Forced White balance during tethered capture

I have updated the Lightroom to the latest and greatest. I am not sure that this was a problem before, but heres the scoop. I have built a preset to be applied during tethered capture. I have unchecked the white balence check box in the preset settings. After I save it, I applied it to the tethered capture floating bar. The gofy things is that when I shoot, all the things I asked for happen, except the white ballence. It forces this yucky uber warm white balance. Just to make sure it was not shot that way, I then selected "as shot". It immediatly went to the color of the shoot and looks great. I have tried re saving it, I tried turning off other color options (thinking that somehow they might be related in some odd way) but no go. I know that there are many little gotchas in LR and I do pretty well with rooting them out, but I am at a loss on this one. Thanks.

It forces this yucky uber warm white balance. Just to make sure it was not shot that way, I then selected "as shot". It immediatly went to the color of the shoot and looks great.
When you select 'As Shot' do the Temp and Tint settings change? How about other settings, do any of them change? Just trying to determine what is actually causing the color change.
Did you try creating a new preset with the same settings, and see how it behaves when you uncheck White Balance? The original preset file may have been corrupted (i.e. damaged) and resaves are not fixing it. If this doesn't resolve the problem then it is likely a bug with tethered mode operation. Please let us know.

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Xperia s , poor white balance during picture capture wilth flash

Xperia s, after firmware upgrading to 6.2.B.1.96 poor white balance during low light picture capturing with flash, picture get yellow tone, which is very odd,
Firmware clear my previous issue of vol up button,thanks for Sony support ,
I love Sony products
Hope poor white balance will be resolve soon by Sony.

At your convenience, please reach out to our colleagues at Sony Mobile Community for further assistance with your question. You can reach them at this site: http://talk.sonymobile.com/

Setting and holding White balance during tethered shooting

I came to Apeture from Capture One Pro. I used Capture when working for a photo studio, when I started shooting for myself I went with the much more affordable Apeture. I have been very happy with the workflow, but Apeture seems to be missing one of most basic settings for tethered shooting, setting and maintaining custom gray balance. I realize that I can shoot a frame with a gray card and white balance that frame, but the following frames revert to the pre-whitebalanced color settings. In Capture One, I would balance my first frame to a gray card, even add a manual tweek, and all subsequent frames would follow the new color settings. Perhaps there is a setting I have missed, some sort of automatic inheriting of the last frames adjustments. I realize that it is easy enough to adjust my color settings after the fact, but my color is off during shooting, and clients are not always able to envision the finished product. I really hope I'm missing something, because it's the most important feature to me for shooting tethered, right after the ability to shoot tethered.

It forces this yucky uber warm white balance. Just to make sure it was not shot that way, I then selected "as shot". It immediatly went to the color of the shoot and looks great.
When you select 'As Shot' do the Temp and Tint settings change? How about other settings, do any of them change? Just trying to determine what is actually causing the color change.
Did you try creating a new preset with the same settings, and see how it behaves when you uncheck White Balance? The original preset file may have been corrupted (i.e. damaged) and resaves are not fixing it. If this doesn't resolve the problem then it is likely a bug with tethered mode operation. Please let us know.

Bridge CS5 applies wrong white balance during thumbnail extraction (raw files only)

Hello to all Adobe Wizards,
Hobbiest photographer here. I use a Canon T2i and I have been shooting raw with auto white balance.
After I upload the CR2 files to Bridge, Bridge begins thumbnail extraction. This is when the problem begins: I watch Bridge extracting thumbnail photo after photo, turning them into wrong white balance one by one. After Bridge is done, I open one of these photos in Camera Raw, it shows the photo in "custom white balance". I was able to change it back to "As Shot". But every photo in Bridge now has custom white balance and is difficult to view in Bridge. This screenshot shows what my Bridge looks like after thumbnail extraction....
Yesterday, just out of curiosity, I took some photos with different white balance settings on the camera. I uploaded them to Bridge and Bridge over-wrote all the white balance settings. I then imported the same photos (from the same files) to iPhoto, they show up with correct write balance. Please see the second screenshot.
The third screenshot shows a unedited photo I opened from Bridge to Camera Raw, and the same photo as it appears in iPhoto, both unedited.
Again, this only happens to CR2 files. All tif, jpeg files are fine.
Any ideas?
Thanks!
-Wolfie

