Color Correction
Color correction is the technical first pass of post-production color work, focused on fixing problems rather than creating a look. The colorist (or editor in a smaller workflow) ensures every shot is properly exposed, white-balanced, free of unintended color casts, and matched to surrounding shots so the editor's cut feels visually consistent. Typical operations include adjusting lift/gamma/gain (or shadows/midtones/highlights) to correct exposure, adjusting RGB balance to neutralize white-balance drift between cameras, and using waveform monitors and vectorscopes to verify legal video levels (0–100 IRE on a Rec.709 waveform, no clipping at 1023 on a 10-bit signal). Correction is non-destructive: original files are not modified, instead a CDL (ASC Color Decision List) or a node-tree records adjustments that the renderer applies on export. In a high-end pipeline, correction often happens at multiple stages: a DIT applies a base correction on-set for dailies, an assistant editor verifies during conform, and the colorist performs the final pass before grading. Correction differs from grading in intent (fix vs. create) but uses the same tools and is usually the first set of operations in a grading session. Mastering it is the technical foundation that makes creative grading possible. Reference: ASC CDL specification, available from theasc.com.