The skin tone line is a very, very powerful color indicator, as you’ll see in a bit. Because all of us have the same color red blood, the skin tone line represents the color of red blood under skin. (You, ah, know this by checking out your dead skin in the bathroom when no one is looking.) What gives skin its color is the red blood circulating underneath. See that line going up-left, about 10:30? That’s called the “skin-tone line.” Skin is actually gray. (Red, green and blue are primary colors, while magenta, cyan, and yellow are secondary colors.) Here, for example, the scope illustrates a single hue (or shade) of blue, with a variety of saturations. The six small boxes represent the three primary and three secondary colors, starting with red (near the top), then rotating clockwise to magenta, blue, cyan, green, yellow, and back to red. The angle of the color around the circle. The Vectorscope measures two color values: Levels below 0%, also generally considered illegal values. Levels above 100% and generally considered illegal values. The scope divides grays into seven regions: The Waveform Monitor measures gray-scale values as percentages of white, where “pure” white is 100%. We use both these scopes to make informed decisions about color. Again, the left image is from FCP X, while the right is the same image in Premiere Pro CC. The Vectorscope tells us everything we need to know about the color of an image, but nothing about gray-scale. Moving from left to right in the image corresponds to moving left to right in the scope. On the Waveform Monitor, white is up, black is down and gray is in the middle. (The scopes in Premiere Pro CS6 look the same as Premiere Pro CC.) While both scopes look a bit different, they both measure the same things: image gray scale values. The left image is the Waveform Monitor in Final Cut Pro X, the right is the same image, using the Waveform Monitor in Premiere Pro CC. The Waveform Monitor tells us everything we need to know about the gray-scale of an image, but nothing about color. Generally, for consistent results, we adjust gray-scale values first, then color values. Tweaking the color values adjusts the shade and amount of color – called “hue” and “saturation” – in the image. Tweaking gray-scale values adjusts the exposure, giving the image richness and energy.Ĭolor values are indicated on the Vectorscope. Gray-scale values are indicated on the Waveform Monitor. NOTE: Color grading is the process of giving a scene a specific “look.” Color correction is the process of fixing a color problem.Ĭolor correcting human skin adjusts two elements: Just as actors wear makeup to look good on camera, we can use these guidelines to help our actors look as good as possible in post. Whether you use Apple Final Cut Pro X, Final Cut Pro 7, Adobe Premiere Pro CC, Premiere CS6, or other video editing software, these guidelines apply. The purpose of this article is to give you some guidelines you can use to fix color problems to help your actors look “normal.” While every actor looks a bit different, if you have a color problem, these guidelines will help you fix it. While truthful, that advice doesn’t help the rest of us that don’t have their experience at seeing and adjusting color. If you ask a colorist what they do to make actors look good on screen, they’ll tell you that they just watch the monitor and make them look “right” for the scene.
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