Magenta Tint on Workspace

When I click on any photo in bridge or Lightroom. It turns a horrible Magenta colour. These aren't NEF files, but CR2 or jpeg. Even the gray surround in Camera Raw is Magenta. I've tried reverting to ACR 4.2 but to no avail. Only happened after I did a Lightroom backup today.
Anyone any ideas? TIA.

Mac Apps: Photoshop CS3 and Bridge 2.1.1.9
PC Apps: Photoshop CS2 and Bridge CS3
Equipment:
2 Gateway E Series Desktop PC running Photoshop CS2 and Bridge CS3
MacBook Intel 2.16 / 2 GB RAM / OS 10.4.11
Mac G4 Quicksilver 2GB Ram OS 10.4.11
I have the same problem as Mick but with a slight twist. Use the same image on all machines - a Nikon D1 Camera Raw/NEF (that's what I use to import the images to Photoshop).
I have a MacBook and G4 and use 2 Gateway desktops. Using Photoshop CS2 on the PCs - no problem. Photoshop CS3 10.0.1 or Bridge CS3 on my MacBook and G4 gives the same ugly magenta problem. CS2 and Bridge previews and opens the RAW files perfectly on the PCs (I haven't told anyone else yet ;^) ).
I just got and installed CS3 on the MacBook and G4 and get the ugly magenta images. Purge cache as noted before, images look OK. Click on images, they turn magenta. I couldn't see anything in the setup of CS3 that looked like it would eliminate this problem. All Camera RAW 4.3 settings were installer defaults. There doesn't seem to be anything really obvious to me that would eliminate the problem.
Am I overlooking something obvious here? Thanks for any suggestions.

Similar Messages

Broken wb and magenta tint shift on all my 30D images

Hi everybody...I know that there is another post regarding images going green...I read it all and tried to follow some of the listed suggestions but no success at all...I'm really in the middle of nowhere, don't know what to do to escape from this nightmare!.
All my Canon 30D images in Aperture 3 shows completely broken wb and magenta tint!...
I did not experience any of the problems during upgrading and import my previous library from Aperture 2...It was months ago...I decide to reprocess all my images because my intention was to start working and adjusting my photo after a period when I just "accumulated" them in projects and nothing else.
it wasn't like this a month ago, honestly I can't remember at which point all this happened...one month ago I did some jpeg export from a project and the images were ok, I mean the masters and the exported jpeg. I returned to Aperture to start performing some adjustments on few images here and there in different projects...and, horrible surprise, just reviewing some images recently imported I noticed the difference between the photo in the filmstrip and the one in the viewer...
I just run randomly on different projects and....disaster....the same broken wb and magenta tint..all of my 30D images, 350D shows correctly.
It shows "loading" for a second and then the image is turning with a heavy magenta cast on it...if I am in split view the image in the filmstrip shows correct wb while the one in the viewer is affected by the magenta tint.
If I press once M to show the master image I see this: for a second the image shows the correct wb then appears the magenta tint. I press M to quit the master view and the image is the same with magenta...and then again press M and there is no longer the brief "flash" showing the image with the right wb and no magenta tint.
I tried some of the solutions listed in other threads i.e. moving/deleting the Raw Decode plist file....repair and rebuild....nothing seems to work...I can't explain how I feel...I spent a lot of time to organize folders, projects albums, and now that finally I decided to start working on my photos I found them all broken.
This is happening on my iMac 20" alu with snow leopard 10.6.3 and the latest Aperture update 3.0.3...but also on my macbookpro 13" with the same os version and Aperture 3.0.2.
I don't know what to do...I love Aperture, i run it for long time on my Powerbook G4 (Aperture 2.1.4) and honestly I don't even want to think about switching to another software.
Anyone's help or suggestion are welcome. I want to fix this, I have to!.
Bye,
Alberto

