Editing Skin Tones
editing general colors you saw that was all done in the advanced tab. But there's also a specific tab her for skin tones. Now, the main difference between the advance term this one hit on the skin tone tab is that we have three additional sliders under the banner of uniformity. Everything else works pretty much in the same way. The only thing that is different is that the range of these sliders is much less so. It's quite subtle. So if you're wondering, well, what's the point of having a skin tone tab? I could just use the advance tab. First of all, the sliders do a little bit less, and also we have this uniformity banner as well. So let's first of all, let's go back to this gentleman who we started with earlier on with late adjustments. So we've still got some of our edits that we did. So I think that was ah, sharpening and so on. Or in this image, that's just our radio mask like, So if we look at his skin or zoom out a slight bit, everybody has variation in their skin color. No way c...
an avoid that so we can see here is nose is like a little bit redder, and there's a bit of variation and so on. So to correct for that, typically you'd go out to photo shop and you do stuff that I don't know how to do and her correct for those colors. But it's really easy in capture one to do it, especially with this color editor. So in the skin tone tab, we start with the color picker and we look at our subject and we think, What is the desirable skin tone on this subject? So it's not his nose, because that's a bit to read time thinking, you know, somewhere over here or here, where there's a warmer tone. So we're picking the skin tone that we want to represent on the subject. So I'm gonna go somewhere around here and then capture one again will give me an indication, like so, if you want to weaken, turn on view selective color range, and you can see what that's picking up. So I'm gonna just expand this out a little bit because I want to make sure I'm capturing all of his skin tones in this triangle. So which I think I've got pretty much now with the 1st 3 sliders. They work much the same way as the advance tab. So if I wanted to, de saturated skin could come down a little bit. Or if you wanted to saturate, I could do more. But it is kind of very subtle. It's only a small, a small adjustment. Whips helps if you're on the background life one second, So I need to be on the background last. Let's do that again because that first lay was the radio mosque that we don't want to be on that layer. We want to be on the background layer. So start again. I'm gonna click on the desirable skin tone, turn on views, selective color range. And I just want to make sure that I've got asthma. Much of his skin tones as possible. Now, when I'm making it it. So let's see if we grab saturation. You can just see if I go from full saturation toe low saturation. It's a little bit more subtle. Same for lightness, just slightly more subtle adjustments than the advanced. You see, I have a maximum level of 10 advanced. It's much more than that, but the real power comes to uniformity with these three sliders, hue, saturation and lightness. And what happens is if we look at the dot in the center here. That was my picked skin tone as we drag those sliders to the right, everything that's in my triangle will get transformed to that pick point, so everything in that range gets transformed to that pick point. So as we drag you across like so you can see all the skin tones become uniform. If we do lightness, then we get the sort of bad face tune filter that flattens everything else. So now we have a completely even skin tone across the subject, but the issue is it can also affect things that we necessary don't want to effect. Like if we look at his lips, for example. So if we take you back down to zero in saturation, so we've got there more red nose back. But if we bring Hugh up across, it fixes the skin here, but it's also affecting his lips. Now, if you're super lucky, you might be able to just play with the boundaries a bit and fix that the chances are you calling. So what do we do? We have to do this on a layer, and it's really quick and easy to do once you get into the swing of it. So I'm going to reset this. Let's just collapse that down for a second. And we're going to make the new layer, which we're going to call skin tone, who skint skin tone like So now there's two ways to do this. Um, the second method is my preferred method. The first method is the most common one. So we start with the most common one where we grab a brush and we right click and we have a passivity and flow on 100%. And we mask, if you like the area of skin that we want to fix. So I'm going to go around here across the nose like so cheeks, and let's also go up here a swell. So we're a clown mask, as we call it, like so Okay, so just mask the areas of skin that we want to fix em to hide the mosque back into our color editor. We're now working on this layer. A good indication if you you know you're working on a layer because there's a little paintbrush icon that pops up next to the name of the tool so far on the background, which I should have spotted earlier. Then there's no little paintbrush. If we're on the layer, then you see right away you know that you're working on the land. So now we've just got this mast area, so it's not going to affect his lips anymore. So once again, we can grab a picker, pick on the good skin tone, the one that you wanna have across the image as I'm working on a layer. I'm going to span my full saturation range and just wide in this out years to make sure I've got everything I need. And then I can bring the hue all the way across like so, and it only effects that area now. If we go all the way, it's quite a maybe a bit too good. Nobody's that perfect. So we want to have some kind of nuance