ACR 4: White Balance readings off of a target

In the good old days (ACR 3.7 and previous), I could shoot a white balance target, then open the image in ACR and use the eyedropper to set the white balance. No more. Now, I get a message that states - "The clicked area is too bright to set the white balance. Please click on a less bright neutral area."
Well, I'm using (and have been using) Danny Pascale's White Target that was made specifically for this purpose. (http://www.babelcolor.com/main_level/White_Target.htm)
Something has changed, and it's not for the better. I've tried decreasing the exposure in ACR, to make sure the values are far below 255, to no avail. Interestingly, the first measurement "click" does nothing. The second gives the error. The is very reproducible. Something's not right...
--Rich Wagner

Ok...
"You sure seem helbent on using your White Disk as a target for the white balance in Camera Raw...as you've found out, that's a bit less than optimal if your sensor exposure will likely produce a clipped channel since Camera Raw won't let you."
Well, when I'm crawling around in the mud in Costa Rica, Ecuador, or Peru, soaked, the ColorChecker card doesn't fare well. I've gone through a number of them, and in *my* field use, they suck. Period. In a studio, they're fine. I still own several. I just measured one for the numbers I gave above. I'm helbent on having something that is
reliable in my use. I could care less what it's called or who makes it. On the other hand, you seem insistant that the White Disk is inferior, and I'm trying to figure out why (other than the fact that Mr. Knoll used the ColorChecker card when designing ACR).
"What Thomas has stated and what I know to be a fact, is that the lightest grey of the CC is what the white balance tool is designed to use. It's light enough that it's not too far down the scale but dark enough to not worry about clipping. So, the ideal is to use the same patch that the white balance tool in Camera Raw was designed around."
Really? On my card, the lightest gray on the ColorChecker is
not the most neutral. The
second gray is. You can see the numbers above. Are you implying that Camera Raw will be more accurate making a WB measurement off of a patch that is not neutral, compared to one that is?
"So, what is it about your White Disk that has you so fixated on using WHITE (at the risk of clipping)? Yes, you can use it as long as it doesn't clip...is it optimal? No."
Argghhh... If I shoot a test shot and the White Disk clips, then guess what? I'm overexposing! Time to adjust the exposure before going on. This is easy to see on the White Disk because I get zebra stripes. I'f I'm shooting a gray card, I don't get that feedback and I may later discover that
important stuff was clipped, and it's too late! Sure, I can color balance just fine, but important highlights are gone. Which is most important? I can always eyeball color temperature - it's subjective, anyway. Or I can measure off something neutral in the shot. Clipped channels? Data lost is data lost...
Perhaps our shooting conditions are very dissimilar. I have found the White Disk to be a useful tool, just like many others that I have. It works (against all expectations?) and it works well. If I overexpose a neutral white target, I am often overexposing something else of interest. It becomes a
red flag when checking exposure, since I often cannot even see the histogram on the back of the camera. I am certainly NOT recommending that everyone switch to using a White Disk. I have just been surprised at the response of those who feel that for whatever reason it
cannot work as well as gray. I see no theoretical reason why not - still. Show me the math, or a give me clear-cut reason. My understanding (and experience) says otherwise. Or to put it another way, if it didn't work, I wouldn't use it, and neither would anyone else. If someone frequently overexposes their shots and relies on highlight recovery, it's probably not a good tool for them (unless it helps them correct their exposure).
--Rich

Similar Messages

White Balance seems off

Sometimes when i "wake up" my computer it seems like my white balance is a little off. My whites don't seem pure white and actually seem a little bluish. Does any one know what might be going on here or are my eyes just wigging out?

I've noticed that a couple of times myself but it's a) not consistent and b) seems to go away within a few seconds/minute or so ...
I'd assumed it was just the display 'warming up' or something (but then I'm usually doing this early in the morning with my first cup of coffee so I'm not 100% awake yet anyway )

8100 Camera White Balance Off?

Hi. A few weeks ago my camera on my blackberry pearl started going crazy. The white balance is off and the picture of the camer is awful. Any suggestions?