Hello KBeat,
first of all a huge and sincere "Thank you!" for your considerations and suggestions!.
Like I said in my previous post I found that some images shot with 30D now looks better...my first "samples" on the 30D images (I have around 3,500) shows that images not ever adjusted looks better, some images with adjustments done in Aperture 2 still looks good, others aren't...
BUT...some of the bad looking images that shows the magenta shift (light or heavy to purple) also have the white balance adjustment brick selected...I just deselect it and, bam!, the images turn back to the right white balance settings....well, maybe it's still not correct but at least was the "original" one, I mean that is the image wb setting since first import two years ago.
For this group of images, small at the moment, the additional "work" requested is to deselect the white balance adjustment brick to obtain the "old" image, ready to be processed with the new raw decoder, leading to a better result.....I really hope to find more and more of those images between those affected because it involves to deselect the brick and that's done.
Since now I have to say that the most affected are portraits/models images where skin tones now are rendered in a way that looks ipersaturated and completely unrealistic, thanks to the magenta shift.
Well, I can't say I'm happy with this, at least not "for free"! I mean I'll probably be happy right after some works on the images...my library at the moment is "compromised".
It needs work, and a lot of it, and this is not good, well the immediate reaction facing this new "challenge" it's far from being something "good". I'm happy to have a small library and so the extra work forced by the "corrected" 30D files handling looks, well, limited...I want to be positive, after a very very...VERY discouraging start!
Now, to the white bal card suggestion you gave...
Correct me if I'm wrong or did not understand what you wrote...you think that if now I shot a white bal card with 30D, import it in Aperture and use it for the magenta shifted images the big work is done? This, lift&stamp to the rescue, could be a huge timesaver!
Am I dreaming? Am I now into a too positive mood with this problem? Eh, eh...hope not!
I have an image shot to a white bal card but it was taken with the 350D because of it's inability to set a temperature in-camera, in a recent shooting involving studio flash and lights I set 3200K on the 30D with the proper menu setting and shot the white bal card with the 350D to have the most consistent result....but with 350D results were good even if I set a white balance choosed from the various in-camera options (cloudy, tungsten....).
Unfortunately I'll be abroad for work all next week, it will be impossible for me to work with my photos and playing with Aperture, today shops are closed so no white balance card...and I have lot of things to do at home, argh!.
Well, thank again for the kind suggestions and support, I really really thank you all!.
Of course I'll post immediately if I found something else on this matter, and to report progresses or else!.
Bye!
Alberto

All my prints using: Lightroom 5, printer color management turned off, and non-generic ICC profile (e.g. Epson Premium Glossy) have magenta tint or cast

I'm using PC with: Windows 8.1, 64bit, Lightroom 5.4, Epson R3000, 6.75 (latest) driver, color management turned off in printer settings, Lightroom configured to manage color. If I use a generic ICC profile such as Epson sRGB, the prints look OK. But when I use any ICC profile dedicated to my paper and printer combination, such as Epson Premium Glossy, or one created using ColorMunki print profile, the prints all have a medium to heavy magenta tint or cast. The effect can be seen before I even print in the Epson Print Preview. Yet when I soft proof, I don't see this effect. I suspect the problem lies somewhere in the CMM process, but I can't pin it down. Any tips or suggestions are appreciated.

Thank you kindly for your insightful response. As it turns out, the answer is half correct. I've found others who'll say the same thing, that double color management will lead to a very magenta result. I believe this was certainly the case when I first started playing with the settings, Where I went wrong, is that after I corrected my settings by turning off printer manages color and letting Lightroom do the color management, is that the Epson Print Preview was still showing magenta with certain profiles. Not wanting to waste more money on paper and ink, I used the preview to gauge whether I was going to get a normal print or not. Then one day I ignored the print preview's magenta cast as a 'warning' and I went ahead printed the photo anyways. Because I used a profile that I created with ColorMunki Photo, the picture came out perfect (i.e. a very good match to what I was seeing in Lightoom on my monitor). The lesson learned is that for judging the final color correctness, the Epson Print Preview can be way off target and your best bet is to ignore it.

C309a printing black and white has magenta cast

I have had a C309a for a couple of weeks now. I have no problems with color printing, but when printing pure grayscale, the prints hae a distinct purple/magenta tint - even when selecting 'print grayscale' from teh 'color' tab of the print setup dialog. The image in question have been totally desaturated in either Lightroom or Photoshop. I have tried HP Premium Plas semi gloss, Premium gloss, and Advanaced gloss papers, all with the same results.
The only way I can get anything near neutral is to print b&w in color and add a slight green cast.
Anyone had this problem

Hi fossil1, are the color ink levels ok? Ciara
Although I am an HP employee, I am speaking for myself and not for HP.
Twitter: @Ciara_B_HP

