A vectorscope view of multiple skin patches metering in the healthy range of hue and saturation. The Academy Color Encoding System provides the widest compatibility for color-managed workflows. Checking skin tone inside DaVinci Resolve: Create a new node and draw a circular power window over a patch of well-lit skin — foreheads and cheeks often work best. Try to get as clean a patch as possible by excluding hair, eyes, mouth, and background.
Click the magic wand at the upper left corner of your viewer to enable Highlight mode — this will grey out the entire image except for the inner contents of your power window. Open your vectorscope, and ensure your skin tone indicator is enabled. Evaluate the location of the signal in relation to the skin tone indicator — a patch of neutral skin tone should rest somewhere on top of this line, rather than too far to the right or left of it.
Before… …and after: Neutralizing a magenta bias in skin tone with a simple primary adjustment. Less-common fixes But what about those rarer scenarios where an overall primary adjustment is too broad, and adversely affects the rest of the image?
Before… …and after. A simple Hue vs Hue adjustment to adjust an over-saturation of red in the skin tone If we find that these tools are still too broad for our needs, we can narrow things further by using an HSL qualifier. Pulling a broad and soft HSL key for problematic skin tone. Return to your Color page and select the ramp as your active clip. Go to your Color Wheels and set your Lum Mix to 0. Adding the warm push to our split-tone recipe. Note the position of the signal on the vectorscope.
Build the top of your split-tone curve by adding control points for red and green toward the top of the signal, and push both upward. Find the right ratio of red to green by ensuring that your signal is moving roughly along the skin tone indicator in your vectorscope. Once you find the right combination, you can always back off the intensity of your red and green curves using the sliders to the right.
Adding the cool push to our split-tone recipe Build the bottom of your split-tone curve by adding control points for blue and green and pushing upward. After all, is said and done, you should end up with skin tones that are true-to-life. Of course, when you add a grade on top of the corrections, you will need to retain your skin tones through the use of a layered node.
In the video, Aver creates a new node with a traditional teal-orange color grade. To bring back the skin tones, he adds a layered node on top of the grade node. Then he connects the node using the Qualifier effect to the layered node. Finally, he makes the skin tones corrections visible by inverting them in the Key tab. The last step suggests making some adjustments to the gain in the Key tab and playing around with the color wheels to blend your skin tone corrections with your final color grade.
I normally like to start with a closeup shot to set the look, since the skin is most clear and apparent in a closeup. Once you have accomplished your look on your close up or hero shot , you need to go ahead and match your other shots to it. Simply follow the same steps above 1 to 3 on each one of your shots, and then bring up a still frame of your graded shot to compare with each of the new shots you are coloring.
Remember to always use the same baseline shot to match each new shot to, in order to maintain a consistent look throughout the scene.
That just about sums it up. There is no exact science to color grading, and much like creating looks in Adobe Photoshop there are 10 different ways to get the same result… But for me and for many other colorists , the steps outlined above prove to be the most effective.
Check back soon as I have some great articles coming up in the next little while, including a comprehensive video review of the Blackmagic URSA.
Also — be sure to follow me on Instagram , Facebook, and Twitter for more updates! Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe.
Follow Noam on Twitter , Instagram and Facebook for more content like this! Thanks Rafael! Hope this helps. Hi Idowu! If the skin tones are similar on the hands and face, the same qualifier can be used for both and you can make all of your adjustments on a single node.
That said, if the hands are a different color maybe in a shadow, or not lit with the exact same temperature bulb you can pull a second key on a separate node just for the hands.
Love your articles, especially this one in regards to skin tones. I encourage you to download Project Video File and follow along with me. Sign in Join. Sign in. Forgot your password? Create an account. Sign up. Password recovery. Recover your password. Tuesday, November 23, Get help.
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