Video Color Correction Online

1. 1

   Add your video

   Drop an MP4, MOV, WebM or MKV into the tool, or browse for one. It is read on your device and never uploaded.

2. 2

   Fix exposure and white balance

   Set exposure, then recover highlights and open shadows. Use temperature and tint to neutralise a colour cast, watching the RGB parade.

3. 3

   Grade the look

   Pick a look to start from, or use the three colour wheels and the eight-band mixer to build your own. Hold Compare to check it against the original.

4. 4

   Export

   Choose MP4, WebM, MOV or MKV and apply. Every frame is graded on your device's graphics hardware.

Almost no camera gives you a finished picture. Auto white balance drifts as someone walks past a window, a sensor protects the highlights by underexposing everything else, and two cameras pointed at the same room will disagree about what colour it is. Color correction is the pass that makes footage look like what you saw; color grading is the pass after it, where you decide what it should feel like. This tool does both, and it does them on your device — the video is read where it sits and nothing is uploaded.

Correction and grading are two different jobs

• Correction comes first: neutralise the colour cast, set a sensible exposure, and recover whatever the highlights and shadows still hold. The goal is a picture that looks accurate and boring.
• Grading comes second: push it somewhere on purpose — cool the shadows, warm the highlights, take the saturation off the blues. The goal is a picture that looks like a decision.
• Doing them in that order matters: a look built on top of a colour cast fights the cast in every shot, and falls apart the moment you use it on a second clip.

What this fixes

• Underexposed footage: exposure works in stops and in linear light, so lifting a dark clip opens the shadows instead of washing out the whole frame.
• Blown skies: the highlights control pulls back only the brightest part of the picture, and the waveform shows you whether anything is left up there to recover.
• Mixed lighting: temperature and tint are the two axes white balance actually moves along — orange to blue, and green to magenta.
• Clips that do not match: grade one clip, then use the same numbers on the next. The controls are all absolute values, so they transfer.
• Flat or log footage: levels and the tone curve give you the contrast back, and a .cube LUT applies a whole conversion in one step.

Every slider here means exactly what it says. There is no hidden sensitivity factor scaling the numbers behind the label, which means a value you write down on one clip produces the same result on the next one.

Light

• Exposure: a multiply in linear light, measured in stops, exactly as a camera would. This is the control for footage that is simply too dark or too bright.
• Contrast: steepens or flattens the picture around middle grey. It never inverts, however far you take it.
• Highlights and shadows: each acts only on its own end of the range, so you can recover a sky without flattening the faces underneath it.

Colour

• Temperature and tint: the two white-balance axes. Temperature runs cool blue to warm orange, tint runs green to magenta — a fluorescent-lit room usually needs both.
• Vibrance and saturation: saturation moves every colour equally and turns faces orange first; vibrance rises fastest on the least saturated pixels, which is why skin survives it. Every serious tool ships both.
• Hue: rotates the whole colour wheel, through the full 360 degrees.

Three-way colour wheels

The wheels are how a colourist actually works: one for shadows, one for midtones, one for highlights, each tinting its own range of the picture. Beneath each wheel is a luminance control, and the three are deliberately different operations rather than three copies of "brightness" — lift is an offset, gamma is a power, gain is a slope. That is the distinction that lets you raise the shadows without touching the white point.

The eight-band colour mixer

Eight hue bands — red, orange, yellow, green, aqua, blue, purple and magenta — each with its own hue, saturation and luminance. This is the control for problems that live in one colour: foliage that is too yellow, a sky that is too cyan, a shirt that pulls the eye away from a face. The bands are unevenly spaced on purpose, because there is more worth addressing between red and yellow than between blue and purple.

Levels, split toning and vignette

• Levels: input black and white set what counts as the darkest and brightest part of the picture, gamma redistributes everything between them, and the output points let you deliberately lift the blacks — which is most of what a film look is.
• Split toning: tints the highlights one colour and the shadows another. Warm highlights against cool shadows is the classic cinema grade, and the balance control decides where the picture divides.
• Vignette: darkens or brightens the edges, with midpoint, feather and roundness so it can be a subtle focus pull rather than an obvious circle.