Since this seems like it may be something related to software, I suggest a clean application load of the device software. Before you perform the clean application load, be sure to backup your device. See the article below for more details:
How to perform a clean reload of the BlackBerry Device Software using BlackBerry Desktop Manager for Windows - KB11320
http://www.blackberry.com/btsc/KB11320
Hope this helps.

Inaccurate White Balance Of 808 In Low Light - Any...

I find the white balance and exposure of the Pureview 808 in indoor low light shots to be erratic, mostly inaccurate in most shooting modes. Although the predecessor N8 produces a noisier and darker image that is lacking in clarity (in low light), I find its white balance to be more accurate than the Pureview 808.
In low to dim lighting, the white balance on the Pureview 808 always appear to be cooler than actual conditions apart from the image being slightly over-exposed.
Below are my observations on the Pureview 808 (only in low light):-
1) In "Scenes", Night mode will produce an image that is slightly brighter than actual conditions, slightly overexposed. White balance is off.
2) In "Creative", Auto, Incandescent and Fluorescent modes, - as above.
3) In "Creative", Sunny and Cloudy modes will produce an image that is truer to actual conditions. White balance is more accurate in these modes.
The N8 in Night mode (with white balance in Auto) produces a more accurate white balance than the Pureview 808, though the image suffers from noise and is slightly under-exposed.
Not exactly a criticism of the Pureview 808 as the overall image quality in low light at high ISO levels is still pretty remarkable with excellent clarity and low levels of noise. It's just the minor issue in the white balance which seems to be always off in low light.
In good light, bright sunny conditions outdoors, no issues.
For those who own the Pureview 808, may I ask how do you cope with this slight anomaly in the Pureview 808? Will there be software update in future to address this flaw?
Any information would be appreciated.

It is unfortunate that sample images cannot be posted here. I have some sample images which not only demonstrate the inaccurate white balance of the Pureview 808 in low light but also the erratic exposure which seems to render an image in low lighting conditions to appear brighter than what it is in real life, an over-exposed image.
Below is the link to CNET's review which also highlights the inaccurate white balance of the 808.
http://asia.cnet.com/shootout-nokia-808-pureview-vs-panasonic-lumix-dmc-lx5-62216561.htm

Lightroom D100 custom white balance not read

I have a D100 converted to IR use. I shoot with a custom white balance set off green grass. If I open an image in Raw Shooter or Capture I get the balance I expect. In Lightroom it opens as what looks like an unbalanced "pink" IR shot. Manually adjusting the white balance in LR I can't get my normal results - may be related to the fact that the red channel looks completely clipped at the high end which I don't see in RSP.
The D100 is meant to be supported for reading white balances.
Any suggestions ?
Andrew
ps: I thought I posted this a few days ago but after a couple of days with no response couldn't find it myself so if it is lurking somewhere, apologies !

Suggestion for a workaround:
It seems that you want to work with a specific WB value you know.
Just create a preset with a fixed WB value which you apply by importing your IR shots. Then you don't even have to set it in the camera.
Besides this with my D70 I get the WB valance values from the camera without probs. I have however no experience with the D100
regards
Chris

?? Info readings for white balance in Raw Bridge ??

I'm running CS2 9.0.2 on a G5 iMac and I'm having an annoying but intermittent problem with the information palette shown in the top right hand corner of the Camera Raw window when you open Raws in Bridge. Often when I try to do a white balance, if I'm just trying to roll the pointer over the gray scale to get readings, the info numbers will flash quickly instead of maintaining and updating as you move the mouse.
The values are not blown out or underexposed but you simply cannot read the values in the palette. You have to click on your medium gray, etc... before you can read the numbers on the palette.
Is anyone else having this problem? Does anyone have any ideas on how to fix it?
Thanks.

