Colour Correction

What this is about

The first pass has no creative ambition. A colourist sets black and white points, corrects a colour cast from mixed lighting, lifts an underexposed shot and checks that levels stay inside the broadcast range. Scopes decide here, not taste, because a monitor lies and an eye adapts within seconds. Only after every shot sits on a clean, neutral base does the creative stage make sense — a look applied to an unbalanced image amplifies the errors it inherits instead of hiding them.

A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.

What runs differently here

Where this differs from the general case:

• Judge by scopes, not by eye — a monitor lies and visual adaptation happens within seconds
• Correct exposure and white balance shot by shot before any look is applied
• Check that levels stay legal for the target platform, especially for broadcast delivery

With TillyGen

Because TillyGen holds the delivery specification with the project, the technical limits a correction has to respect are known before the session starts.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.