Color Grading

The usual grading room, in a browser tab and without an account: color wheels, curves, HSL secondaries, hue targets, split toning and live scopes, applied to your photo entirely on your own machine. A Sony ARW raw can be developed here too, in its own tab, with the decisions a camera normally makes for you left visible. Nothing is uploaded.

• Lift, gamma and gain on three color wheels, exposure, temperature and tint, contrast around a movable pivot, saturation and vibrance, luma and RGB curves, split toning on three wheels for shadows, midtones and highlights.
• The six HSL secondary curves: hue vs hue, hue vs saturation, hue vs lightness, lightness vs saturation, saturation vs saturation and saturation vs lightness. They work in polar OKLab, so a hue is where the eye says it is, and the hue curves are periodic, with no seam at red.
• Hue targets, for when a correction is not enough: name the color you have and the color you want, and that part of the hue circle is rotated onto the target. The curves above reach 60 degrees, which is the right range for correcting a sky or a skin tone but cannot turn blue into red; a target can. Selection is by hue window with a soft edge and a saturation floor, so nearly grey pixels, whose hue is only rounding noise, keep out of it. Optionally the target's saturation and brightness come along too.
• Load a palette from the Color Extractor and pull the image toward it, softly, in one of four ways: by shifting the overall color statistics, by nudging each pixel toward its nearest palette colors, by optimal transport of the whole color distribution, or by remapping the image's own main colors onto the palette. A strength slider blends, a distance readout quantifies how far the image still is from the palette.
• Live RGB histogram, luma waveform and vectorscope; the vectorscope marks the palette targets as rings, so you can watch the image move onto them.
• A raw intake tab that reads a Sony ARW and develops it in the browser: black and white point, the camera matrix, white balance with a pipette, exposure, and a toggle between the plain sRGB transfer function and a film curve that rolls highlights off instead of cutting them. It shows what is actually in the file, including the linearisation curve and the white point read from it, and says plainly that these files carry no white balance of their own, so that setting is a decision and not a reading.
• Export the result as PNG or JPEG at full resolution, or download the whole grade as a .cube 3D LUT for DaVinci Resolve, OBS or ffmpeg.