Hue Curves Node

Hue Curves works like Color Curves, but the X axis is the hue rather than intensity. Instead of "for each input value, correct the output", it is "for each hue, apply this adjustment".

Six control points are placed by default at the primary hues: Red, Yellow, Green, Cyan, Blue, Magenta (left to right). Changing the curve at a position = targeting that exact hue.

The core tool of secondary grading - the grading stage where you adjust specific colors (skin, sky, vegetation) without touching the rest.

• Effects Library: Tools > Color > Hue Curves
• Quick add: right-click in the Node Editor → Add Tool > Color > Hue Curves

• Input (orange) - required. The 2D image to correct.
• Effect Mask (blue) - optional. Limits the effect to an area.

MediaIn → Hue Curves → Merge 2D → Saver

Typically placed after a Color Corrector that handles the primary grade - Hue Curves does the secondary (targeted per-hue adjustments).

Mode

• No Animation - adjustments fixed over time (default).
• Animated Points - the control points can be animated frame by frame. Useful to follow a hue change over the course of the shot.

Color Channel Checkboxes

Turns each curve type on or off for editing. Several curves can be edited at once, but isolating one avoids accidental changes.

Spline Window

The central interface. X axis = Hue (from red to magenta through the whole rainbow). Y axis = amount of adjustment (positive = more, negative = less). The initial horizontal curve = no change.

In / Out Controls

Precise numeric entry of the selected point's coordinates.

Eyedropper (Pick)

An eyedropper to sample a pixel → automatically creates a point on the curve at the hue of the sampled pixel. See the dedicated section.

Pre-Divide / Post-Multiply

For premultiplied images - divides by the alpha before, multiplies after. Avoids halos on keys.

Hue vs. Hue

Hue shift per hue. Raising the red point = shifting all the reds toward orange/yellow. The equivalent of a local rotation of the color wheel.

Hue vs. Saturation

Adjust saturation per hue. Lowering the red point = desaturating the reds without touching the other colors. A classic to calm down oversaturated skin.

Hue vs. Luminance

Adjust luminance per hue. Lowering the blue point = darkening the blue areas (sky) without changing the other colors. The classic "darken the sky" without a mask.

Individual Channel Curves

Separate curves for Red, Green, Blue - adjusts the matching channel based on the input hue.

Channel Suppression Curves

Targeted channel suppression by hue. For example, suppress the Red channel only in magenta areas.

Classic workflow: click a pixel of the image with the eyedropper → a control point automatically appears on the active curve at that pixel's hue position.

1. Enable the curve you want (e.g. Hue vs. Saturation).
2. Click with the eyedropper on the area to correct (e.g. a face).
3. A point appears on the curve at the skin hue.
4. Adjust the Out of the point to lower saturation, shift the hue, etc.

The eyedropper removes the guesswork of "where is the skin on the spline?" - it places it exactly. Essential for a fast workflow.

• Skin tone correction - Hue vs. Saturation, eyedropper on a face, slightly lower the saturation of the skin tones for a more cinematic render.
• Darkening a sky - Hue vs. Luminance, blue point pulled down. A clean alternative to grading with a mask.
• Vegetation color shift - Hue vs. Hue, green point shifted toward yellow-green for a more autumnal look.
• Calming saturated reds - Hue vs. Saturation, lower the red. Typical for shots with overly vivid signs or blood.
• Intensifying a specific element - Hue vs. Saturation, raise the target hue. Boost a deep blue sky without touching the other colors.
• Selective desaturation (Sin City look) - lower the saturation of every hue except the reds. A "B&W city with pure red" effect.
• Correcting a colored lens flare - if there is an unwanted green flare, Hue vs. Saturation with a point at the green hue to tone it down.

• Animated Points = the unique feature of this node. The other color nodes only let you animate values, not the positions of curve points. Here, the position can move frame by frame to follow a hue change.
• Isolate the active curve before picking - otherwise the eyedropper places points on every visible curve, creating noise.
• Add several points around the target hue to bound the area of effect. A point at +30° and -30° from the target, both at zero = the adjustment does not spill onto neighboring hues.
• Hue vs. Luminance is often underused but extremely powerful to create depth (dark sky, colored shadows).
• For even more precise grading (by tonal range AND by hue), Color Corrector in Suppress mode + Hue Curves as a secondary cover almost every case.
• Adjacent hues "bleed" - an adjustment on red also slightly affects the neighboring orange and magenta. Normal, since the splines are smooth. For harder control, add anchor points at zero on either side.