Secondary Color Correction Primer - The Art and Technique of Digital Color Correction - page 183

• Isolate the skin tones in “piano_correct.” The highlights of the skin are
similar to the aged yellow of the tops of the white piano keys. As I've
stated before, skin tones are one of the big things that colorists like to
tweak as a secondary.
• In any of the ultralight clips, try to isolate the entire “wing” of the ultralight
while keeping other colors out of the selection. This is a common correction
for a number of reasons. If the video is for the ultralight manufacturer, they
might require the color to be a very specific shade to properly represent the
product they're delivering. For other purposes, the producer may just want
to pop the ultralight out of the image, calling attention to it through color
contrast.
• In the “Jackie_interview” clip, try to isolate her skin tones without select-
ing the same tones in the wall to the left or in the door behind her. (This
can't be done without the addition of a garbage mask of some sort, but
practicing with this real-world image is a great experience.) What would
you do if a director of photography (DP) asked for a specific correction to
the skin but didn't want to see that correction in the rest of the image?
• In the “Railroad_LM112 Artbeats” clip, isolate the suitcase. In an image
like this, it would be common to ask for more emphasis to be placed on
an important prop so that the audience would think of how it relates to
Fig. 5.29 Courtesy of Bruce Lindbloom ( www.brucelindbloom.com ) .