Correcting for white balance in high-ISO images

I just started using a Whibal card, and have a number of high ISO images that I'm having a hard time correcting in Aperture. Because of the grain, the white balance varies widely as I move my dropper across the card.
Whether I use a white balance reference or not, how are others extrapolating gray data across multiple pixels in an image in Aperture?
In the future, can I take a low ISO shot of a white balance reference area, even if it is out of focus or exhibits camera shake across that area?

Yes, you can take a lower ISO shot with motion blur and get your white balance settings that way.
I'm surprised though that with the grainy area it would make such a difference that you can't even get an accurate white balance number.

Similar Messages

Does any1 know how to color correct for white balance/color grade?

hey wasup guys just finished my 1st music video now i need 2 color correct & color grade. i willl be making the video black & white so i was told i need 2 get rid of any color cast in my footage. i 4got 2 set the white balance on my 7d when i was shooting sum sceens so i could use any help possible like what is the best color corrector to use or how to white balance my footage any help is greatly appreciated thanks.

Check the basics and do a Google search. The first three listed will be videos, the next link points to the Adobe Help files.
The basic tools are the same as in Photoshop but there are a bunch of 3rd party plug-ins out there that make the job easier. If you run one of the tutorials found in your Google Search and are stuck get back to us.

Correcting wrong white balance setting in RAW .CR2 photo

I set my camera custom white balance incorrectly and took a days worth of photos in RAW mode. When imported into iPhoto they have terrible coloring (as expected). iPhoto does not seem to have a WB adjustment (Daylight, Tungsten, Fluorescent, etc.), so i opened the .CR2 files with Canon Photo Professional and changed the WB setting for the photos to 'AUTO' correct colors and saved. When i import them back into iPhoto, the while balance is unchanged (but when i re-open them in Canon P P they have correct color). Does anyone know how to get iPhoto to import with this modified WB setting?
Source: Canon 20D RAW format
Thanks for any help!

You would need to export the files from DPP as tiffs or something similar. There is no way iPhoto will see the adjustment by DPP otherwise.
For White Balance in iPhoto check out the Temperature and Tint pane in the Adjustments - check out the eye dropper.
Regards
TD

Correcting the white balance?

I have some clips that are slightly blue on the white. Was wondering whether there was a way to correct the white balance in post-production (FC2)? Thank you.

I'll add to Andy's reply.
If you open the Scopes and select the Parade scope, look at the relative traces of red, blue, and green. A well balanced shot of an evenly composed scene will display on the Parade scope with fairly similar red, blue, and green traces.
So, while you keep an eye on the Parade, move the little circle in the white color wheel slowly away from blue until the red, blue and green traces are mostly even. Then look at the traces in the zero to 20 unit range and do the same thing with the black color wheel. Then again with the mids wheel while looking at the traces in the 40 to 70 unit range.
That should get you close. After that, it's an art. Make further corrections S-L-O-W-L-Y, with very small changes at a time, until things look right on a properly calibrated external video monitor.
But before you do all that, look at the waveform monitor scope and adjust sliders at the base of the whiles and blacks color wheels until the trace shows video going from 0 to 100, or close to it, depending on the scene. (Sometimes, a properly displayed shot just doesn't go all the way from 0 to 100, and should not be made to do so. Most times, this will work - do it before the rest of the color correction.)
NOTE: This is a too-short explanation of basic color correction techniques. If this doesn't make sense, seek the details elsewhere. The Peachpit Apple Training Series book, "Advanced Color Correction and Effects in Final Cut Pro 5" is really good, though it hasn't been updated for FCP 6 (not that it has to be - no changes.)
http://www.amazon.com/Apple-Pro-Training-Advanced-Correction/dp/0321335481/

