Color correction serves several purposes. As a form of correction, it enables those in production to alter color temperature at the time of shooting. To add nuance, tones in scenes can be fine-tuned to convey certain moods or shifting emotions. And for consistency, tones across scenes can be coordinated, for seamless transitions. Colors are adjusted through signal processing or at the stage of editing.
Ever since the advent of Cineon Log data—telecine data digitized from film—and, more recently, the arrival of Raw and Log data from digital cinema cameras, studios have referred to color correction performed immediately before final video output as color grading. In this step, color tone is adjusted and dynamic range is compressed or expanded to suit output media.
As color correction processes, a few options are available. Editing and finishing systems offer the common options of primary and secondary correction, with primary correction to adjust tones across the entire screen and secondary correction to adjust tones in certain image areas.
Color correction from FOR-A enables full-screen correction, 12-axis correction (hue or saturation of 12 specific colors), color substitution in differential mode, which maintains white balance, and more. These features are designed for more intuitive color adjustment.