Imac magenta screen & vertical lines / low rez screen

iMac 21.5, just 3 months old. running 10.6.3 we now see patchy magenta tinted screen and a low resolution version of the desktop. computer seems to function as normal, screenshots of course dont show the issue. screen seems to be 'half rez' vertically showing the 'scan lines' easily
any thoughts
j

Hi everyone!
My Imac (Intel CoreDuo, early 2006, 24") present same problems - vertical color lines, kernel panic and finally DEATH-. Just after reading this
http://discussions.info.apple.com/thread.jspa?threadID=1580232&start=435&tstart= 0
I call Apple and a very nice guy tell me, Apple extend warranty for vertical lines problem, but only in 17" machines! I can´t believe it!
I´m pretty desperate. Someone with 24" Imac could solve the problem calling Apple?
I live in Spain, the serial number of my Imac is W8642**GN
Thank you!

Continuing printing problems with LR 1.3.1 (magenta)

Downloaded/installed the .1 version of 1.3 hoping that it would "fix" the magenta tinge associated with printing thru LR print. It did not. Still the same magenta tint. Although most of the discussion in previous threads had to do with MACs, I'm running a vista PC. This is a new PC ... previously had an XP PC running version 1.2 ... no issues. Do the issues identified for MACs also apply to PC users? Also not printing to an Epson printer, but to an HP B9180. Thanks.

Sorry I'm a bit late to this thread. Erik and Samora, I am glad that you solved the Lightroom / HP B9180 printing problem. Please keep this forum posted about HP followups or any future printing problems you may have.
Not to jinx you, but I have been down that road before. I started out with Lightroom printing with the magenta tint, mentioned by many others. I didn't understand what was happening since I had a managed workflow on my XP machine, and PS CS3 made excellent prints on the B9180. I spent much time on this forum looking for answers. Finally I thought I found the answer and changed the default printer to the B9180. (See http://www.adobeforums.com/webx/.3bca1a12/8 for the full info.) Unfortunately, the good news didn't last. Within a couple of months Lightoom returned to its former bad behavior.
I think there is an insidious problem here with Lightroom, much more than people simply not selecting the correct profile or not understanding color management. What works for some people does not work for others. What worked at one time for me (see the above reference) now longer works. It seems that most people do not have a problem but others have great problems that apparently defy logic. The Lightroom bug bites Epsons, HPs, and Canons, as well as both Windows and Mac machines. After hours of analysis and testing, the best I can come up with is: "it just doesn't make sense." (I say this with tongue-in-cheek since I'm a highly-analytical person.)
After a couple hours of test printing, all unsuccessfully, I tried to reduce possible conflicting issues by deleting from the B9180 color management properties all profiles, except the HP PSPro B9100-Advanced Photo Glossy; this is so Lightroom could not inadvertently select another profile. I made sure that the B9180 printing preferences was set to Application Managed Color. Then I made sure that the profile selected in the Lightroom Printing module was HP PSPro B9100-Advanced Photo Glossy. Still the magenta tint. I also get the tint using a custom profile from InkJetArt for one of their papers. I do not get the magenta tint when I send Lightroom output to my old Epson 1280, which I also have connected to the computer (parallel cable instead of USB). It just doesn't make sense.

Magenta color cast problem on canon 7d raw files

when i import canon raw files (cr2) into lightroom 3, i get a magenta color cast over the whole image. the thumbnail image looks fine, but when lightroom opens up the image, it get's a magenta color cast over the whole thing. i shot raw+jpeg mode too, and there's a huge differnce in color between the two. the jpeg looks like how i shot it in camera but the raw image has the ugly magenta color. not only do i get this ugly color, but it seems like there's added noise compared to jpeg image.
i tried converting the cr2 into a dng. but when i open that in lightroom, i get the same problem.
i use aperture 2.1 (i only use the lr3 trial so far), but i have the same problem there.
i use cs3 but i downloaded cs5 trial.
acr i have is 6.1
help.
thanks.

Go to develop and the callibration tab and change it in the pull down menu to a canon default like 'Neutral' and not the adobe one which is made by somebody totally colour blind or obviously a Nikon fan.
Although this is weird as the problem for me has always been canon JPG's with the cast and not the RAW.
Also check your white balance cause Lightroom seems to change it whatever.. 'AS SHOT' is a big fat Adobe lie so use a preset from your camera in the drop down box.. Why? I shoot with Canon's flash WB setting which i know to be 5500k with the tint at zero. On import, Lightroom changes it to 6150 and adds an amazing +7 on the magenta tint, if i chose 'FLASH' things suddenly turn to what i see on the camera LCD.. I'm sure that is where the big fat tint has come from since day one.