Any ideas?
First of all, shooting Raw has the benefit of changing the color temperature (Whit Balance) to what ever you like from whatever you shot in camera.
To me it seems you once have saved a custom white balance as default setting and this is been applied to every new file because you told Bridge to do so. The easiest way to get out of this is open a raw file in ACR and in the basic tab at the right side you see a small icon for sub menu (next to the word basic). Click on it and from the row choose 'Reset Camera Raw defaults' at the bottom.
Also decide whether you want to stay in 16 bit mode (as you are now as shown in the blue line under the preview). If you want to chance it back to 8 bit just click on that blue line and choose your options from that menu. You only have to do this once for the files from that same camera, ACR remembers the settings for you.
Using 16 bit mode has advantages when using critical color corrections (but then you also should change the color mode to ProPhoto in my opinion). The disadvantage is that 16 bit doubles the file size compared to 8 bit
Having set the ACR defaults should effect your thumbs immediately by building new thumbs and previews but if not you must choose purge cache for folder from the menu tools / cache/ purge cache for folder. Now the new settings will be applied.
It may take some time so let Bridge do its work properly before starting other jobs in Bridge (see the activity bar bottom left to check if Bridge is still caching).

5800 Video capture - disable white balance

Hi
Anyone know a way to turn white balance off when capturing video - it is really annoying as the video keep readjusting to every change really obviously!
Cheers

That's ALC (automatic level control).
White balance is what adjusts the overall tint (not brightness) of the picture according to the type of ambient light. For example, neon light gives everything a green tint, so the "camera" compensates for this.
Was this post helpful? If so, please click on the white "Kudos!" star below. Thank you!

Nikon D700 White balance importing issues

Hi Guys,
I am using a nikon d700 with Lightroom 3.2 If I shoot tethered, the correct white balance appears and gets loaded in Lightroom, but if I import them after the shoot, from the card, it loads a completely different white balance value and I have to go back and correct them one by one. I am not using any profile, just leave it on the standard Adobe version because the Nikon profiles are significantly reducing the quality on raw file. Does someone have an idea what I am doing wrong to be able to load the correct white balance during importing?
Thanks

Are you shooting RAW? If so there is no WB embedded in a RAW file, you set the WB in LR. Setting "As Shot" and a calibration profile that matches the camera setting (if one exists) will usually closest to the wb embedded in a jpg produced by the camera processing.
You may want to check out the FAQ, this one is pertinent.

Can I keyframe white balance?

I have a piece of footage that shifts white balance during the shot and i need to be able to keyframe the change as it happens, but the color panel does not allow me to do this? i know i can do it with hue/saturation filter but it's just not accurate enough. does anyone have any suggestions?
thanks...

I know, i was hoping the color correction would move more towards photoshop, not coral draw! no levels keyframe or even brightness contrast.. just hue/saturation and a bunch a useless funky dunky filters! I had a sweet spot a few hours ago where i thought i might be able to get things done on this and as soon as i got serious the app just cracked and fell about my feet on the floor. really don't want to go back to 7 but i think i'm going to have to. they've basically designed it for third party products to make money selling through the app store, and they're not out yet.

White Balance "As Shot"

Hello!
Not sure if this has been brought up before.
After importing about 20 shots of the same subject, I realised that the camera's white balance sensor only captured the WB correct in one of them. As I was shooting RAW, it shouldn't be a problem to change the other 19 files to match the one that's correct.
Using the "synchronising" function doesn't do the job as ALL photos had been imported with WB set to "As shot". LR thinks there is nothing to synchronise as the setting "As shot" is already the same on all files!
Is there a way to tell the program that it should synchronise the actual Kelvin temperature and NOT the "As shot" setting? A way 'round it seems to to manually change the WB of the correct shot and then manually change it back to the previous value and synchronise the other photos to it afterwards. This is not very straightforward though!
I would appreciate seeing this issue resolved in the next update.
Many Thanks
Frank

> Is there a way to tell the program that it should synchronise the actual Kelvin temperature and NOT the "As shot" setting?
Select "custom" on the master image before syncing.

Import only JPEG, not raw w/tethered capture?

I would REALLY like to just record raw files to the media in the camera and only send the jpeg versions to laptop for viewing only during tethered capture.
Is this possible?

