tones look very red, and there was quite a howl about it here.
You guys are true videophiles, and I salute you.