Tint v. Tint: why linear in WB and polar in Enhance?

I'm actually interested in the more general version of the question than the topic title indicates.
Why is the White Balance controlled by two sliders (Cyan<-->Yellow, and Green<-->Magenta), whereas the Tint controls (in the Enhance Brick) are controlled by single planer hue/saturation pickers (a/k/a color wheels)?
Why is Cyan<-->Yellow "Temp"?
Why is Green<-->Magenta "Tint"?
Bonus for reading: Did you know that you can make the eye-dropper for WB (and for Enhance→Tint) dynamic? Use "{Shift}+drag".

Follow up and just guesswork - the manual does not disclose much about the algorithm.
Why two sliders in the white balance controls? The color temperature can only describe those light sources exactly, that can be modeled as black bodies, emitting light according to Planck's law. Our sun and most of the stars come close to this model. But for most real world lighting conditions there will be discrepancies, and the second slider to fine tune the tint will help to compensate the remaining tint of areas that should be white.
Why is Cyan<-->Yellow "Temp"?
Guesswork: The color temperature corresponds to a pure spectral color defining the hue of a lightsource. The above slider shifts this color along the rainbow colors from Cyan to Yellow (I would have expected Red, but perhaps you are not supposed to take pictures in red-light districts ).
Why is Green<-->Magenta "Tint"?
In the color wheel are Green<-->Magenta and Cyan<-->Yellow (nearly, should be Red) complementary colors, and the line Cyan<-->Yellow line is nearly perpendicular to the line Green<-->Magenta, so with those two linear controls you can span the full color wheel and define the same color adjustments as with the color wheel in the "Enhance" tint controls.
What do you think? Hope this time I managed to at least address some of your questions ...
Merry Christmas
Léonie
OT: Lion - Just in case you did not read about this - when you install Lion, the installer disk image will be deleted from your machine as soon as the installation is complete. So it is very important to copy the installer to a safe place before you start the installation. Otherwise you cannot create a bootable disk image, and you may need it later , see https://discussions.apple.com/message/16899879#16899879
My chrismas greeting: A beautiful christmas star, Albireo in the Cygnus constellation, a twin (triple) star with striking colors corresponding to the color temperatures 13200K and 4080K. Get out your astrolabe and the binoculars and look at Cygnus Beta (the head of the swan, the northern cross, half way between Vega and Atair).

Premiere Elements 12 Effects-Panel not working

Hi there!
I've recently updated to Elements 12 (from 10) and I am more or less happy, but since today, I can't use the effects-panel anymore. When I click any effect, the options won't pop up (see attached screenshot).
Does anyone know what to do?
I'm running the latest version of OS X and Premiere Elements.
All the best!

kekskerl
It seems that you have made some progress. Please compare the first screenshot, apparently before uninstall/restall. Note that all you get for Color is Hue. Whereas, in the second screenshot, apparently after uninstall/reinstall, you now have Color with Hue, Lightness, Saturation, and Vibrance.
And, your screenshot of fx Effects/Generate/Lens Flare shows just one effect which what is to be expected. There is only one choice there. Are you saying that you cannot apply that effect to your clip?
Baseline questions.
Premiere Elements 12. Have you switched from 12 to the 12.1 Update via the program's Help Menu/Updates? If not, please do so.
Are you working in the Expert workspace or Quick workspace of the program? The answer to that might cut down on the expectations.
The Quick workspace has less choices under Adjust than the Expert. Compare
Quick workspace
Smart Fix
Auto Smart Tone
Color
Lighting
Temperature and Tint
Expert workspace
Smart Fix
Auto Smart Tone
Color
Color (RGB)
Gamma Correction
Lighting
Temperature and Tint
Volume
Balance
Treble
Bass
Audio
Gain
It is well known the Premiere Elements Mac does not have all the effects of Premiere Elements Windows, but I do not think this is a Mac Windows matter. But, SG is a Mac user and can confirm that possible aspect of the matter.
This is what I am suggesting
After updating from 12 to 12.1
1. Delete the Premiere Elements 12 Mac Settings File.
http://helpx.adobe.com/photoshop-elements/kb/preference-file-locations-photoshop-elements. html
or
http://helpx.adobe.com/premiere-elements/kb/troubleshoot-damaged-projects-premiere-element s.html (Section numbered 3).
SG can give us some guidance on this if you have problems doing this.
2. If that does work, then I would suggest deactivation (Sign Out) of the program, followed by uninstall, ccleaner run through (regular cleaner and registry cleaner), reinstall.
https://www.piriform.com/mac/ccleaner
By the way, do you have QuickTime installed on your computer; running program Run As Adminstrator and from User Account with Administrative Privileges? Is your video card/graphics card up to date according to the web site of the manufacturer of the card?
How long did you work with Premiere Elements 12 before you saw this problem...the very start, never worked or it worked for a while but then did not work?
We will be watching for further details.
Thank you.
ATR