White balance and B+W image

I understand how I can use the colour information in a raw file to create a B+W image with some considerable depth and variety. In the B&W tab, I can reset the various contributions of the different colours to the image (which is great), and I can use these to create all kinds of filter effects, etc.
There is one thing I'd like to be able to do that LR doesn't seem to allow me. I would like to get a netural (true) reading of the luminance values of the sensor when I'm converting to B+W. I should be able to do that by setting these values to their middle location (option click gives me a "reset"). However, I'd really like to completely neutralise the white balance settings as this setting is still altering the luminance values of the image.
I really want to have a completely neutral representation of the luminance values as recorded by the sensor with no colour bias in how these are rendered, but I don't see how I can do that with the requirement to set a white balance. It really seems to me that LR should have a way to disable WB when converting to B+W, or at least some way to have WB be bypassed (or neutral). I understand that this can be a part of a creative interpretation (so I'm not suggesting it should be disabled). Then I can still use the B+W colour sliders to control the contribution of each colour, which also might include manipulating white balance.
From the reading I've done, I can chose a 6500K (or 5500K, opinions seem to vary about which value is "most neutral") - and I would assume a value of 0 on the red-green tint, but even in this setting, there still seems to be some notion of a weighting being applied to the recorded colour values.
I don't think I can use LAB in Photoshop for this; I could just take the "L" channel, but then I've lost the colour information, and if I were to keep all three channels, then I think I would still have a WB setting to contend with? (Sorry, I don't know much about how LAB works, so maybe I can do it this way)?
So, basically, I want to start with as neutral a rendering into B+W as I can, just as an achromatic sensor (or B+W film) would record the shot, then use the color information in the RAW file from that point.
Thanks!
Bill

So, basically, I want to start with as neutral a rendering into B+W as I can, just as an achromatic sensor (or B+W film) would record the shot, then use the color information in the RAW file from that point.
An achromatic sensor would have no colour information, but it would still have a certain effective WB built into its hue sensitivity. Same for B&W film, or for any variants on that such as the orthochromatic film which preceded that. Early movie film required lurid coloured makeup (green lipstick IIRC) for the actors, to make their mouths show up in a way that seemed natural in B&W terms. Then the film stock improved, became "panchromatic".
IMO you are misusing the word "neutral" here, since all photographic techniques are carefully designed, developed and then honed by testing so as to correspond credibly to human vision. So it's a matter of choosing among the many representations that are available, one that WE (using some standardised average) consider subjectively believable or natural-looking. All cameras or all Raw conversion impose a contrast curve as standard, which can be varied to taste, but there is no greater "neutrality" to one or another setting for that curve, except what WE choose to invest in that. Same for WB.
If you wished to define a central-weighted averaging-metered shot in LR "neutral" tone curve (under the 2012 process version), using Adobe Standard camera profile, with all other settings at Adobe defaults, Daylight WB, you would not be alone in considering that some kind of an - at least useful - idea of an un-fiddled-with starting point ... merely because, this has not been overtly individualised for a given picture. However any other setup that you can apply consistently, would be an equally valid starting point.
This is like the reliability of witnesses in court - we do not require them to be omniscient and infallible, and would be more (not less) suspicious of the testimony if there was any claim to that; we only require them to be candid, without applying bias or distortion or pretending to be other than they are.
The Raw data is not conventionally human viewable - or at least, we know that we are looking at an artificiality however we make it viewable, and this cannot be a "better" picture per se (whatever it is) without having considered, "better" for what?
If you instead wanted to define a pattern-metered exposure, Camera Standard, auto tone (assuming that worked - grin), AutoWB, apply auto mix to first B&W conversion... as your "vanilla", you might in truth better reflect the highly adaptable nature of human vision... and more particularly, of the kind of camera you picked, as having a pictorial character which seems more natural to you. If you consistently think ALL your out-of-camera images need some kind of correction, then that is YOUR normal. Even "vanilla" does not taste of nothing, it is distinctively sweet and fragrant; but in a way that we become so used to, that it can eventually pass our notice without comment.
A daylight balanced WB picture of a candle-lit scene represents an odd variation on human perceptions, but so does a perfectly WB-corrected one - since our experience of candle-lighting includes the awareness of how much what we see is "warmed", which might be why we have chosen that kind of illumination. The camera WB, and/or the B&W conversion we might make, or (for example) our decision to use tungsten-balanced rather than daylight-balanced film (or a corrective colour filter) to represent it, reflects the same perceptual relativism.
To paraphrase Pontius Pilate, "what is neutrality?" (applies noise reduction, as a digital equivalent of washing hands).

Can Bridge report in-camera settings for White Balance?

