How do I automate White Balance in CS4?

Ok, I use the Dave Cross method in CS4 to find my color balance... I use a 50% grey layer, blend set to "difference" then use the threshold and levels layers etc... I want to automate this color balance setting to fit a large batch because it takes forever to do it one at a time. the problem is my color picker just picks the same spot on each image and the gray is not stationary. Can this be done easier?

I can tell you how to display it; I haven't set out to find out what the numbers mean, although that would be pretty easy to do.
Select the Metadata Tab. At the pop-up in the top left select "List-Expanded." Then select from the Gear pop-up in the upper right "Edit List-Expanded." A whole set of options will appear, including White Balance. Check the box and it will be added to the List-Expanded.

Similar Messages

How do I get white balance settings for my Olympus cameras in Aperture?

I have an E-500 and E-510. I was able to figure out from previous posts how to get the white balance listing in the metadata. The information it provides is a 0 or a 1. My sense is that the 0 could represent the auto white balance setting and the 1 any other setting. I have 7 possible settings for white balance on my camera. Is it possible to get specific white balance settings listed in the metadata for my cameras. Thank you for any help.

I can tell you how to display it; I haven't set out to find out what the numbers mean, although that would be pretty easy to do.
Select the Metadata Tab. At the pop-up in the top left select "List-Expanded." Then select from the Gear pop-up in the upper right "Edit List-Expanded." A whole set of options will appear, including White Balance. Check the box and it will be added to the List-Expanded.

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

How to change the white balance in Final Cut Pro?

What is the best way to change the white balance in Final Cut Pro? I have some clips which are to green. I would like if possible something which might resemble the Camera Raw dialogue in Photoshop. Any way of measuring color (RGB values)?

There is some specific help in this trainng book:
http://www.amazon.com/Apple-Pro-Training-Correction-Studio/dp/0321635280/
When using Color Corrector 3-Way to correct for a green tint, the bullet points are something like this:
1) After loading the clip into the Viewer and applying the CC3W filter to the clip, open your scopes and move the window so you can see the Viewer (with the CC3W tab open) and the scopes
2) First, if necessary, adjust the white and black levels using the video level sliders below the white and black color wheels (I use the slider above the scopes to make the trace in th4 scopes as bright as it will go without blooming)
3) Looking at the Parade scope, the idea is to balance the whites, mids, and blacks on each color display (red, green and blue). So you watch the Parade and drag the dot that is in the center of each color wheel (starting with the whites) away from the color of your tint (in your case, green). Drag the dot until the highest portions in all three Parade displays are as even as you can make them
4) Then do the same with the mids, using the Mids color wheel, moving its dot away from green
5) Do the same thing with the blacks
6) Double check the image on an external video display that is properly adjusted using color bars from Final Cut
NOTE: This short reply is not sufficient to fully explain this technique, and you really need to understand Color Theory before doing this anyway. That's why I recommended the training book.

Can i adjust the automatic white balancing on an hp pavillion g series webcam?

The question is as simple as the title.
If it can be done, could someone instruct me as how I would go about doing so?

Hi
Please find the link given below might help you to resolve your issue.
Adjusting the Webcam Settings to Improve the Video Quality
Let us know how it goes!
"I work for HP."
****Click the (purple thumbs up icon in the lower right corner of a post) to say thanks****
****Please mark Accept As Solution if it solves your problem****
Regards
Manjunath

How to copy White Balance settings betweenJPG files

Hi all,
Due to a stupid mistake I ran half a day in Joshua Tree National Park with my camera set to only save JPGs instead of RAWs... grrrr.
I have relevant WhiBal shots from this period, but I cannot figure out how to set the white balance on the related shots since the temp scale in the Basic section of the develop module only seems to works with a relative -100 to +100 setting instead of the Kelvin scale normally used in the RAWs.
Any ideas on how to "copy" and/or set the white balance in a JPG based on the adjusted value from another JPG?
Any ideas greatly appreciated!
Claus.