Hi Joe,
Welcome to the Support Communities!
The following article will explain how Aperture works with tethered shooting, and which cameras are qualified to work with Aperture 3 or later:
Aperture 3: Tips on tethered shooting
http://support.apple.com/kb/HT4176
When capturing via tether, images are written to the computer only.
Some cameras require a memory card to be inserted to allow tethered shooting.
Cameras that use Mass Storage mode are not supported.
Cheers,
Judy

Tethered and White Balance question

I am using the latest Aperture and also the latest Aperture Hot Folder to shoot tethered using my Canon5d to my powerbook g4 1.67ghz. The issue is shooting images with the same white balance applied as I shoot. Is there an obvious way to do this that I am missing? Or does anyone have an idea how to do this using Applescript? My main app to shoot is CaptureOne and white balance is quite easy to do using this app. I am trying to integrate Aperture into my shooting workflow not just my post workflow. Any ideas would be appreciated.
- Rudy

i don't know what your canon is like, but the D200 also has the ability to 'read' a white balance setting (probably from the same sort of calibration card that you're talking about... i've never tried one, but often want one). this calibrates the in-camera white balance setting based on the light you're shooting with. this again would hopefully get you close to correct without software post production (this is a theme for me: shoot correctly and then spend less time correcting).
and you've still got the ability to tweak if its not perfect and then lift/stamp those tweaks everywhere else. i like the fact that CapOne had thought of that for tethered shooting, but i also don't like to stretch and pull my image data any further away from the raw data than necessary.
keep us posted on how you finalize the workflow
scott
PowerMac G5 2.5GHz Mac OS X (10.4.8) MacBook Pro 2.0GHz

Fixing white balance when it varies during video.

Hi there, I was shooting video for a while and I think the sensor on my Canon 5D Mark II overheated and it turned the white balance from my manual setting to green (gradually). Then it turned back. This happened a few times in the video. Is there a way to correct the overall white balance by setting a degrees kalvin that is followed throughout? Help is much appreciated thanks.

Broken monitor profile, affects only Lr and other color managed applications. Run your calibrator again, or if you don't have a calibrator use sRGB for now.
Go to Control Panel > Color Management > Devices:
EDIT: unless of course you have a preset applied on import.

Sunrise/Sunset and White Balance

I have a question about overriding Automatic White Balance when photographing sunrises and sunsets. A few days ago, I got my first DSLR, an EOS 5D Mk III. I know the ISO triangle after shooting film on my Canon A-1 that I bought 34 years ago, which still works). However, this white balance thing is a fourth dimension. Films are balanced for daylight and the ISO is also dictated. For photographing a sunrise or sunset, to me, it makes sense to set the white balance to 5200 Kelvin (daylight). I got one response from a camera club member who said his photos were all in the 5000 range. Others have said "Shoot in RAW and fix it in post processing". The second response of "Fix it later" just doesn't ring my bell. What about getting it right the first time? Should I set white balance to daylight or some other setting? I can always experiment with changing white balance; after all, I'm not wasting film. Below are a series of sunrises that I took using Kodak Portra 400, -2/3 stop, on my Canon A-1. http://www.flickr.com/photos/ralphhightower/sets/72157633079358301/ Thanks, Ralph
Solved!
Go to Solution.