Your eyes adapt. Stare at a slightly warm picture for two minutes and it stops looking warm — which is why every professional grading suite has scopes and why the free browser tools mostly do not. This one draws three, live, from the frame you are looking at.

• Histogram: how much of the picture sits at each brightness level. Good for spotting clipping at either end.
• RGB parade: the three channels side by side. If the blue channel sits higher than the red across the whole frame, the picture is cool — and the parade shows that far more clearly than your eyes will.
• Luma waveform: brightness plotted against horizontal position. A histogram tells you that something is blown; a waveform tells you where. A blown sky and a blown forehead look identical in a histogram and completely different in a waveform.

Reading a parade to fix white balance

Find something in the shot that should be neutral — a white wall, a grey road, a sheet of paper. Look at that part of the parade. If the three traces sit at different heights there, the shot has a cast, and temperature and tint are the two controls that bring them level. This is a far more reliable method than looking at the picture, because the picture is exactly what your eyes have already adapted to.

A LUT is a lookup table: a file that says what every input colour should become. They are how a whole look travels between projects and between people, and how log footage gets converted to a normal display range. Import a .cube here and it applies as a stage of the same grade — with a strength dial, so you can apply a look at 40% rather than accepting it whole.

Where the LUT sits in the chain

• Correct first, then LUT: a LUT expects a particular input. Feeding it a clip with a colour cast bakes the cast into the result.
• Strength is not the same as opacity on a layer: it mixes toward the un-LUT'd picture, so 50% is a genuine half-way point rather than a wash.
• Grade after it if you need to: the wheels and the mixer still work on top, so a LUT can be a starting point rather than a final answer.

The whole colour grade is one pass on your device's graphics hardware. Every frame is decoded, sent straight there, graded and passed to the encoder without ever coming back to be processed one pixel at a time — which is what makes grading a full clip take seconds rather than minutes. All of it happens in the background, so the page stays responsive while it runs.

How we know it is correct

• There is a second implementation: the same grade is also written as plain, obvious code that makes no attempt to be fast. Every control is measured against it.
• The two must agree within one level out of 255: on every control, at both ends of its range, and on every built-in look.
• The accelerated path is only used when it is genuinely faster: a software renderer is detected and declined rather than accepted, because availability is not a reason to pick a backend.

Formats and what happens to your file

• In: MP4, MOV, WebM and MKV. What plays depends on the codecs your own browser supports, and the tool checks before it accepts the file rather than failing halfway through.
• Out: MP4, WebM, MOV or MKV.
• Bitrate: matched to what the source actually contains, measured from its real packets. Re-encoding cannot add information, so spending more bits than the original held buys nothing.
• Rotation: a portrait clip from a phone is stored sideways with a rotation flag. That flag is honoured, so the export comes out the way up you filmed it.
• Audio: carried through untouched.

Working in a mixed set of formats? All video tools · MOV to MP4 · WebM to MP4 · MP4 to WebM

Every frame is graded on your device's graphics hardware, in the background.

• Matching two cameras: grade the first to look right, then use the parade to bring the second one's channels to the same place.
• Rescuing an interview shot against a window: pull the highlights down, open the shadows, then use the mixer to bring the skin tones back.
• Making a phone clip look filmed: lift the output black point a little, cool the shadows and warm the highlights with the wheels, and take a few points off the saturation.
• Converting log footage: import the camera manufacturer's .cube, then correct on top of it.
• Producing a clean black and white: take monochrome to 100, then use the eight-band mixer's luminance sliders to decide how bright each original colour becomes — which is the whole craft of black and white.

Nothing is uploaded. The video is read from your disk, decoded on your device, graded on your device's graphics hardware and written back to a file you download — there is no server in the path at any point, which is also why it works with no watermark.

• Free: one video at a time, up to 100 MB and five minutes, at whatever resolution the source is. Every grading control, every scope and .cube import are all included — nothing about the picture is behind the plan.
• Pro: batches of up to 20 with a single ZIP, files as large as your device can handle, and control of the export bitrate.
• Why there is a free limit at all: the work happens on your machine, so the ceiling is your machine's memory rather than a server bill.

• Gray video
• Video effects
• Compress video
• Cut video
• Photo color grading
• Mute video