Levels remaps the frame's luminance range and tonal distribution: by defining the input black point, white point, and midtone gamma, it establishes black-and-white anchor thresholds to firm up contrast, anchor deep shadows, or recover flat, washed-out images.
Controls
| Control | Range | Default | Description |
|---|---|---|---|
| Input Black | 0 – 1 | 0 | Darkens deep shadows by mapping pixels below this threshold to pure black |
| Input White | 0 – 1 | 1 | Brightens highlights by mapping pixels above this threshold to pure white |
| Input Gamma | 0.1 – 4 | 1 | Adjusts midtone brightness without clipping black or white endpoints |
| Output Black | 0 – 1 | 0 | Sets the darkest possible output level; raise to create matte or faded blacks |
| Output White | 0 – 1 | 1 | Sets the brightest possible output level; lower to soften harsh whites |
With all parameters at their default values, Levels leaves the image untouched.
Input and Output
The Input controls stretch tonal contrast. Raising Input Black deepens shadows and creates richer dark tones, while lowering Input White brightens highlight areas. Using them together helps eliminate flat, washed-out tones and adds punch to the frame.
The Output controls limit the maximum brightness and darkness of the frame. Raising Output Black lifts the deepest shadows into a soft grey, while lowering Output White softens peak highlights. Combining both creates the classic low-contrast, matte aesthetic of vintage film.
Input Gamma fine-tunes midtone brightness: values above 1 brighten midtones, while values below 1 darken them, keeping black and white endpoints fixed. To adjust character skin tones and scene balance without blowing out highlights, adjust gamma rather than overall brightness.
Channels
The Channel selector at the top determines which color channel the sliders modify: Master adjusts all RGB channels uniformly, whereas Red, Green, and Blue isolate adjustments to their respective single-color channels. Each of the four channels preserves its own full suite of parameter settings independently when switching views.
Per-channel adjustments composite multiplicatively on top of the Master level, making them ideal for correcting color casts or creating stylized split-toning effects. For example, lifting Output Black on the blue channel while reducing Output White on the red channel yields classic filmic teal shadows with warm amber highlights.
Processing Order
Levels resides in the core color grading pipeline alongside color grading, color wheels, and color shift, executing sequentially after bloom and diffusion.
Last updated on October 11, 2026