Some apps and plug-ins give you control over this and some don’t. Not only where, but also how gradual the transition. Since the controls work within three distinct ranges of the image, a critical element is where that crossover occurs between low-to-mid and mid-to-high. To my knowledge, the first actual use of software color wheels originally appeared in Avid Symphony a decade ago. The concept of these tools grew out of early “video shading” controls in studio cameras and color correction systems like DaVinci. In addition to low/mid/high ranges, some applications also add an overall “master” balance control for the entire image. When you want to effect a change, such as make an image less red, you push the appropriate control in the opposite direction of red-yellow – towards the blue-cyan segment of the control. The so-called “color wheels” (also called hue offset controls) are separate color balance controls for the shadow, midrange and highlight portions of the image. After I did a quick test, it was obvious that FCP and Avid don’t process the image in quite the same way, even when you push what appears to be the equivalent control in the same direction. Our conversation got down to how each treated the image when you used the color wheels. Recently fellow editor Shane Ross and I were discussing the relative merits of grading in Avid Media Composer versus Apple’s FCP or Color, as well as using the Colorista plug-in.
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