in there, so I just back it off a little bit on the same for saturation and lightness as well. This kind of image. We don't really want to change the lightness because it's more of a nice environmental portrait. So now if we turn the skin tone layer or enough, we've got the skin tone that we chose. And that was the picked point. Now, if you want to modify what the skin tone looks like, you can actually pick up the point. And then if I just drag it anywhere, you can make the exact skin tone that you wanna have just by moving that point around. So it's really powerful. But now, completely. Even so, that's the first method where you draw the mask on and then make your edits. I preferred to do it in a slightly more such a way. So this is, Ah, you know, relatively common thing that we see that the skin tone on the hands is quite different to what's on the face. If we look around here, you see there's a bit of magenta or read this. She's probably outside and cold, and also it's different on the forehead as well. So rather than draw that mask first, I do it the other way around because I think you get a slightly better result doing some of the techniques that we learned earlier with local adjustments. So first of all, we're going to make a new filled layer. So that's a mask on the whole image. We're gonna be clever and remember to call it skin Tone like so go into our cholera editor skin tone tab. Grab the picker on once again, choose the kind of skin turn that we want tohave. So I'm gonna go around Here's someone like some span my full saturation range Just widen it little bit. Make sure, of course, everything on then go for my hue, saturation and light is probably a bit more than I normally would. I'm gonna overcook it slightly now you can see that's got the undesirable effect of it working on our lips as well, which we don't want. But now I want to just brush it in where I need it. So like we did earlier when looking with local adjustments on going to right, click and clear that mosque Let's just point our color editor grab a brush And now I'm free to brush in the skin tone adjustment where I want now some places which need more of it. I can brush more some places which I just wanna maybe throw a little bit in Aiken brush less so if I right click, I'm gonna drop my flow down again and then look where we need to fix. So let's make my brush smaller so you can see just if I zoom in a bit more. Let's just brush around here, said She's probably cold. So there's just a little bit of variants in the skin tone down here so we can fix that for brush Mauritz gonna be stronger going to avoid the lips because we want them to be their natural color and just to bed around the nose here like so and under the eyes. Right click to make it smaller if you prefer. Just so you know you can use square brackets on your keyboard to go bigger and smaller. You might prefer that or shift square brackets, changes the hardness. So let's fix there and then let's fix around here and then also a larger brush and then fix where we need to, like so simple. If we do option him to look at the Grayscale mosque, then oversee it looks somewhat different to just the sort of clown whilst we might have painted him before, so it's just a little bit more subtle if you know what I mean. And I think that's just a better way of doing it more accurate. And it also means if you've missed anywhere like hold down here, we could potentially, if we were really wanted the skin tone to match, we could drop it. Drop the mask down on this point as well. So it just makes you a skin tone correcting brush. So it's really powerful and really easy to do. This is something I personally would not have a clue how to start in photo shop, but have no idea. But anybody can do this in capture one. It's it's really, really simple. So that's my preferred method. So fill the layer like we did earlier with local adjustments. Dial in the skin tone adjustment. Still, it's about right and then brushing him where you need it. And if you think you're a bit heavy handed like maybe that's too perfect. Rather than going back and fiddling around with the cholera editor, for example, or trying to erase parts of the brush, you've got the capacity slider. So if I go down to zero that's without the edits and then up to 100. That's with the edits, and I've got any range of sort of nuance in between to pick exactly where I think it should be. So if you haven't tried the skin tone tab on the first to admit, it's kind of completely intimidating how to use it at first Because it's a process which you have to do in the right steps will want to nail it down. It works really, really well. I imagine we'd have, ah, similar kind of potential with this. This guy, he has a little bit of whips. Keep doing the wrong shortcut. So he has a little bit of variation, which maybe is an important but just to run through those steps again. New filled layer. Remember to give it a name so you don't forget skin tone. Go to my color and it's a total Just check. We did feel the lion. Yes, go on, click the good skin tones. I'm gonna go around here somewhere, expand this out. So I'm just positive I've got every possible nuance and then bring my huse lighter across can see the change. It's having saturation and lightness to some extent. Now I'm happy to clear my mask. Remember that just gets rid of the mosque. It doesn't get rid of the adjustments. Then I can take my brush closed my color editor. Make sure I'm on a nice low flow and then just brush it in where I need it. In this case, really, It's just the bridge of his nose and maybe just up here really simple and only takes a few seconds. And once again, if you think you've gone too far, don't go back and fiddle with color editor. Just grab your pastie slider and bring it down to where you think is corrected but still believable.