No matter what settings I choose in Bridge Preferences, I cannot get it to tell me what was the White Balance (WB) setting of the camera when raw images were shot.
This seems an odd omission because Camera Raw is passed this information and displays images correctly, although it doesn't report what WB value it was given, only that what you are viewing, prior to any editing, is the default "As Shot".
I'm referring to raw files shot on my Canon 300D, Nikon D700 and Canon 5D Mark II.
Currently I'm using PsCS6 (13.0.1.2 x64), Bridge CS6 (5.0.2.4 x64) and ACR 8.1 on a Windows 7 x64 8GB system, but the same omission existed on the same Windows system with ACR 7.x in CS6 and all releases of PsCS5, Bridge CS5 and ACR 6.6 and 6.7.
On the opening dialog of Bridge Preferences, at the bottom you can choose whether or not you wish to 'Hide Empty Fields'. Selecting or unselecting this option does not have any effect upon Bridge's inability to report WB when, from within Bridge, you select File Info from the File menu or by hitting Ctrl + I.
The only locations in Bridge Preferences I can find that need selection (and which I have selected) for Bridge to supply WB information upon invoking File Info are here:
Preferences\Metadata\Camera Data (Exif)\White Balance; and
Preferences\Metadata\Camera Raw\White Balance
I have also selected Preferences\Metadata\File Properties\Supports XMP, and yet Bridge fails to give the in-camera WB in the Camera Data tab of File Info.
I have been able to locate references to WB in the following tabs of File Info:
File Info\Advanced, where there appears, under the sub-tab 'Exif Properties (http://ns.adobe.com/exif/1.0)', an entry such as 'exif:White Balance:1'; and
File Info\Raw Data an entry such as '<exif:White Balance >1< /exif:White Balance>'.
However, these are just code numbers, not names like 'Cloudy' or 'Shade', and they are not only inconsistent (both showing the code 1 for an unedited image I know was shot with Auto WB and another unedited image I know was shot with Flash WB) but also it would appear that the codes may refer to the WB as modified by ACR - because an image I know had its in-camera WB of Auto altered in ACR shows a code of 'Custom' rather than 0, 1 or some other number.
So what am I missing? Does anyone know how to make Bridge Preferences display the in-camera setting for WB, and if so, under which tab of File Info do you look for the answer once you have set up Preferences properly?
Message was edited by: Andrew_Hart
Just corrected my current Photoshop version

I'm afraid that you just haven't addressed the question that I asked in my original post.
I still like to think I have but if you for whatever reason need this info showing in the metadata you probably be better of trying to alter it your self or find a way to address Paul personally (maybe via a private message).
I have not heard from him for a long time and a small google search provided me with this forum post, hope it helps you, maybe you can also persuaded Paul to come back, he is very missed!
http://www.ps-scripts.com/bb/viewtopic.php?f=2&t=5508

Premiere Elements 13 Eyedropper for white balance, gray, and black NOT WORKING. Help!

I'm using Premiere Elements 13.1 on an iMac, and trying to adjust the white balance on a clip with ZERO success. The main reason for this is that I cannot utilize the "eyedropper" selector; I know what should appear white, gray, and black, but cannot select those items.
In the Three-Way Color Corrector there are Eyedroppers to use to specify areas of known color range. I have tried without success to select ANY of the eyedroppers...
I have clicked on it - NOTHING
I have held the left mouse on it and attempted to drag it onto the frame - NOTHING
I have right-clicked it - NOTHING
The eyedroppers are not greyed out and they do respond when clicked. I have hit Reset button galore. I have restarted the program.
I have held my mouth funny - NOTHING :-)
When my cursor is hovering over the tool, it changes to an eyedropper. If I click, nothing happens when the cursor is moved - the cursor changes right back into its regular arrow shape. The cursor does nothing to the image if an item is clicked....there is no change to anything on the monitor.
I am a longtime Photoshop user but new to Premiere Elements. This dropper seems to work nothing like the PS ones. In fact, it doesn't work at all...so far.
Can someone please tell me what I need to do to simply select the eyedropper and take it onto the image and select the white (or gray or black)??? Before I go bananas (may be too late)? THANK YOU!