Question for pros: should I keep this 23" ACD?

I have a new "23 six days to evaluate whether to keep or exchange it for a different one. I'm a pro photographer and this is my first large LCD other than the 17" on my MBP. I could use a little advice on whether to keep this or not for the following reasons:
Overall in normal conditions the illumination is even and there is little or no pink (magenta) tint. It calibrates well with my Eye-One puck. There is a little ghosting of white windows (like browsers) after they've been up several minutes but it's faint and they fade and that doesn't bother me too much, though I do notice it occasionally. The main issue is the backlight leakage in deep blacks when the room lights are down. It is in the lower part of the monitor, mostly concentrated in the corners. I do notice it in the uncommon photos that have a lot of black in them, mostly ones shot at night.
Is this common behaviour for all these monitors? I don't expect perfection but would like to know if this one should be returned for another, whether I can expect to find a perfect one. If it's typical for all LCDs I'm fine with this, but if it's not, perhaps I should be thinking exchange.
I've kind of decided to go Apple because Iezo (sp?) are kind of expensive and I've seen photographers on the galbraith forums complain about highly restricted angle of view on the Dells.
Many thanks in advance for any thoughts.
dave

You should expect perfection and as a photograph you need to be sure of your display! Send it back direct and make an complain, don´t do what I did, expect Apple to take special care of pro people.
If you don´t get it fixed, turn it back! It´s several pro products out there ( maybe not so good looking), even if LaCie is a sometimes stange company, thay always been taking care of defect products (even after warranty is out).
Don´t accept any ghosting at all, not for that price!
Thats my advice, since I have 4 of them and after one yera they start to show up tha bad quality ( you know, the exact limit of the warranty must be calculated in
knowledge of this.........)
G5 Quad Mac OS X (10.4.6)

Color shift writing to PDF

Am getting a slight color shift when exporting from InD to Acrobat PDF... slight shift towards a more magenta tint... see attached.
http://peterpica.com/comparison.pdf
All colors are process in source file and am writing to standard print-ready (4/c) PDF format.
Any ideas?

The PDF you included also previews correctly, so something is probably up with your Acrobat CM settings. The output numbers also match between ID and Acrobat.
What happens if you open Output Preview? Make sure the Simulation Profile is set to your ID profile (SWOP):

Printed colors not same as in Lightroom 3.2

Trying to print from Lightroom 3.2 and prints have a magenta tint to them. They look great in Lightroom on the monitor but the results are not the same. I'm pinting on a Canon IP6700D and using a profile to control the color. I'm running Lightroom on a Windows 7 64 bit machine. How do I get the colors to match?
Chuck

You didn't make it clear what profile you are using. Two profiles are necessary for colour management of printing - a monitor profile, and a printer/paper profile from the printer manufacturer or the paper supplier.
It is also necessary to ensure that all colour management in the printer driver is disabled.
Roger

Best way to implement a warm filter?

To add warmth to my pictures I have been simply cheating with the white balance. But this does not allow me to apply the same amount of warming to a batch of pictures shot under a variety of color temperatures. What method do people generally use to warm up pictures in LR? Any favorite settings that I can start with would be appreciated.

