![]() In Avid, though, you're a click of a button from updating the edit or the color correction. In systems that require roundtripping, this takes a lot of time, requires specialized workflows, and rarely works properly or conveniently. But as we all know, when we think the final edit is done, there’s always something else that gets tweaked. That means color correction should really be a process done near the end of the edit. Generally, you want to do color correction in context of the shots around it. In Avid, color correction is a mode, which allows you quick access to its features but keeps them out of the way while you're editing. Most other NLEs either add color correction as an effect or a completely separate process that requires leaving the NLE then roundtripping back to the editor. It’s a process that can make the most obvious difference to your projects in the eyes of your clients, so it’s a very good thing to know how to do, and it’s critical that your NLE allows you to do it easily and to do it well. In the last few years, color correction has come to be used directly by editors instead of separately by colorists. One of the many strengths of Avid is the method of applying color correction. Avid has long been the overwhelming NLE of choice for major feature films and primetime scripted TV shows.
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