See the response to my message from Jeff Schewe under the topic "ACR 4: RGB measurement values show --- instead of values." Opening from Photoshop (instead of Bridge) seems to fix the problem (at least for me). You might try that. It's not as convenient as opening from Bridge, but the info then displays correctly in ACR.
--Rich

Adobe DNG converter is corrupting NEF files. The color is way off and it's not the camera white balance.

I was using the converter for a few months and it was working fine. Now it will convert the files, but the color is really messed. I know it is not the white balance, because the same files convert fine to TIF files through Nikon's software. I am using this converter for Nikon d610 NEF files. Here's a sample DNG and the same image in TIF. Can anyone help? Thanks!

When you use the DNG Converter to make a DNG from an NEF, the DNG Converter applies the default Camera Raw settings. When I open your DNG it looks fine, but when you open it, it looks off. That is because you've some how set your Camera Raw defaults to have a bunch of customized settings specific to a particular picture, instead of having them all be normal settings. Below you'll see what Photoshop is saying the settings of the DNG-Converted-JPG are, with the non-defaults marked in bold. The main problems are the WB being custom and a bunch of HSL setting changes.
Here is what Photoshop reports that the JPG was created using:
      <rdf:Description rdf:about=""
            xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/">
         <crs:RawFileName>hug_8290_0215_1.dng</crs:RawFileName>
         <crs:Version>6.0</crs:Version>
         <crs:ProcessVersion>5.7</crs:ProcessVersion>
         <crs:WhiteBalance>Custom</crs:WhiteBalance>
         <crs:Temperature>5732</crs:Temperature>
         <crs:Tint>+26</crs:Tint>
         <crs:Exposure>0.00</crs:Exposure>
         <crs:Shadows>5</crs:Shadows>
         <crs:Brightness>+50</crs:Brightness>
         <crs:Contrast>+25</crs:Contrast>
         <crs:Saturation>-4</crs:Saturation>
         <crs:Sharpness>90</crs:Sharpness>
         <crs:LuminanceSmoothing>0</crs:LuminanceSmoothing>
         <crs:ColorNoiseReduction>25</crs:ColorNoiseReduction>
         <crs:ChromaticAberrationR>0</crs:ChromaticAberrationR>
         <crs:ChromaticAberrationB>0</crs:ChromaticAberrationB>
         <crs:VignetteAmount>0</crs:VignetteAmount>
         <crs:ShadowTint>0</crs:ShadowTint>
         <crs:RedHue>0</crs:RedHue>
         <crs:RedSaturation>+11</crs:RedSaturation>
         <crs:GreenHue>0</crs:GreenHue>
         <crs:GreenSaturation>0</crs:GreenSaturation>
         <crs:BlueHue>+12</crs:BlueHue>
         <crs:BlueSaturation>+2</crs:BlueSaturation>
         <crs:FillLight>0</crs:FillLight>
         <crs:Vibrance>-6</crs:Vibrance>
         <crs:HighlightRecovery>0</crs:HighlightRecovery>
         <crs:Clarity>0</crs:Clarity>
         <crs:Defringe>0</crs:Defringe>
         <crs:HueAdjustmentRed>0</crs:HueAdjustmentRed>
         <crs:HueAdjustmentOrange>0</crs:HueAdjustmentOrange>
         <crs:HueAdjustmentYellow>+1</crs:HueAdjustmentYellow>
         <crs:HueAdjustmentGreen>+5</crs:HueAdjustmentGreen>
         <crs:HueAdjustmentAqua>0</crs:HueAdjustmentAqua>
         <crs:HueAdjustmentBlue>-9</crs:HueAdjustmentBlue>
         <crs:HueAdjustmentPurple>0</crs:HueAdjustmentPurple>