Hi John,
Thanx for the suggestion!
I thought about this and experimented with it. However it seems that when working on JPGs this method just copies any "+nn" adjustment blindly to the target photos without any consideration to differences in the basic color ballance of the target photos.
I guess the problem may basically be that if the JPGs do not have any saved info inside the file on the assumed White Balance in Kelvin used by the in-camera JPG conversion there may be no way to make such a relative adjustment between two JPG files.
So does anybody know whether this info is available in a JPG file converted in cameray? In my case it's a Canon 20d.
Claus.

How to white balance

Is there a way to quickly white balance pictures in photoshop? I know with other products you can click on something that is white or gray in the photo and it will automatically white balance the photo.

Make sure your eye dropper options are 3 x 3 or bigger. Then go to layer... new adjustment layer... curves. You'll see a shadow, mid tone and highlight eye dropper for setting those points.
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Z1 White Balance Displa Setting

May I ask how to see the white balance setting into the display setting for Xperia Z1? Bec. I have Xperia Z also and the white balance setting is already seen but into my Z1 I can't see the white balance setting to adjust the screen display hope to answer back in able to fix my Xperia Z1 yellow hue tint problem using the "White Balance" in display setting. Thank you

No White Balance option in Z1. Can;t say what made them remove this.
Sony just removed the "optimized backlight option" from this new 14.1.G.2.257 firmware.
YELLOW HUE tint is still there. Display is even more DIM in this new update.
In Short Another update full of bugs have been rolled by Sony.
NFC icon doesn't appear after activating it.
Automatic switch off issue still there.
P.S. Don't ask to update our Z1 again by SUS or PCC, whenever use reports we get only this answer. Why don't Sony make a stable firmware. It has been more then a month and still Z1 has not got a stabel firmware.
Don't forget to give Kudos.

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

Adobe Bridge - White balance metadata

When I browse raw files from my Canon EOS Rebel XT/350D in Adobe Bridge I always look at the Metadata tab to check for the f-stop value, speed, white balance settings, etc. of the currently-selected raw image file.
I noticed that the pictures shot in Automatic White Balance appear on the upper-left portion of the Metadata tab as an icon indicating AWB. However, whenever I take pictures with manually-set white balances, such as shade, day light, tungsten, etc., the metadata tab no longer indicates the white balance I chose, instead, it either shows an icon of a camera or two dashes, as in --.
Is there any way I can set Adobe Bridge to show the appropriate White Balance icon for pictures I take with manually-set white balances?

Hi Curt,
Thanks for your reply. Yes, White Balance is checked in preferences/metadata. All of the Exposure metadata entries are also checked.
I forgot to mention that my version of Camera Raw is 4.5 (the latest).
You know, although White Balance is checked, I cannot find a White Balance text entry on any of the metadata lists (File properties, IPTC core, Camera Data (EXIF), etc.). The only place where I can see the White Balance setting in on the upper left corner of the Metadata tab, under the f-stop value.
Here is a personal question for you: When you browse your pictures in Adobe Bridge and you select one that was taken with a specific White Balance (not Auto), does your Adobe Bridge display an icon for that particular White Balance setting? I just want to eliminate the possibility that this happening only in my computer.
Thanks a lot for your time and attention.

Manual white balance

How do I manually white balance my three Sony HDR-HC1 hidef (consumer) video cameras in a dark theater? I produce DVDs of ballets for a local ballet company and I have trouble with color disparities between different camera angles when I am editing the three angles. The closest camera always has the best color and the furthest camera always looks yellow.
I have read about using manual white balance prior to the performance (I have always left the white balance setting on "Auto".) Is it as easy as holding a white object in front of the camera on stage then using the manual white balance? Any tips would be appreciated.
Thank you in advance.
Brock Fisher
San Diego

Is it as easy as holding a white object in front of the camera on stage then using the manual white balance? Any tips would be appreciated.
Yes. But you have a dilemma in that third camera. Incandescent light disperses over distance and you'll see the yellow cast you're seeing.
Best bet: get a big sheet or something else white and use THAT to white balance the cameras IN THEIR SHOOTING POSITIONS. Then that yellowish blob you're seeing from the back will be seen as white by the camera. Obviously you can't run out with a big bedsheet just before a performance, so do it during the setup phase. If your cameras will not hold that balance when shut down, keep them powered up.

