At this point, playing through the clip will show the shape moving along with the cup, and
limiting your adjustment to the cup as it moves through the screen.

8. Right-click the Viewer and choose Grab Still to save a still of the current clip to the Viewer, for
future use.

Secondary Adjustments Using Qualifiers
Now that we’re finished with this clip, time to move on to the next one.
1. Click the thumbnail of clip 4, then Right-click the still you saved of clip , and choose Add
Correction to apply its grade to clip 4.

The grade from clip 3 is a good starting point for clip 4, but it has the Power Window that was
applied to the cup, which obviously doesn’t make sense for this clip. Fortunately, you need
another node for your next operation anyway, so you can simply reset node 2 in order to use
it for something else.

2. If it’s not already selected, Double-click node 2 in the Node Editor, and choose Color > Base
Memory to reset its parameters, while leaving it in the Node Editor, ready for future use.

The image looks good, but we could go one step farther and give the oranges a little more
zest. Since they’re a uniform color, we can use HSL Qualification to isolate them for a different
kind of secondary adjustment.
3. Click the Qualifier palette button in the toolbar.

The HSL Qualifier lets you pull a chroma key, and use it to limit an adjustment to just that area
of the image. You should notice that the eyedropper (the first of the three Selection Range
tools) is highlighted orange. If not, click it.

4. With the eyedropper enabled, click and drag around the middle of the the top orange, to
sample as much of the middle tones of the orange as you can (but not the specular highlights
or darkest shadows).

The qualifier graphs update to show the range of hue, saturation, and luma that you’ve
isolated.

5. If you want to see the matte itself, you can click the Highlight button to turn a highlight preview
on and off.

The highlight shows the isolated area in color, and the part of the image that won’t be affected
by your adjustment in flat gray.

1. Click the thumbnail of clip 5.
This clip superficially resembles clips 2 and 3, but if you tried copying the grades from the stills
you saved of those clips, you’d find that it makes this clip too blue, owing to all of the outside
light in the shot. However, it turns out that the grade applied to clip 1 is a good starting point
for this shot, and there’s another way of easily copying grades that you can use as a shortcut.

2. With clip 5 selected in the Timeline, Middle-click clip 1 (the middle button of one’s mouse is
usually assigned to the scroll wheel).
This immediately copies the grade from clip 1 to clip 5, without needing to save either a
memory or a still to the gallery. At this point, the color of the clip looks reasonable, but the
framing isn’t particularly good for the cup. In this case, you can use the Sizing controls to pan
and scan the image, creating the framing you need.

The Sizing palette contains all of the parameters available for panning, tilting, rotating,
zooming, squeezing, and flipping the geometry of the image.
4. Drag the Zoom, Pan, and Tilt virtual sliders to zoom into and move the image until the framing
resembles the following screenshot.