         <crs:HueAdjustmentMagenta>0</crs:HueAdjustmentMagenta>
         <crs:SaturationAdjustmentRed>-2</crs:SaturationAdjustmentRed>
         <crs:SaturationAdjustmentOrange>+14</crs:SaturationAdjustmentOrange>
         <crs:SaturationAdjustmentYellow>+25</crs:SaturationAdjustmentYellow>
         <crs:SaturationAdjustmentGreen>+26</crs:SaturationAdjustmentGreen>
         <crs:SaturationAdjustmentAqua>0</crs:SaturationAdjustmentAqua>
         <crs:SaturationAdjustmentBlue>+32</crs:SaturationAdjustmentBlue>
         <crs:SaturationAdjustmentPurple>0</crs:SaturationAdjustmentPurple>
         <crs:SaturationAdjustmentMagenta>0</crs:SaturationAdjustmentMagenta>
         <crs:LuminanceAdjustmentRed>+40</crs:LuminanceAdjustmentRed>
         <crs:LuminanceAdjustmentOrange>+13</crs:LuminanceAdjustmentOrange>
         <crs:LuminanceAdjustmentYellow>+3</crs:LuminanceAdjustmentYellow>
         <crs:LuminanceAdjustmentGreen>+15</crs:LuminanceAdjustmentGreen>
         <crs:LuminanceAdjustmentAqua>+3</crs:LuminanceAdjustmentAqua>
         <crs:LuminanceAdjustmentBlue>+4</crs:LuminanceAdjustmentBlue>
         <crs:LuminanceAdjustmentPurple>0</crs:LuminanceAdjustmentPurple>
         <crs:LuminanceAdjustmentMagenta>0</crs:LuminanceAdjustmentMagenta>
         <crs:SplitToningShadowHue>231</crs:SplitToningShadowHue>
         <crs:SplitToningShadowSaturation>32</crs:SplitToningShadowSaturation>
         <crs:SplitToningHighlightHue>45</crs:SplitToningHighlightHue>
         <crs:SplitToningHighlightSaturation>33</crs:SplitToningHighlightSaturation>
         <crs:SplitToningBalance>+74</crs:SplitToningBalance>
         <crs:ParametricShadows>-39</crs:ParametricShadows>
         <crs:ParametricDarks>-7</crs:ParametricDarks>
         <crs:ParametricLights>-15</crs:ParametricLights>
         <crs:ParametricHighlights>+14</crs:ParametricHighlights>
         <crs:ParametricShadowSplit>25</crs:ParametricShadowSplit>
         <crs:ParametricMidtoneSplit>50</crs:ParametricMidtoneSplit>
         <crs:ParametricHighlightSplit>75</crs:ParametricHighlightSplit>
         <crs:SharpenRadius>+1.0</crs:SharpenRadius>
         <crs:SharpenDetail>25</crs:SharpenDetail>
         <crs:SharpenEdgeMasking>0</crs:SharpenEdgeMasking>
         <crs:PostCropVignetteAmount>-24</crs:PostCropVignetteAmount>
         <crs:PostCropVignetteMidpoint>50</crs:PostCropVignetteMidpoint>
         <crs:PostCropVignetteFeather>97</crs:PostCropVignetteFeather>
         <crs:PostCropVignetteRoundness>0</crs:PostCropVignetteRoundness>
         <crs:PostCropVignetteStyle>1</crs:PostCropVignetteStyle>
         <crs:PostCropVignetteHighlightContrast>0</crs:PostCropVignetteHighlightContrast>
         <crs:GrainAmount>0</crs:GrainAmount>
         <crs:ColorNoiseReductionDetail>50</crs:ColorNoiseReductionDetail>
         <crs:ConvertToGrayscale>False</crs:ConvertToGrayscale>
         <crs:ToneCurveName>Medium Contrast</crs:ToneCurveName>
         <crs:CameraProfile>Adobe Standard</crs:CameraProfile>
         <crs:CameraProfileDigest>51B4314CF8312BA027EF3FC60481FB35</crs:CameraProfileDigest>
         <crs:HasSettings>True</crs:HasSettings>
To fix the problem you're gonna need to reset your camera raw defaults:
And then be careful when saving new camera raw defaults with the menu item just above, that your image has the camera raw defaults applied to it, except whatever small change you want to be the new default.

