All language subtitles for Procolor_C11_L3b_Skin_Hsl_Curves

In this lesson, we're going to take a look
at adjusting skin tone in the color page

and the various tools
that we would use to do that.

Let's switch back over to shot 80 here.

I'm just going to get rid

of our first two nodes
and just have our color space transform

and we'll do a primary adjustment here
in this first node.

Let's make a little room here.

So just looking at this image,
we can tell this a little bit warm

and maybe a little bit green,
mostly because of the skin tones.

Again, we don't really know what color
the background should be.

For all we know, it could be painted
green.

Now, I know that this part as white
because I was there when we shot it,

but it's really easy to guess
just by looking at these skin tones.

So when we're talking about skin,
we have a couple of options.

Probably the best option
most of the time is to

adjust your primary
so that your skin looks good.

And then if there are other problems,
then you can fix those with a secondary.

So how we might do that is boost

our exposure here in the offset
booster contrast a little bit

and then take our tint away

from green and a little bit cooler.

And now we're getting those kind of normal
looking skin tones.

Might even adjust this
just a little further somewhere in there.

So here's where we were
and here's where we are now.

We have much more natural
looking skin and big surprise,

everything in the back
starts to look a little bit more white.

This is a good way to approach
most shots, in my opinion,

but let's say for whatever reason,
we don't want to change the tone here.

We kind of like this warmer tone.

We can do something like
make a secondary here

for our skin

color, pick on our HL curves

and we can move our skin
to be a little bit pinker.

Take away some of that green,

and that might help quite a bit.

We could also limit that with a window

just around his face like this,

so we make sure we don't get anything else

happening in the shot.

And now this shot doesn't look so weird.

It doesn't look so off here.

There's obviously a problem,
but with our skin

qualified and adjusted,
it doesn't really look that bad.

So another note on skin
is that even though there are

a bunch of different kinds of complexions
and skin types, there's

actually a way to tell if we're sort of
in the ballpark of normal looking skin.

If we open up our scopes, I'm
going to switch to our vector scope,

which is hue with the direction
and saturation versus

how far away from the middle
our little cloud is.

We can go over to the settings

and turn on something
called a skin tone indicator.

We click on that.

That will add this line right here.

And this line is

kind of an average hue for skin tone.

And generally, if the skin of your subject

lands on this line,
it is pretty normal looking.

So we can take a look at before
and after here.

Right now
we have pretty normal looking skin

and our cloud is kind of
right on this line.

Whereas before our skin was down here
a little bit more towards yellow,

which is why it kind of
looks sickly and kind of, yeah.

So if you have somebody that doesn't look
well like this

and you're a little bit
lost of how to fix it,

try and move

their skin tones back onto that skin tone
indicator line.

Now, is this the case for all skin
all the time, for every single situation?

No. But this is a great thing
to kind of double check your work on

if you're not feeling confident
about where your skin is landing,

let's do another shot.

But this time we're at the beginning here.

Here we have shot 24

out, just middle button mouse, click
one of our other shots to load

our color space, transform.

And now we have a very different situation

where this whole shot is just pushed
super pink.

And that's
because we have a pink light on her.

She's being lit by the lights
from the spaceship.

Now, this is one of those cases
where you really don't

want to have your skin fall on that skin
tone line.

And it's really
okay that we don't have that

normal skin tone
because of the context of the shot.

In fact, if we were to have normal skin
tone, it would look really weird.

I could make a secondary here
and do something like adjust her skin

and bring this back to the skin tone line.

And even though that does make her skin

normal, the result is terrifying.

We wouldn't really want to do that
because that's kind of negating

all of the style that's kind of being
put here in the image with the lighting.

So it's important
to think about this in context.

So the question would be,
if there's a bright pink light on her,

should she look like this?

And if so, if your mind kind of believes
that, then it's probably fine.

Let's contrast this
with something earlier.

Like on Shot six.

We have her riding through the forest

and we can tell things are desaturated

because we don't have that kind of bright
saturated skin tone.

It's really desaturated.

Now we're in the forest.

It's kind of getting to be nighttime,
and so it would make sense.

But if we wanted to,
we could kind of push up the saturation,

maybe warm this up a little bit.

And now we have a little bit more color
in her skin

and everything else looks nice, too.

So that might be a great way
to go for this shot.

Again,
it's really dependent on the context

and the type of feeling you're going for.

But skin tones are really important
because they will immediately signal

to the viewer if things are normal
or if the colors are a little bit off.