You can use tools such as the hue vs hue curve or offset to correct your shots. The Vectorscope only sees colour or hue, it can't see the luminance value that particular hue has. Skin tones will differ from person to person, however, no matter what race or ethnicity, they all should be based around the same line. It is just a guideline.īy using the vectorscope and the skin tone indicator, you can avoid unwanted colour casts and keep your talent's skin looking as natural as possible.
The skin tone, ideally, should fall on or somewhere around this line, it doesn't always need to be perfectly on it. The skin tone indicator gives you a clear guide of roughly where your skin tones should be based, you can use a window, a mask or any other form of qualifier your application has to sperate the skin. The Vectorscope will show you the colours or hue within your image and the saturation of them. It can differ from application to application, so make sure the skin tone indicator is turned on for your vectorscope in the preferences. It should be your go-to tool, getting familiar with it will help you immensely. I'm using DaVinci Resolve in this demonstration, but the same tools are available in other applications.įirstly we're going to take a look at the Vectorscope and how it can help you measure the hue and saturation levels of your skin tones. Let's take a look at a couple of easy steps to help you improve your colour grading when it comes to working with skin tones.
When I see the work from industry-leading experts such as Dave Hussey or Tyler Roth of Company 3, it's not the stylised grade that stands out for me, it's the way they get skin tones to look so natural.
Getting perfect skin tones when grading is not as complicated as it might first appear.įor me, what separates the best from the rest when it comes to colour grading, is how a colourist manages skin tones.
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