How can I turn off Automatic White Balance/Correction?

Hi,
I shoot color Infra-Red images. White Balance is handled in Camera - and then in Photoshop. As a new user to Lightroom 2 - everytime I view/click on an image in the Library - the color/balance of the image changes to a deep red, and I lose all of the vivid colors that I had from the original image. The files are Nikon NEF RAW - and I am looking for a way to turn this automatic change in colors off. Can anyone help?
Thanks and have a great weekend !!!
Dave

Hal,
I have a Nikon D-70 that has the Lifepixel infra-red conversion. Take a look at their website and you can see the great color infra-red pictures that you can take with this converted camera. So there is my problem - I can set the camera at a PRE White-Balance and shoot Cyan/Blue/Green photos - and then import them into Lightroom. I see the photos in the Library - but as I click on them to view them, they change color to Red. Now if I set up the camera to take White Balance as Auto - or pretty much anything else other than the PRE (for which I can adjust), I will also get a Red photo. Red is OK if you want to convert to B+W - but if you want to retain all of the colors, I need to keep the color that the camera shot - without Lightroom changing them. I looked at the history - and only have an import/date. Other than clicking on it to view - no changes have been applied by me - yet. I will try to shoot them as jpg's - the ones I am working with right now were shot in the summer. We have -20 Deg. C. here right now - so Infra Red camera is in bag - have no green leaves to shoot. Looking through preferences and settings to see if I can find a "turn-off"....... Actually - let me load the photos with Bridge and see what they look like there..........
Dave

D200 white balance presets problem or ACR problem?

Last night I was playing around with my D200 and an SB800. The scene was just a sofa with a Gretag-Macbeth 24 Patch Color Checker. The object was to see what results I got with the SB800 with the D200 set to the various preset White balance values. (I should point out that the lighting was mixed, but that is not relevant to the results I see.)
I set the D200 to each of the preset white balance values and then opened the NEF file in ACR. The preset temperature (from the D200 Manual) and the temperature/tint values reported as "As shot' by ACR are shown in the table below.
D200 ACR 'as shot'
preset temperature/tint
tungsten 3000 2950 / 0
fluorescent 4200 3950 / +31
daylight 5200 4950 / -3
flash 5400 6150 / -9
cloudy 6000 5550 / -7
shade 8000 7100 / +3
First of all I don't care if the temperature reported by ACR agrees with the preset temperature quoted by Nikon. What puzzles me is the discontinuity in the values reported by ACR when going from 'flash' to 'cloudy'. Is this a problem with ACR or with the Nikon preset values for these two settings?

>First of all I don't care if the temperature reported by ACR agrees with the preset temperature quoted by Nikon. What puzzles me is the discontinuity in the values reported by ACR when going from 'flash' to 'cloudy'. Is this a problem with ACR or with the Nikon preset values for these two settings?
Bob,
A full answer to your question would require a response by Thomas Knoll or some other ACR expert with knowledge of how Nikon records the white balance and the algorithm used to apply the white balance. However, I can bring up a few points which may shed some light on the matter.
One should first consider what white balance information Nikon cameras write to the NEF file. The following table refers to the D70 and similar Nikon cameras before encryption of the WB.
http://www.ozhiker.com/electronics/pjmt/jpeg_info/nikon_mn.html
The settings of daylight, flash, tungsten, etc are written as descriptive strings, not actual degrees Kelvin. Nikon considers daylight to be 5200K, but Thom Hogan writes that this value often produces a blue result and 5400K might be better.
The bias value refers to fine tuning between the above descriptive settings, approximately 100 Mired per increment. Finally, the red and blue coefficients are recorded (green would be redundant). Some raw converters such as DCRaw use these coefficients for the "as set" white balance. There is nothing corresponding to the ACR tint, which adjusts in the magenta green axis, whereas the color temperature slider adjusts in the yellow-blue axis. The degrees Kelvin figure specifies the white balance only for a black body radiator.
Thus there several ways to interpret the WB data. Mr. Knoll has written previously that ACR attempts to produce a neutral white balance appearance rather than the WB numbers. An interesting experiment would be to determine which converter (ACR or Nikon Capture) gives a more neutral white balance on your color checker with the above settings.
Bill
http://www.adobeforums.com/cgi-bin/webx/.3bbc87b2/0

ACR white balance tool Q!