It might be helpful to just think of the digital camera's white balance capabilities as a built-in and very complete set of color conversion and color correction filters, such as we used to use with film. Now, for your convenience, all those filters are right there, inside the camera.... much easier to carry around and use!
If shooting during Golden Hours, the camera's Automatic White Balance (AWB) can tend to overcorrect and remove some of the lovely golden nature of the light. One solution is as others have recommended, to shoot RAW and make your adjustments later. This is no different from making the adjustments in-camera, at the time of exposure, and can make for much greater control and precision. It's not really a "fix it later" thing... It is more a matter of doing fine-tuning and optimizing the image (more on this below). RAW simply retains all the data from the original capture and is a good thing to use, anyway.
All digital cameras essentially capture a TIFF image file with a lot of proprietary data attached and an embedded "preview/review" JPEG... that's what the RAW file is. If you make JPEGs in-camera, a lot of data is thrown away, following the directions laid out by the settings in the camera. If, instead, you save the entire RAW file, you can change those directions later in post-processing... or just make a JPEG from the image "as shot", using the exact same set of instructions as were set in the camera at the time of exposure. One of the beauties of RAW is that so long as you store the original image file, you can always go back and re-process it another way, if you wish. This is particularly helpful when new to digital and uncertain about your settings. Something you might want to do is shoot RAW+JPEG initially. That way you have both the full data stored, along with the potential to make changes if you wish, plus the JPEG produced according to your camera settings. The JPEG can serve as a post-processing learning tool, using it as a point of comparison with your own RAW file conversions.... and as feedback about your camera settings. (Don't trust the image display on the camera's LCD screen... it's not calibrated and is too subject to ambient light variations. The histogram display is generally more informative, but even that is subject to the camera's settings, since it's done from the embedded JPEG and not directly from the full RAW file.)
But, I agree, it's also good to "get it right the first time". Or at least come as close as possible.
The most ideal way to do that would be to set a Custom White Balance for every shot. Use a standardized target, bathed in the same light as your subject/scene, and take a shot of it... then tell the camera to use that as reference. However, it's just not practical to do that.
Nor is it a good idea to set one particular color temp and use it for everything (i know photogs who do that and have had to work with their images.... it makes for a lot of extra work!)
Thus there are all the "presets" you can choose among, looking for one that's most appropriate for your particular situation... And there is AWB, which allows the camera to try to choose for you. Outdoors in daylight I've found Canon AWB to be pretty darned good. Shots in the shade can be a little overly cool. And indoor shots with tungsten or other artifical light are when a Custom WB is most likely to be needed.... especially with weird, uncalibrated lighting such as sodium vapor and mercury vapor lamps.
To set an accurate Custom WB, get yourself a gray card or similar (I use Lastolite EZ Balance targets, which are sort of like a foldable/flexible gray card). This also can be helpful arriving at an accurately metered exposures. Something else I use in certain circumstances are Warm Cards... these have slight tints that "fool" the camera into slightly tinting the image.... a light blue/cyan target will cause the camera to render a slightly warm color balance. Warm Cards would be particularly helpful shooting during the Golden Hours, if wanting to retain some of the warmth of the light at those times of day. It's more accurate doing this than simply manually setting a particular color temp, although that's possible too.
And, yes, you should spend some time getting to know how your camera handles color. Each model can be a bit different. You'd do well to shoot a bunch of test shots with AWB, Custom WB and, if you wish, the various presets... to see how they perform.
Of course, you don't always have time to think about or make settings... sometimes to catch fleeting light you have to run to catch an image quickly, shoot RAW and "fix it later" in post-processing!
If you haven't already done so, you might want to calibrate your computer monitor. As concerned as you are about rendering accurate color or manipulating it the way you want it, in case you are unaware of it... your computer monitor is lying to you. All computer monitors are different, none are really very accurate and virtually all are way too bright. If you make prints using an uncalibrated monitor, you will usually find them coming out too dark. This is because an overly bright monitor causes you to adjust the image too dark. If you don't already have them, you might want to get computer calibration software and hardware and use them regularly (about once every month or two, usually... monitors change over time and with use).
The way the calibration device works is by first running a test on your particular monitor, and then providing a profile that the computer will use when rendering images on the display. Some of the more sophisticated calibration suites can also be used to develop printing profiles (unique for each ink/paper/printer combination), projectors and other viewing devices. (I use a Datacolor Spyder, one of several different calibration devices/softwares available).
Hope this helps!
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & PRINTROOM

Color shift during video capture (moved from Nseri...

I have noticed that the video camera in my n79 is very sensitive to changes in light. Often I get a major color shift during a video capture seemingly for no reason, especially when shooting outside. Is this a defect or should I use a particular setting for video? Current settings are:
quality: High(TV);
scene mode:Auto;
video light: off(shooting video outside during day);
white balance: Automatic (this MIGHT be the culprit?);
Color tone:Normal.
Two stills from the same video are attached; the second, a few seconds later, is unnaturally vivid (almost day-glo!).
Thanks for any suggestions.

Wow, what a quick reply!
Delivery was going to be Quicktime HD and probably downconvering to SD MPEG2 for a DVD. I was just going to edit in HDV, since I'm not doing anything fancy, just to try it out as a workflow option (and previews for the client). The first couple of projects I've started on my Macbook Pro though have had this hue shift (I can post an example on-line if need be by filming my monitor...) It's not inherent in the actual captured QT file, just when being played back in FCP. When I export out of FCP the QT file looks great as well. I've never had this problem on my G5 tower with HDV from the same camera or captured the same way. I'm worried that it's the univeral copy of FCP or even worse, my Macbook!
Make sense?
Thanks

White Balance Setting Problem

APPLE COMPUTER:
THREE BASIC QUESTIONS THAT NEED TO BE ANSWERED.
1. HOW DOES THE WHITE BALANCE TOOL WORK IN APERTURE?
2. HOW DO YOUR SOFTWARE ENGINEERS AND "PHOTOGRAPHIC CONSULTANTS" USE IT TO SET WHITE BALANCE?
3. WHAT ARE THE SIMILARITIES AND/OR DIFFERENCES IN ITS USE AS COMPARED TO SIMILAR TOOLS IN CAPTURE ONE PRO AND ADOBE PHOTOSHOP?