Still not working. I think the root cause of the problem is the mechanics of using the tool itself; I hope this screen shot shows up below ...
Here I have APPLIED EFFECTS open, and have selected Midtones (Greys) to be expanded so that the eyedropper and other details appear:
Now, just below where it has a box and "Impacted frame area in white" (which I know is a checkbox allowing the area effected to be seen), there is a little color box and an eyedropper.
What EXACTLY do I do to select (activate) the eyedropper and subsequently tell the program what I feel should be grey in the selected clip?
As mentioned before, I can click it and the cursor briefly changes to the same shape as the eyedropper. But as soon as I move the cursor a fraction, it changes back to an arrow (normal cursor) shape. Even then, going to the area I need to select in the image, and then clicking it, does exactly nothing to the appearance of the image shown -- even if the colors start way off. No correction at all. It is as if the tool does nothing. The color wheels below all this DO work however - it's just the eyedropper that doesn't do anything. This just cannot be Adobe's intention. I am convinced there must be some flaw in how I am selecting the tool itself. And the user guide - needless to say - is worthless in explaining the mechanics.
So very frustrating. This appears to be the only thing wrong with the program - nothing else seems amiss.
NOTE: To add insult to injury, this promised white/gray/black balance feature and the three-way-color corrector is the SOLE REASON I purchased the software. Funny.

Bug Fix for White Balance Issue (When ?)

Dear Apple:
When can users expect a patch for the bug that "crept" into Aperture late in the development cycle that seriously effects the white balance tool?
This bug is obviously a major concern and issue for most professional-level photographers; and, quite frankly, prevents Aperture from being used in a professional capacity with regard to RAW decoding.
Cheers

Excuse me, John:
But, quite frankly I don't think you are in any position to tell the users of this form how they should feel. Most users, who happen to be high-end prosumers or professionals such as myself, have paid a great deal of money on a piece of software that was supposed to live up to certain, basic expectations. Unfortunately, that software did not. As such it cannot be used in a professional environment.
Subsequently, an update was provided to address all the concerns that users expressed. Unfortunately, that update created a major issue with regard to the white balance of RAW images. Yet again, this expensive piece of software is nearly useless in a professional environment.
Let me ask you this: "if you were a gardner and paid several hundred dollars for a lawn mower, only to discover that it cut your clients' grass unevenly, would you continue to use it? Would you continue to be patient after taking it into the repair shop only to have it still screw up your lawns? Would you not be on the phone with the repair shop constantly until it was fixed?"
Unfortunately, Aperture is a good idea that has a flawed implementation and that NEEDS to be addressed! So, I will continue to ask Joe and Steve and the others at Apple when will this piece of software actually live up to the expectations set forth by the company that produced it!

Eye drop tool for white balance

It has been requested an eye drop tool to correct white balance issues in color correction for a long time. Is there any news on this? Will it be a new feature in upcoming updates?
If not... does anyone know a plugin that will do the same thing?
Short description:
I want to be able to select which colors are supposed to be white with an eye drop tool during color correction. This feature was available in earlier FCPs like 6 and 7. It saves tons of hours being able to auto adjust the whitebalance in post, rather than trying to match the correct color balance - dragging up and down these color circles, and then matching the color settings throughout the whole project.

The Color Corrector in FCPX is a misnomer. The color board is more about grading - not correcting.
If you can tell how the color is casting (or read the scopes) then the Color board is easy: line up the global control over the color and drag it downward (that will "subtract" the offending cast from the image.) Or use the shadows, midtones, and highlights controls individually for those ranges.
[But I find scopes difficult to use quickly, so:]
You can also use *any* of the effects, titles, or generators that have any color parameter selection (or gradient!) as an eyedropper in a pinch. Click on the swatch for the color parameter and from the pop up dialog (color picker), use the Magnifier (top left corner) and choose any pixel on the canvas (or anywhere else for that matter.) That will give you clear indication which primary elements are "too heavy" (red, green, blue -- or any two with greater value than the minimum) Using the HSB sliders mode (second icon and last on the dropdown) will give you the degree angle (which is what the color board uses) of the hue cast and the Saturation value will give you an indication of the "magnitude" of the cast. Move the appropriate control in the color board to the Hue degree and subtract the % shown by saturation -- and you're "white balanced" (I should say: neutral.) [PS, if you're not going to be using the effect, etc -- simply disable it by clicking on the blue rectangle -- you'll still be able to use the color picker -- and whatever the effect is won't interfere with your color edits.]
If you have Motion, you can build an "eyedropper" quickly by drawing a rectangle, setting the fill opacity to 0 and publishing its fill color -- it can be an effect, a title or most easily: a generator. Titles and generators are most easily dragged around the storyline and don't become "part of" a clip. If you don't have Motion, you can download one here: http://sight-creations.com/fxexchange/eyeDropperAssist.zip (a generator.)

