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The central point is the colour we have just picked and the two points on adjacent sides capture neighbouring tones. In the Hue vs Hue tab, choose the colour picker and sample the skin colour. Let's reselect the skin, turn off the Color Wheels, and select the Hue vs Saturation tab. To really finesse the color, more advanced tools like HSL Curves can be used.
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Increasing the saturation in the highlights and mid-tones, since the skin colour is mostly in those regions. One of the simplest ways of adding saturation is via a Color Wheels layer in the Color Finale 2 layers panel. Light skin is the least saturated and in most cases does not go higher than 30%. The saturation of skin inherent in people of Asian descent is usually quite high and can reach halfway to the edge of the scope, whereas dark skin is slightly less saturated and rarely exceeds 45% saturation. Does the skin tone indicator work for all skin complexions? Yes! Skin actually always has the same tone and only the saturation changes. If the graph plot is directly under this line we know we’re on the right track.Īnd at this point there’s an obvious question. The skin tone line in the scope corresponds to the ‘ideal’ representation of skin tone. The vectorscope with the skin tone indicator enabled is just the ticket for doing this.īy keeping the image analysis mask placed over the skin we can determine its tone and saturation. Saturation and HueĪfter we have found a level of brightness for the skin tones that works well for the shot, next we can work on the hue to make them start appearing more natural. Use the Exposure slider in the inspector to modify the brightness, in this case bumping it up slightly. In soft sunlight the brightness for skin should be around 40 to 70 units, with 40 being shadows and 70 the highlights. Now the Luma scope accurately reflects only our selection: its range is between 35 to 64 units. Place the mask avoiding the hair, eyes, and lips. We can isolate sections of the viewer using Color Finale 2 Pro’s image analysis mask - an ellipse mask works well to select faces. For now we are mainly interested in giving the skin tones a brightness level that’s appropriate for the shot.
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With the scope open, the entire frame in the viewer is represented on the graph. While this can be done by eye, bringing up the luma scope helps with accurately evaluating and setting the levels. Once we have put ungraded clips on the timeline a good first step is to check and adjust the brightness of the image. When working on skin tones we mostly focus on three main parameters - the luminosity value of the skin (its brightness), saturation, and hue. Watch the full video above for a complete visual walkthrough featuring several examples. In this post we'll explore simple techniques using Color Finale 2 Pro in Final Cut Pro that will let you get perfect skin tones in the simplest and fastest ways possible. What can we do to correct skin tones if how we imagined them is different to the result? This is one of the most frequently asked questions in colour grading. The quality of someone’s skin tone is one of the first things we notice while watching a video, so it's important to make it as appear as lively, natural, and balanced within a scene as possible.