Here are my responses:



Here's my work.

Whether I got any of them correct or not, I had the most difficulty with 3 and 6 using my method.

Project here.

What should it be?
Maybe gamma?

I think color-channel gamma would be a great topic, especially with skin tones. That's where you can make the difference between a plastic look and living skin.

I'll be glad to provide the first chapter on gamma basics, with which I am well versed. The second, wrt skin tone enhancements, should be yours, I am thinking.
My focus is more as a corrector, and less as a grader, truth be known.
;?)

I'll give it a day or two and post the answers.
Hopeful some other oldtimers will sign in on this one . . .

Same as atom12 (without peeking. Honest!)

What is the essential difference between colour correction and colour grading?
Pardon my ignorance.
I'm here to learn.

I am maybe even a bit obsessed with matching shots for colour.
Then I notice in watching some TV shows colours appear to be all over the map to my eye anyway.
Like there is no thought given to colour continuity.

You'll find several definitions to both, but to me, color correction is more technical in nature. Is the white balance correct, if a chip chart was shot do the vectors align on the scope, levels and chroma legal?

Grading, as GARoss says, is what delivers the "look." A lot of times the "look" isn't "correct," but "correct" is a good place to start developing the "look."

Flesh and neutral is correction.
Flesh and teal is grading.

Here's the correct list. No one got them all correct, but take heart. I would have puzzled over a couple of choices, had someone else created the test ;?)
1. BC

A really good test. I was sure I had them right, and now when I look at the answers and the photos together I can't believe I reversed 3 and 6. It seems obvious now.

So here's the trap in correcting caucasian skin tones:
Blue or magenta can make the facial look redder, when it's not.
Green (and sometimes cyan) can make the facial look more yellow, when it's not.
So look for a neutral or 'memory" color to compare before you instinctively take away red or yellow.
Doing so unconsciously can make your work "awfully' dull.

Darker skin tones become even a greater challenge, because of spectral response and perceptual changes at lower luminosity. Also daylight Kelvin differences closer to the equator. That's a whole 'nuther topic.

Keeping your look or color match across the entire production doesn’t always apply.
in a practical application say you are doing an EPK on a theatre production say Evita

So generally the exposure would be compliant across the timeline and white balance etc. But now you want to create a look which might be a de saturated hard look to get a feel of people living in poverty overall but this doesn’t mean that the look will be across all cuts = what about the scene changes when dealing with Evita in doors she wasn’t living in poverty so you may want to treat that as brighter soft look with more saturation = she was living it up, the next cut might be out door people scene so then you use the de saturated look in the very next scene so when she is out doors you keep the de saturated look but try and keep some of the colors in her dress for example as normal as possible to get the feel that although she claimed to represent the people her real goals were different. So you can use color to pump up certain emotions or attitudes or messages etc. = grading.

Reminds me of the old photofinisher's legend about a lab worker trying to correct a poodle's fur color. They spent hours and wasted a ton of expensive photo paper trying to get it right, finally settling on kind of a muddy tan look.

When the lady came to pick up her enlargements, she was outraged and threw them down in disgust -- She had dyed her poodle bright green for St. Paddy's Day!

Rule #1 is, "Have a second color reference point."
Rule #2 is, "When in doubt, refer to rule #1."

atom12,
You've earned a lot of respect from your insightful responses in this and the previous thread.
Just sayin'