Filters and colour: making six clips look like one video

What the colour panel gives you

Select a clip, tap Filters, and the panel splits into two halves. The top row is a set of one-tap looks, each rendered on the current frame of the clip you selected — so you are judging the filter on your footage, not on someone else's sample image. The lower half, headed Adjust, is four sliders for correction.

That split matters. A filter is a creative choice; adjustment is a repair. Mixing them up is how you end up with a video where every shot looks stylish and none of them look like they belong together.

The six looks

Filters are single-tap and instantly reversible: tap another one, or tap Original, and the clip is back. Nothing is baked in until export.

The four sliders, in the order to use them

The screenshot shows the default state for three of them — Brightness 0%, Contrast 0%, Saturation +10% — with Warmth pushed to +45%. Each is a signed percentage, so you always know how far you have gone from neutral, and a long press resets one slider without disturbing the others.

Work them in this order. It is the same order a colourist works in, and it saves undoing your own decisions:

1. Brightness — get the overall exposure right first. Everything downstream depends on it.
2. Contrast — set how far apart the darks and lights sit. Phone footage is often flat and wants a small positive push.
3. Warmth — fix the white balance. This is the slider that makes two shots belong to the same room.
4. Saturation — last, and gently. It amplifies whatever the previous three left behind, including mistakes.

Matching shots: the actual job

The unglamorous work that separates a decent edit from a good-looking one is matching — making cuts stop drawing attention to themselves.

1. Pick a reference. Choose the best-looking shot in the video and grade it until you like it. That shot is now the target.
2. Fix the rest towards it, one at a time, using the sliders — not the filters. Brightness first, then warmth.
3. Check at the cut, not on the clip. Park the playhead a second before the join and play through. Colour problems live at joins; a clip judged in isolation always looks fine.
4. Apply the look last. Once everything matches, pick one filter and apply it consistently.

Two clips shot minutes apart on the same phone can be a long way off each other — auto white balance drifts. Warmth is usually the whole fix.

Per-clip is the point

Colour attaches to the clip, not the project. Consequences worth knowing:

• The one shot that came out too blue gets corrected without changing anything else.
• Duplicating a clip copies its grade, so you can grade once and reuse.
• Splitting a clip gives both halves the same grade — useful when you want the same look either side of a speed ramp.
• A picture-in-picture overlay is graded independently of the shot behind it.

Non-destructive, GPU-rendered

Filters and adjustments are stored as parameters in the project, not burned into pixels. Your source files are never modified, Reset puts any clip back to untouched, and undo walks back through colour changes like any other edit.

Rendering runs on the GPU through each platform's native stack, so scrubbing a graded timeline stays smooth and export does not slow down because you used colour. Preview and export run the same pipeline — what you grade is what encodes.

What is not here yet

To be straight about it: importing your own .cube LUT files and per-clip curve controls are on the roadmap, not in the shipping build. What you have today is six looks and four sliders. For the vast majority of social and travel edits that is the whole job — but if you came here expecting LUT import, that is the honest answer.

Next: keyframes, which let any of these values change over the length of a clip instead of staying fixed.

Frequently asked questions