Avid has long been the overwhelming Non-Linear Editing system of choice for major feature films and prime time scripted TV shows. One of the many strengths of Avid is the method of applying colour correction. In the last few years, colour correction has come to be used directly by editors instead of separately by colourists. It’s a process that can make the most obvious difference to my projects, so it’s a very good thing to know how to do.
Most other NLEs either add color correction as an effect or a completely separate process that requires leaving the NLE then round tripping back to the editor. In Avid, colour correction is a mode, which allows you quick access to its features but keeps them out of the way while you're editing. It’s really the best of both worlds.
Generally, you want to do colour correction in context of the shots around it. That means colour correction should really be a process done near the end of the edit. But when we think the final edit is done, there’s always something else that gets tweaked.
In systems that require roundtripping, this takes a lot of time, requires specialized workflows, and rarely works properly or conveniently. In Avid, though, you're a click of a button from updating the edit or the colour correction.
In Avid, you can do colour correction using the same input tools that you use for editing, such as a mouse or a trackball or tablet.
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