Color Adjustment Filters

Brightness: Adds or subtracts a uniform value from all pixel luminosity values.

• -Range: -100 to +100
• -0 = no change
• -Positive values lighten; negative values darken

Contrast: Increases or decreases the difference between light and dark pixels relative to a midpoint.

• -Range: -100 to +100
• -Positive values increase contrast (darks get darker, lights get lighter)
• -Negative values reduce contrast, making the image appear flat and washed out

Simulates adjusting the camera exposure.

• -Exposure — increases or decreases overall brightness with a more photographic response curve than Brightness (uses a multiplicative model rather than additive)
• -Gamma Correction — adjusts midtone brightness while leaving pure blacks and whites unchanged

Three-band tonal correction:

• -Highlights — adjusts only the bright areas of the image (above approximately 75% luminosity)
• -Shadows — adjusts only the dark areas of the image (below approximately 25% luminosity)
• -Midtones — adjusts the middle tonal range (approximately 25% to 75% luminosity)

Positive values brighten, negative values darken each respective range.

Full tonal and color correction via adjustable bezier curves, comparable to Curves in Photoshop or DaVinci Resolve.

Channels:

• -Composite (RGB) — adjusts all three color channels simultaneously
• -Red, Green, Blue — adjusts only the selected channel independently

The curve is a graph with input values on the X axis (0 = black, 1 = white) and output values on the Y axis. A point on the curve can be clicked and dragged to reshape the tonal response.

• -Adding points: Click anywhere on the curve to add a control point
• -Removing points: Click and drag a control point off the graph edge to delete it
• -Resetting: Double-click the curve to reset it to a neutral diagonal (no correction)

Saturation: Adjusts the intensity of all colors uniformly. Range: -100 (fully desaturated/grayscale) to +100 (maximum color intensity). 0 = no change.

Vibrance: A smart saturation adjustment that preferentially increases the saturation of already-muted colors while leaving already-saturated colors largely unchanged. Produces a more natural-looking saturation boost than a straight Saturation increase.

Rotates all colors around the color wheel.

• -Range: -180 degrees to +180 degrees
• -0 degrees = no change
• -Positive values rotate clockwise (red to orange to yellow to green...)
• -180 degrees = full complementary inversion of all hues

Adjusts the warm/cool balance of the image.

• -Temperature: Positive values add warmth (orange/amber cast); negative values add coolness (blue cast). Simulates a change in photographic white balance.
• -Tint: Shifts toward magenta (positive) or green (negative) on the axis perpendicular to temperature.

Three-zone color adjustment (shadows, midtones, highlights), each with independent RGB offset sliders:

• -Cyan to Red
• -Magenta to Green
• -Yellow to Blue

Modeled on the classic three-way color corrector used in professional video grading.

Adjusts the CMYK component distribution within specific color ranges in the image. Allows targeting and modifying only the reds, yellows, greens, cyans, blues, magentas, whites, neutrals, or blacks independently.

For each selected range, Cyan, Magenta, Yellow, and Black sliders shift the distribution of CMYK components within that tonal range. This is an advanced color grading tool typically used for matching footage colors or creating stylized color treatments.

Input/Output level control — a simplified version of Curves for straightforward tonal range adjustment:

• -Input Black Point — sets the darkest input level that maps to black in the output
• -Input White Point — sets the brightest input level that maps to white
• -Input Midpoint (Gamma) — shifts the midtone bias
• -Output Black Point — determines how dark the darkest output value will be
• -Output White Point — determines how bright the brightest output value will be

An eyedropper can be used to sample the darkest and brightest points from the image and auto-set the black and white input levels accordingly.

Allows each output color channel (R, G, B) to be built from a weighted mix of all three input channels. Used for creative color grading and for creating specific grayscale conversions.

Example: Setting the Red output to 100% Green input converts all green content to appear red in the output.

Converts the image to grayscale with control over how each color channel contributes to the output luminosity:

• -Red contribution — how much red channel detail maps to the grayscale output
• -Green contribution — same for green
• -Blue contribution — same for blue

Standard luminosity-weighted conversion: R 21%, G 72%, B 7%. Custom values allow creative grayscale treatments that emphasize different tonal ranges.

Inverts all pixel values (negative effect). Each channel value becomes 255 minus its original value. Can be animated for a flash/strobe effect.

Maps the image to a two-color gradient:

• -Color 1 — assigned to the darkest values (shadows)
• -Color 2 — assigned to the brightest values (highlights)
• -All tones are mapped to the gradient between these two colors

Produces the classic editorial duotone appearance. The two colors are freely configurable — not limited to the traditional black plus one color.

Applies a color lookup table for cinematic color grading.

• -Built-in LUTs: A library of named looks including Kodak Emulation, Fuji Emulation, Cinematic Cool, Teal and Orange, Matte, Faded Film, and others
• -Intensity: A blend slider (0% to 100%) controls how strongly the LUT is applied