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If the skin looks to yellow-green, you would use a red-purple. Yellow is the complement to purple, red to green, blue to orange, and so on.įor example, if you have determined the problem in your video is that the skin looks too warm, with a red-orange cast, the color you would use to neutralize that unwanted tint is its exact opposite, which is blue. In the wheel below, check out how the colors (and different versions thereof) are arranged in a circle. They are easy to find, because they are always on opposite sides of the color wheel. Wait, What Are Complementary Colors?Ĭomplementary colors are two colors that neutralize each other to create gray. We need to work with complementary colors. The skin color problems in your video footage are essentially places you covered with dirty yellow marker, and putting a natural skin color on top won’t truly solve the issue. If you were ever the one who picked the pack of markers with a dirty yellow, you know that using someone else’s clean yellow marker on top of the murky problem areas of your project didn’t create a crisp, pure color – just more mud. Think back to the last time you played with a pack of markers. Use Color Theory to Figure Out the Exact Problemīecause skin itself is actually many shades of grey and semi-transparent, (blood and melanin give it visible warmth and tone, but all by its lonesome, skin cells are not particularly vibrant) you cannot make footage of orangey or greenish skin look normal by adding a flesh-colored tint.
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It’s important to understand how color works, as a video editor, so you can adapt these methods to any color in any situation. When you need to color correct, the most important factor is how colors interact with each other.Įach of the methods in this article works better if you have some basic knowledge of color theory. The way to address this is to target a specific color to correct. More often than not, you will deal with a combination of exposure and temperature creating a skin issue. All the delightful combinations of those elements, because everyone loves to hate a blown-out orange forehead.Wrong exposure, the low, mid and high tones are either too light or dark there are visibly blown-out highlights or muddy shadows.Green or Magenta tint, usually from cheaper fluorescent or LED lights.Wrong temperature, either too warm or too cool, which we’ll discuss.Here’s a breakdown of the issues that happen with skin: The following fixes are for editors who have neither a generous budget for extra editing plugins, nor assistants to whom all the annoying, tedious tweaks can be delegated. These foundational techniques will also help you strategically adjust the look and feel of your footage for stylistic purposes.ĭedicated color-correction software will always give you more advanced tools (and an upcoming article will cover those), but sometimes you just need to be quick and dirty and get the job done. The good news is, you’re in the right place to learn how to fix it.īy the end of this article, you will have a clear understanding of how to fix skin tones that didn’t capture quite the way you had anticipated, using FCP X’s built-in tools. Perhaps you were shooting near some business-casual lighting, but when you loaded the footage into Final Cut Pro X, you found your subject’s skin appeared with a faint, sickly chartreuse tint. Maybe you thought you were shooting a subject who simply used a heavy hand with the cosmetics, but your equipment captured a living, talking cheese puff. Improperly exposed or saturated skin frustrates every video editor at one point or another.