+\begin{enumerate}
+ \item In Pane 1, for mask selection creation, you can also use only one or two (checked or Pick button) of the three qualifiers Hue/Saturation/Value. With Hue alone you get a precise range of hues. With Saturation you select those saturation values for all hues, and with Value you do a "Luma Key," that is, you isolate only certain gray values. It may be useful to start with only one qualifier, and then gradually activate the others; but there are important cases that require all three bars. For example, skin tones, which are always characterized by a mixture of shadows, highlights, and different levels of saturation.
+ \item Hue and Saturation Qualifiers can be inaccurate if the file is highly compressed and with Subsampling type $4:2:0$. There are indeed blocks and macroblocks of pixels, visible especially along the edges, that disturb the creation of the selection mask. Better to use high quality files at least $4:2:2$, better still $4:4:4$. The brightness Y channel, on the other hand, is always at the highest quality (4). The presence of color noise can also be a problem because it creates spurious pixels. A tip may be to work on and enhance the clip before applying Blue Banana.
+ \item If there are unwanted (spurious) selections in the frame that are small and far from the main selection, they can be eliminated or minimized with some Blur. Larger spurious selections can be eliminated by masking them (with the \texttt{Mask selection} option enabled in Blue Banana and with the \texttt{Apply mask before plugins} option in Mask tool). This is an action analogous to \textit{garbage matte} in Chroma Key. If there are many spurious areas, perhaps with complex motions, it is best to mask only the selection we are interested in and then bring the \texttt{Fade} slider to $-100$ to reverse the mask.
+ \item To select multiple colors in the same clip we can use multiple instances of Blue Banana.
+ \item Once a satisfactory selection mask has been created, scroll through the entire clip to see the presence of artifacts, defects, or spurious areas in the other frames.
+ \item It is known that primary Color Correction precedes secondary CC. However, if we use primary CC tools that cause the highlights and deep blacks to clip, for example the histogram, we will get clipped areas that then, in secondary CC, cannot be recovered. We can then first do a secondary CC for the areas near the white point and the black point using Blue Banana which works at 32bit Float. For example, we can turn down the highlights so as to reveal details and the same can be done in the shadows. Once we have worked in these details without causing clipping (that is, reported within the standard range) we can switch to primary CC.
+\end{enumerate}
+
+Let's see two examples of HowTo: