Speedgrade parallel layer work-around

I have used Davinci and am now currently using speedgrade to color a film I am working on. I know in Davinci you have the possibility of creating a secondary edit to by pass skin tones so that you can effect skin tones and the rest of your scene on different layers. I have tried to do the same with secondary layers in Speedgrade, but this normally effects the whole scene and not exclusively the skin tones. Is there something I am missing that might make this easier? What would be the best way of doing this? Thanks for the help

I'm by no means an expert on this, but I've some experience. I shoot primarily a GH3 ... and Panny did something funky with that cam (I think through their face recognition stuff) that turns skin a bit magenta-ish, drops contrast in it, and detail also. Gives what's called a "plasticine" look. So I've had some fun normal-izing skin. Much of my "critical" footage is studio work, oft with a blue-gray background. There's no cross-pollination there worth worrying about. Our brown background ... well, that's the ground of a different color, isn't it?
One thing that can help at times is to create your "main" selection first, then use the eyedropper with the minus sign attached and drag that across areas that you DON'T want in the selection but have been included in your initial work in creating the secondary. Check to see what this is doing to your critical selection area. I've found at times different gray-out options are useful, color/gray, black & white, all of them.
Past that, of course, is going to the mask system within Sg. If your spot to be worked just sits there nicely, you can do a basic round or oval/vignette mask around the face, then choose the icon to make the work apply only within the mask, then do your selection work and mods. If the face is moving (dang people do that, you know ... grrrr ... ) then you'll need to key-frame probably and that gets more detailed. Same general process but you do need to add key-frames to track the masks.
Note, I was doing that on one of my pieces and then realized the only problem area was not moving, just the face ... and so I went back and made a  mask for the problem area, chose the option to apply that layer's grading to everything OUTSIDE the mask, and then just worked on the face till it was fine. Can take some thinking at times, but hey, that's the fun of the whole thing, right?
Neil

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