>direct sun of course gets "warmer" (lower color temperature - I hate that contradiction, by the way)
Higher color temp actually...if "daylight" is D55 (5500ºK) then you'll need to increase the color temp to replicate a warmer light and add Magenta tint.
Also remember that *** the sun goes down, if goes through more air and the output decreases relative to the skylight...so at sunset the sun is warmer yet the shadows are cooler and the intensity of the skylight is greater. Which is why in addition to WB adjustment I'll often add a warm sat boost to highlights and a cool sat boost to shadows in Split Tone. But that's for effect, not to replicate an LB filter.
And yes, WB temp is relative...it's relative to the starting temp of the light. The warmer the start, the less you would need to add. The cooler the start the more you would have to add. But there's really nothing one can do about that...there's no way to have the EXACT same effect of LB filters since film had a fixed white balance and a sensor merely records what's there. Even if you slapped on an 81A over a DSLR, you could still balance it out after the fact because unlike film which is fixed, the sensor is not.

Best Strategy to implement Functor pattern with Filter

Hi,
We have around 1 million Objects for e.g. Master each Master have 10 associated slaves (Collocated to Master), each slave needs some operations to be performed on it, each operation on slave modifies the state of Master, when all the slaves are operated/enriched, we need the master to raise and event and its state to be written to database and Master along with slave needs to be removed from cache.
There are 10 different operations each corresponding to a slave, we want these to be run in parallel using functor pattern, we need to filter the cache on Slave type and
run a functor for each slave type for all slaves, each execution should update slave and master. Kindly provide your feedback on the best approach for the same.
Regards
Jay
Edited by: 997509 on Apr 2, 2013 5:46 AM

>direct sun of course gets "warmer" (lower color temperature - I hate that contradiction, by the way)
Higher color temp actually...if "daylight" is D55 (5500ºK) then you'll need to increase the color temp to replicate a warmer light and add Magenta tint.
Also remember that *** the sun goes down, if goes through more air and the output decreases relative to the skylight...so at sunset the sun is warmer yet the shadows are cooler and the intensity of the skylight is greater. Which is why in addition to WB adjustment I'll often add a warm sat boost to highlights and a cool sat boost to shadows in Split Tone. But that's for effect, not to replicate an LB filter.
And yes, WB temp is relative...it's relative to the starting temp of the light. The warmer the start, the less you would need to add. The cooler the start the more you would have to add. But there's really nothing one can do about that...there's no way to have the EXACT same effect of LB filters since film had a fixed white balance and a sensor merely records what's there. Even if you slapped on an 81A over a DSLR, you could still balance it out after the fact because unlike film which is fixed, the sensor is not.

Colour issues LR3

I shoot ijn Camera RAW on a Canon 5D2 in LR3 and I'm having colour issues; skin tones are often purple/magenta tinted and very difficult to correct. I usually set the WB to Custom and shoot a grey card and set the picture style on the camera to Neutral (why does the WB affect RAW images anyway, I thought it only operated on the jpgs?)
On import, pics often look ok then resolve into higher contrast, garish colour versions which are less pleasing - have I set a preference incorrectly or am I missing something else?
All help gratefully received
Ian

maninahat wrote:
On import, pics often look ok then resolve into higher contrast, garish colour versions which are less pleasing - have I set a preference incorrectly or am I missing something else?
When you first import, you see the small embedded JPEG the camera generates. This matches what you see on the LCD but is based on having the camera do the conversions which you're not doing. LR therefore has to build it's own high quality previews but more importantly, that is based on it's current default settings using it's own engine. So just forget what you initially see, you'd not get that unless you set the camera for JPEG.
The key is setting up a custom default you prefer. You could pick a general DNG profile, move any of the sliders around etc and the, if you option click in Develop, the Reset button toggles to allow you to create a new default. From there you can of course adjust to taste. You'll still have to white balance and so forth but you should try to get a decent 'starting point' from Import on. For WB, might want to set the camera for Auto WB. Note this setting has no effect on your raw data! It's only a suggestion you can accept or alter. With Auto WB, you'll probably find more images come in looking closer to what you want then say forcing Daylight (which would look butt ugly IF those images were shot under Tungsten). Auto IS NOT PERECT by a long shot but since the setting doesn't affect the data, might as well try for something that gets you in the ball park.
Using any card to WB (and you should use a white, not gray card) again is often just another starting point. You seasson to taste using Tint/Temp. And of course, if you shot a scene at sunset and did this, you'd kill the color expected at that time of day. Bottom line is, when you capture raw, the WB can be anything you wish, anything you think looks good. That would not be the case with a JPEG. If you set it, you're then kind of stuck with that rendering.
Lastly, creating one or two custom DNG camera profiles can work wonders. Check out the X-rite Passport product. You'll end up with a really great target for balancing as well.

Magenta Tint on Workspace

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