Color correcting and white balance

There doesn't seem to be any tools specifically for it. What is a good way to white balance in shake? I can't seem to get good results.

I use Mult to match a layer to another by viewing the individual color channels in the viewer.
ColorCorrect is the uber color correction node.
ColorCorrect is similar to the 3Way Color Corrector in FCP but without the graphical interface. Grab an image, apply the nodes and see what happens.
But, as in Motion and After Effects, think of what part of the image you want to adjust whether it's the white/black points or gamma range or whatever and then apply the node suitable for that adjustment.

?? 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

Color correcting auto white balance footage

I shot some video yesterday and at the time of the shoot, I made sure to set my white balance, however after looking at the footage I notice the color temperature slightly shifts constantly. I don't know why this happened, but it's too late to investigate, my project is due in less than a week.
The good news is that I've realized that that there's a white object in the bg of the shot the entire time that is pure white so i could color correct by setting that as the white point in FCP. The only problem is that since it shifts every 3 seconds or so i would have to keyframe a LOT. Is there any plug-in or application that will let me track that white object in the background so it can set a custom white points for every frame?
Running Final Cut Pro 6.0.2
PS: I found Avid has auto color correction -- basically what I'm looking for I guess. Unfortunately I don't have Avid.

there's no auto color correction feature directly in FCP
there are 3rd party plugs to allow you to track objects but i'm not aware of any way to link that to a color correction

Color correcting wrong white balance

I apologize if this question is simplistic in nature but I am still an amateur editor trying to fix some of the videos I have done.
As a scuba diver, I am constantly white balancing underwater. However, occassionaly, I while white balance where my subject has the correct color but the background is more redish instead of the nice deep blue sea. What is the easiest way to color correct the background of a video shot without affecting the frontground subject?
I imagine levels is a great tool but when I attempted to play around with the numerous settings, I kept on affecting the subject as well as the background. What is the easiest way to correct the background? Thanks.

Here is a good tutorial on what Colin is describing
3-way Color Corrector for secondary color effects

Windows Event Collector - Built-in options for load balancing and high availability ?

Hello,
I have a working collector. config is source initiated, and pushed by GPO.
I would like to deploy a second collector for high availability and load balancing. What are the available options ? I have not found any guidance on TechNet articles.
As a low cost option, is it fine to simply start using DNS round-robin with a common alias for both servers pushed as a collector name through GPO ?
In my GPO Policy, if I individually declare both servers, events are forwarded twice, once for each server. Indeed it does cover high availability, but not really optimized.
Thanks for your help.

Hi,
>>As a low cost option, is it fine to simply start using DNS round-robin with a common alias for both servers pushed as a collector name through GPO ?
Based on the description, we can utilize DNS round robin to distribute workloads and increase fault tolerance. By default, DNS uses round robin to rotate the order of RR data returned in query answers where multiple RRs of the same type exist for a queried
DNS domain name. This feature provides a simple method for load balancing client use of Web servers and other frequently queried multihomed computers. Besides, by default, DNS will perform round-robin rotation for all RR types.
Regarding DNS round robin, the following article can be referred to for more information.
Configuring round robin
http://technet.microsoft.com/en-us/library/cc787484(v=ws.10).aspx
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Best regards,
Frank Shen

Using white point for White Balance (instead of gray point)

Dear All,
I am looking to buy Aperture 2.0, but one point annoys me a bit : it seems that we can only use gray point to make a White Balance. I use to use only white points in Photoshop, as my photos of products rarely include gray colors. I take the photos on white background only, and when doing WB with a white point, my product gets nice colors, and more important, appears to "float" on a totally white background.
Also, I do not want to bother with a gray card, as by experience it didn't prove to be as effective.
My question is : is there any means or plug-in to use white point to make a white balance ?
Thanks a lot !
Arn'

Arn,
Hate to break it to you but.... It doesn't matter if you use white or grey as long as the actual color is neutral (no tendency towards blue etc.) what does matter regarding white is to make sure that there is enough color information in all the color channels to make an accurate assessment of the color of the light in the scene.
As there are a million ways to do something in PS I don;t know exactly what you are doing but it sure sounds like you are actually doing a couple of things to the image in one step. In Aperture if I assume you are using the white balance control brick to manipulate white balance that is the only thing that is being changed - nothing else (like the contrast).
RB

Correcting for white balance in high-ISO images

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