I’ve noticed an ongoing inconsistency in how EOS handles the “Tint” parameter compared to long-established film and lighting practices. In most film-style profiles using Color Temperature and Tint, EOS maps full DMX values to magenta and low values (above zero) to green. This is inverted from how tint correction has traditionally worked both on set and in manufacturer implementations.
For decades, lighting correction has followed the plus/minus green convention: plus green adds green, minus green adds magenta. This standard aligns with how gels, color meters, and everyday gaffer terminology are used. Because EOS reverses this logic, I often need to edit every new profile—re-mapping Tint so low DMX equals minus green(-100), high DMX equals plus green (+100), and the midpoint represents “No Correction” or Zero.
If EOS profiles followed this expected mapping by default, it would save time, reduce confusion, and ensure consistency with both manufacturer intent and long-standing industry workflows. It would be a small but meaningful improvement for those of us working in film-centric environments.
