Apple Color 1.0 - Manual (Page 212)

212 Chapter 10 Secondaries
Step 2: Make color balance, contrast, and saturation adjustments
After you’ve qualified an area for correction, you can use the same color balance
controls, primary contrast sliders, saturation and Lift/Gain/Gamma parameters in the
Basic tab, as well as the RGB parameters in the Advanced tab that are available in
the Primary In room. For more information about these controls, see Chapter 9,
“
Primary In ,” on page 163.
Note: There is one additional correction parameter available in the Secondaries room
that’s not available in the Primary In and Out rooms, and that is the Global Hue
parameter. Using Global Hue, you can rotate the hue of every single color in the image
at once. Unlike the other parameters in the Secondaries tab, Global Hue affects every
pixel of the image, and is not limited by the HSL qualifiers or the Vignette controls.
Step 3: Move to the next of the eight available tabs to make more corrections
Once you’ve completed the correction at hand, you can move on to the next secondary
operation you need to perform. The Secondaries room supports up to eight separate
secondary operations (although you may only have seven if you’re in single-display mode).
In the next few sections, you’ll learn how to isolate areas of the image in different ways.
Choosing a Region to Correct Using the HSL Qualifiers
One of the most common ways of isolating a feature for targeted correction is to use
the HSL qualifiers (so named because they qualify part of the image for correction) to
key on the portion you want to color correct. HSL stands for hue, saturation, and
lightness, which are the three properties of color that together define the entire range
of color that can be represented digitally.
HSL qualification is often one of the fastest ways to isolate irregularly shaped subjects,
or subjects that are moving around in the frame. However, as with any chroma or luma
key, the subject you’re trying to isolate should have a color or level of brightness that’s
distinct from the surrounding image. Fortunately, this is not unusual, and reddish skin
tones, blue skies, richly saturated clothing or objects, and pools of highlights and
shadows are often ideal subjects for secondary correction.
If you’re familiar with the limit effect controls of the Color Corrector 3-way filter in
Final Cut Pro, you’ll find that the Secondaries room HSL controls work more or less the
same way.