ACR white balance tool Q!
Does it point sample one pixel, 3x3 average, 5x5 average... I have always wanted to know this!
Good question huh?!
Mark

.Eric Chan - 10:43pm Sep 14, 08 PST (#3 of 3)
The color sampler tool is different in that it uses a fixed # of pixels. The actual # of pixels used is image-dependent, however. So it's not something constant like 3x3 or 5x5.
I'm assuming this is just something you're curious about, as opposed to something that will actually help you use the tools?
Thanks again Eric.
Actually, I think it might HELP ME use the tools better. In PS, as we know, there is the option of choosing point sample, 3x3, 5x5... because the tools sometimes work very differently with the different settings. It seems reasonable to conclude that different results may occur, at times, in ACR if one could know and change the settings there. Of course (at least to my knowledge) the aforementioned tools cannot be changed in ACR, but I would like to better know how they are working for potential better results.

Colour cast using auto White Balance in ACR 7.4

I am experiencing a yellowish colour cast when I set the White Balance to Auto in Adobe Camera Raw. This happens with pictures taken with the Nikon D7100 and also the Nikon D50.
Here is an example,
White Balance set to "As Shot":
White Balance set to "Auto":

RASouthworth wrote:
So I would conclude the ACR auto wb process is apparently not as reliable as the camera determination, and certainly inferior to direct measurement on a neutral object.
Oh, Auto WB is reliable for what it was designed to do...take the image colors into consideration when determining the auto white balance. It's doing exactly what it's supposted to do...the fact that it's often not what you want shouldn't be a surprise. The way a camera determines WB is by using a WB sensor (either the sensor itself or an external sensor) which is much more accurate than measuring image colors after capture. I've seen Auto WB help in certain cases where there simply is not white neutral in which to measure but I've found manually adjusting WB the best solution in most cases.

White balance off

I have the Mac Book with the pre-installed iSight. It worked great yesterday, but today the camera's white balance seems way off because it is make the picture all blue (as in, there is not red, green, white, black components). Any thoughts?
Thanks for your help!
Mac Book Mac OS X (10.4.6)

HI RG214,
Welcome to the Apple Discussions
Does this help ?
http://docs.info.apple.com/article.html?artnum=302520
6:03 PM Sunday; July 9, 2006

ACR 3.7 White Balance Problem

I have just installed Photoshop Lightbox 1.0 on my Windows (XP SP2) PC. After importing a few hundred adjusted DNG files into this software, I noticed that many of the images had severe (thankfully easily spotted) pinkish colour casts indicating a serious white point shift. Viewing the same images in Bridge using ACR 3.X (3.2?) revealed no problems. Now I am a bit confused here. Lightbox claims to use ACR 3.7, which is supposed to be a shared resource with Photoshop. However my version of Photoshop CS2 indicated it was using an earlier version. Anyway, I then upgraded my ACR plugin to v3.7 and low and behold the same problem appeared in Bridge / ACR 3.7.
The problem does not affect all images. It seems, though I am not sure, that it is only those images where the white balance had been set to a custom value that are affected. Other settings: exposure, contrast etc, seem to be unaffected. It is possible to fix the problem in the Bridge + Photoshop + ACR 3.7 environment using the previously saved "fixed" images as references. However the problem remains in Lightroom, presumably because the RAW adjustments are stored separately, and is not so easily fixed, as it does not seem to be possible to have two different images side by side while carrying out fine white-point adjustments.
Anyway, to cut to the chase, I am quite furious that this could have happened at all, as it raises serious questions about the backward compatibility of the software and/or the ability of RAW (DNG) files to preserve adjustment information securely against changes in the software environment. What has occurred should be impossible, but evidently is not. Maybe these digital negatives are not so safe after all.
Anybody got any idea what went wrong and how to fix it? Is there a way to reset Lightroom to the externally applied RAW adjustments?