Test Results:
Aperture 1.1:
Image Temperature: 3594
Tint: -17
When using the white balance tool on a white section of a photo, the RGB values changed from R 255 G 234 B 192 to R 255 G 230 B 197 and the Temperature changed to 3946 and Tint to 12.
The photo still remained unacceptable.
When usint the white balance tool on a grey section of the same photo, the RGB values cahnge from R 211 G 178 B 126 to R 208 G 180 B 162 and the Temperatue changed to 3154 and Tint to 2.
The photo still remained unacceptable but was notably improved.
Using Capture One Pro, the results were as follows:
Temperatue: 3850
Tint: -10
When using the white balance tool on a white section of the same photo, the RGB values changed from R 255 G 241 B 200 to R 244 G 244 B 244 and the Temperature changed to 2500 and Tint to -16.
Photo was very acceptable with no perceivable colour cast.
When using the white balance tool on a grey section of the same photo, the RGB values changed from R 190 G 153 B 108 to R 153 G 153 B 153 and Temperature to 2550 and Tint to -2.
Photo was very acceptable with no perceivable colour cast.
From this quick test on a photo, I can draw the following conclusions:
1. Aperture interprets temperature and tint data differently from Capture One Pro, although this likely due to the use of a camera profile within Capture One Pro;
2. Using the white balance tool in Aperture on a "white" section does not neutralize the RGB values;
3. Using the white balance tool in Aperture on a "white" section does not correctly remove a colour cast within a photograph;
4. Using the white balance tool in Aperture on a "grey" section does not neutralize the RGB values; and
5. Using the white balance tool in Aperture on a "grey" section does not correctly remove a colour cast within a photograph, although it does work better.

White Balance tool and Camera Calibration Profiles

Downloaded Lightroom v4 Beta 1 for mac but the installer package failed to launch. (com.apple.installer.pagecontroller error -1.) So I've only watched the adobe tv presentations todate.
Anyway just wanted to give some feedback as a pro photographer about use of Lightroom and improvments I would like to see in the next version.
I am a commercial photographer who needs colour accuracy in photographing fashion/garment images - most of my work is reproduced on a printing press for catalogues and brochures. On average a shoot will yeild about 500 images for a client, so workflow is important as they normally want them all!
As a previous user of Capture One Pro v6 and now lightroom v3.6 - the biggest issue I have with Lightroom is the dominace of red tint when setting the white balance from a gray card reference image, shot at the same time as the images to be processed. I'm not adding anything to the images other than doing a white balance, a tweak on exposure and camera neutral setting on profiles.
To obtain a white balance setting I use the combination of an Xrite white balance card and the Q-Card and the old fasioned Kodak Gray cards all mounted on the same surface. I've used spot and ambient light readings on the gray cards to measure exposure and I've used the Adobe DNG Profiler and the Xrite colour checker profiler with the large colour checker card as a reference, (I've made profiles for sunny days, cloudy days, dual illuminant etc etc) and I'm viewing my images on a colour calibrated apple monitor.
Not withstanding all of the above the best results I get out of Lightroom are using the camera profile neutral setting! Everthing else is just too red!! even though the images do look more punchy; for accuracy of actual colour I choose the camera neutral profile.
Well when I say best results, those for colour critical garment photography and skin tones, these results are similar to those obtained from capture one pro v6.
So for the Lightroom v4 I would like to see.
1. White balance RGB values in numbers rather than percentages.
2. Add and delete a colour readouts points with a dropper tool on an image to enable more acurate colour balancing particularly in shadow areas - (already available on capture one pro and adobe photoshop)
3. Curves adjustments in all RGB channels (think you've done this)
4. Output to CMYK profiles.
5. Individual levels channel adjustment for RGB
6. Ability re-organize my tools palette (add and remove) is per Capture One and Photoshop
Regards

The legacy ACR X.x profiles are no more produced nor included for newer cameras (AFAIK, since ACR 5.1/LR 2.1). The Adobe Standard is the new default starting point for these.
While I am at it....are the Canon camera profiles I downloaded for the 1Ds MKII the same as for the 5D MKII or do I have to download different one...I suspect they are the same or Lightroom wouldn't offer them to me...is that correct?
The profiles are different for each camera model, even if they share the same name in the Calibration panel. If you can see them when developing 5DII files, it means the camera-specific profiles are installed for your particular camera model (otherwise, you wouldn't see them).

Forced White balance during tethered capture

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