![]() 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. 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. ![]()
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