Batch White Balance using a reference pixel?

Hi,
I have shot a time lapse image sequence that includes change from day to night & vice versa. The automatic white balance produces unsatisfying results.
Since it's always the same scene, what I would like to do is this: Select one pixel in one of the images and have Lightroom (3.3) use this pixel on each of the images as a reference for white balancing them.
Is this possible?
A solution for Camera Raw or Photoshop (CS5) would also be okay.
Thanks a lot!
Mike

Hi clvrmnky,
hi BDLImagery,
thanks for your replies.
function(){return A.apply(null,[this].concat($A(arguments)))}
The dropper will use an average from that selection to choose a neurtal, shifting all colours to match that new neutral. I suspect this is not what you want.
I do have some snow in foreground which imho makes a nice reference for white balancing since I don't want the snow to be blue, pink or whatever I've got at the moment. Same goes for the clouds. So my idea is to use each pic's snow at the same pixel position for white balancing.
function(){return A.apply(null,[this].concat($A(arguments)))}
Only way I can think of is to create an Action in Photoshop, tie this action with the Lightroom export function and check the "add to this catalog" in the Export window to import the modified photo back in the catalog.
Thought of something like that, too, but the problem is that applying a white balance after import (which this would be) would already work on corrupted data by the previous in-app (camera raw or lightroom) white balance. I tried it on a pic that comes out of the default white balance as completely blue, and you cant rescue that after import to photoshop since by then the original info is lost.
I think I'll now go something like this:
Select all ~5000 images in camera raw, perform white balance on the first one & propagate to the others, then browse forwards to the first one that does not work with these settings, select from that one to the end & do white-balace on those & repeat until done. And to avoid sharp cut-overs do some more or less smooth transitions on the surrounding images.
Kind regards
Mike

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

Iphoto not recognizing my preset manual white balance setting on my Nikon D3100

hi there.
i've been using iPhoto to edit my photos uploaded as RAW, from my Nikon D3100. While i've been very satisfied with the results, i've run across a small problem. i've used various white balance settings on my camera: incandescent, flourescent, auto white balance, and recently started using the manual white balance. when uploading pictures to iphoto, the photo has indicated what white balance setting i have used, except when i use my manual white balance feature, the information shows up as AWB (automatic white balance).
can somebody please explain to me why this is? any other setting i use shows up with the appropriate icon, according to what i choos on my camera. is this a glitch? what is the manual white balance setting icon supposed to look like in iPhoto?
Again, I shoot in RAW, and upload directly to iPhoto successfully, as RAW.

I think this article will help explain this
and this one from Adobe
— Raw files have not had while balance set. They are tagged with whatever the camera's setting was, (either that which was manually set or via auto-white-balance), but the actual data has not been changed. This allows one to set any colour temperature and white balance one wishes after the fact with no image degradation. It should be understood that once the file has been converted from the linear space and has had a gamma curve applied (such as in a JPG) white balance can no longer be properly done.
So the displaed WB is simply a tag and has no effect on the image - it is simply information about the camera settings
LN

White Balance - life and stamp - copy and paste????

It is criminal that I cannot figue out how to take the white balance from one image in a project and apply it to another image in a project. I am hunting the lift and stamp directions and all to no avail.
How do I do this? It is easy in C1 Pro or any other converter.

Short answer: click lift tool, click photo to transfer from, uncheck adjustments you don't want stamped, click photo to transfer to.
Longer answer:
1. Click the lift tool
2. Hover over a shot you want to copy anything from, and the cursor changes to an upward arrow. Click on the shot.
3. The cursor now changes to a down arrow when over any picture, indicating that Stamp is active. Uncheck any adjustments or other info you do NOT want to stamp, and click on the photo. Checked adjustments will be stamped.
Make sure you choose Add or Replace in the popup to add or replace the adjustments you're stamping (this setting is usually only relevant to metadata for me).
Mark

How do I automate White Balance in CS4?

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