Actually the product I am talking about is ACR 3.7, which is common to Photoshop CS2, Bridge and Lightroom. The Read Me! notes accompanying my installation of Lightroom clearly states that it uses ACR 3.7 (and that upgrading ACR 3.7 in Photoshop would be necessary to ensure consistency, which I have done). The reference to Lightroom was important, as unlike the Photoshop ACR, in my setup, Lightroom does not store the adjustment settings in sidecar XMP files, or, in the case of DNG files, within the files themselves. The problem manifested itself inside Lightroom first, and then, only after I upgraded Photoshop to ACR 3.7, did the problem occur within Bridge and Photoshop. This clearly demonstrates that the problem is ACR 3.7, and not some feature of Lightroom. [It might help therefore, if, in future, you forgot I mentioned Lightroom.]
To answer your next question, the DNG files were created in my camera (Pentax K10D firmware v1.0 & v1.1). ACR defaults are as out of the box except that sharpening is set to be applied in preview only. Data are "written to XMP" rather than a database.
The auto settings may have changed. However, the fault, when it occurs, is a major, and very obvious, shift of white point, not the sort of thing one would expect from a tweaking of the default/auto settings. Anyway it is only adjusted whitepoint settings, not auto ones, that have changed.
I cannot be sure that the problem is specific to DNG, though I suspect it probably is. My older PEF (Pentax RAW) files are unaffected.
I do not think it is acceptable that changes to software should cause changes to the rendering of an image, particularly where that rendering may have been created by careful adjustment. This is a fundamental issue of backward compatibility.

Batch Process White Balance From Bridge/ACR?

Here's what I want to do:
Open Bridge
Use Tools > Photoshop > Image Processor
Set ACR white balance to be used on all files being processed from Bridge
Save to JPEG
I can do 1, 2, and 4. When the Image Processor window opens it gives me a checkbox option that says, "Open first image to apply settings". I assumed this meant I could open the first image in ACR (via Image Processor), adjust the white balance settings (and any other ACR settings I want), and then have those settings applied to the rest of the images that are processed. However, when I do this, the ACR settings are applied only to the first image, none of the others. Is there a way to apply the ACR settings I create on that first image to the rest of the images?
Thanks,
Aaron

Apologies for replying to this thread, but it seemed like a better idea than creating another topic for more or less the same issue.
I am attempting to do the same thing using Bridge/ACR except I am not seeing the edits on the JPEG file afterwards.
Here are the steps I go through.
1) Open Adobe Bridge CS3
2) Select several RAW files
3) Click Tools > Photoshop > Image Processor
The options I have checked (1) open first image to apply settings. (2) Save in Same Location (3) Save as JPEG, Quality 12 (4) Include ICC profile
4) Click Run
5) Make edits in ACR, click Open Image
6) Photoshop batches those files.
I only chose 6 files to batch as a test, but it only made the edits to the first picture, the remaning 5 were untouched.
I am wondering if maybe I am just missing something simple here and someone could point it out to me

After adjusting white balance in ACR, images are opening in Ps at a different size.

Can anyone explain like I'm 5 why this is happening, and how to prevent it? Thanks!
Negatives are scanned at 3200dpi, and 24bit depth. This is the metadata from Bridge.
Default settings in Camera Raw
After opening in Photoshop.

Scanned direclty into photoshop. And if I open the tif from explorer or bridge, bypassing Camera Raw, it opens as the 75mb file size. I thought it might have somethign to do with the color, as Bridge labels bits/channel as 'Bit depth', but the images all are 24bit, even after White Balance correction in Camera Raw.
Thanks for taking the time to help me figure this out. It's been causing a huge problem this week.

ACR 4: White Balance readings off of a target

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