Advanced Modes

The Advanced group does not add new controls. It changes the math behind the ones you already use: how Exposure, Flare, Contrast, Balance, and Saturation are applied to the image. The defaults are chosen to be the right starting point for almost every shot, so leave this group alone until a shot gives you a reason to open it. When one does, this is where you change the behavior without changing the slider you already set.

How each control is applied

Each mode selector picks the operation behind one of the main controls. The slider stays the same; the mode changes what the slider does.

Exposure Mode sets how the Exposure slider moves the image. Linear Gain converts the image to linear light and multiplies, the way exposure works on a real sensor, and it is the default for that reason. Gain multiplies in the working space instead, which is a gentler, more digital move. Offset adds a constant to every pixel, which shifts the whole image including the black point rather than scaling it.

Flare Mode sets how Flare lifts the low range. Linear Offset adds a small amount of light in linear space, the way real flare falls across the shadows. Lift raises the black point directly, a cleaner lift that anchors on the darkest values.

Contrast Mode sets the shape of the contrast curve. S-Curve is a rolling curve that adds contrast around the pivot and eases off at the extremes, so highlights and shadows do not harden. S-Curve (Clips 0–1) is the same curve followed by a hard clip to the 0–1 range, and it is the default — so the clip applies even at a Contrast of 1. Linear applies straight contrast around the pivot with no rolloff or clipping. (The DCTL labels the clipping mode “S-Curve w/ Clipping.”)

Balance Mode sets how Temp and Tint move color, using the same three operations as Exposure. Linear Gain balances in linear light, Gain balances in the working space, and Offset adds a color shift. Linear Gain is the most photographic and is the default.

Saturation Mode sets the saturation model. Subtractive scales each color’s distance from neutral and is the default. Gamma bends the saturation response and leaves neutrals alone so you do not amplify noise. Gain is a straight multiply on saturation.

Modifier toggles

These change range and behavior rather than picking an operation.

Extend Temp and Extend Tint (DCTL only) widen the range of the Temp and Tint sliders. Without them, the sliders cover a normal balancing range; with them on, the same slider throw pushes much further, for footage with a heavy cast that a normal move will not neutralize. In the OFX version this extended reach is automatic — the Temp and Tint response already ramps to full strength at the ends of the slider, so there is no separate toggle.

Preserve Contrast Sat stops added contrast from pushing saturation up. Adding contrast normally raises saturation as a side effect; turn this on to keep the contrast without that extra color intensity. It caps the rise rather than locking saturation in place, so lowering contrast can still reduce it.

Preserve Balance Lum keeps luminance constant while you balance color, so Temp and Tint change the color cast without shifting how bright the image reads. It is on by default, which is usually what you want.

Balance Affects Flare sets the order of two stages. On by default, it applies your Temp and Tint balance after Flare, so the balance also colors the lifted shadow range. Turn it off to balance before Flare, keeping the flare lift neutral.

Next

The on-screen checkers that let you read exposure, white balance, skin, and invalid values while you grade are covered in Tools & Charts. The everyday sliders are in Grading Controls.