Question on color balance for DV camera

Most of my shots look a little dull on the color, but acceptable. But when I took a shot of a campfire at night, I realized how off the color was. Campfire glow was lime green instead of orange/red. I have performed a manual white balance, but still no luck getting the proper colors from my DV camera. Also tried adjusting clip in FCP. I was hoping I could display a still shot for an example, but couldn't. Any camera adjustment suggestions? Or FCP tricks? Thanks.

I have a JVC JY-VS200U. It's about 4 years old, and was one of their low-end professional line cameras. It can send colorbars. I've looked in the manual for all possible adjustments. I white balanced manually, hoping that would help, and it didn't. I've imported the campfire clip, and changed the hue in FCP, but still can't get it right. I've never used the colorbars feature on the camera. Is there a way I can use it to make a preset on FCP so that every clip I import, I can apply it and get the right colors?

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Color balance for particles question.

I made a ring using particular and I want to change the color. It's multiple copies with fast blurs applied to them to give
the glow and it's all pre-composed. Now all I want is to change the color as a whole but curves doesn't seem to work on it.
Not even color balance. Is it something with the settings? And I've gotten feedback saying those aren't the best ways to
color correct, like using color balance, but who cares, why isn't it working? I watch tutorials and they use it just fine with their particular layers.
Please and Thank you.
Best,
Kenny

Hey, thanks again for the help, it means a lot. I wanted to tell you something related to this topic, and why my particles weren't coloring when I would use curves and such when I clearly saw it done in a tutorial. Turns out it was non of the complications you described (though I am using your suggestion thank to you), the problem was just a simple layer I didnt add. When they would use color balance, they would apply a "Black Solid Background layer" at the bottom, then an adjustment layer with color balance on it, then it would work. I didn't have a black ground at the bottom therefore color balance didnt work when I used it with the adjustment layer. What does the Black BG layer at the bottom do to allow adjustment layers with color balance or other color effects to work and color the particles? The picture here is the method I just described, Black Solid at the bottom, multiple adjustment layers with fast blur for the glow, and one for the color balance. However without the Black Solid at the bottom, the color correction doesn't work.

Possible Noob Question: Correcting Colors From Cheap Digital Camera

I'm somewhat embarrassed to ask this here, but ya gotta start some place.
I'm a web dev so forgive my ignorance. I work with photos a lot, but they've always come to me from people who know what they're doing. I don't really understand digital -photography- that well---which is quite different I realise than film.
Anyhoo, I'm trying to get better colors from a pocket digital camera (Canon Elf 310) which (supposedly) has 12MP. The pictures I want to take for the job I have in mind involve clouds and landscapes and I gotta take a pocket came because we're camping/fishing.
Anyway, they -could- be very cool but the tests I've done show that the colors are going to be just -wrong-. And by 'wrong' I mean everything either seems -under- saturated or hyper-statured. For example... the subtle pinks in clouds are rendered as washed out or will be overly contrasty (hyper) yellow to orange.
The detail is quite sharp, however so does that mean there's something 'there' there which can be properly corrected? And if so, how?
If it's too wordy, perhaps maybe someone can just recommend a good text on the subject?
TIA,
---JC

I completely agree with Mylenium.
Beyond working with the various Tools in PS, for "Color Correction," I would start with a properly calibrated monitor, so that you know that what you are "correcting," is the Image, and not the monitor.
Next, familiarization with those Tools, such as Hue/Saturation, will be very useful. The Help file can get you started, by defining what each Tool can do, and a short-course on how it does it.
I would always work with non-destructive techniques, so that one can always go back and re-edit things. For that Hue/Saturation, mentioned above, I would use a Hue/Saturation Adjustment Layer. Same for Color Balance, and the rest.
Last, you eye should be your guide, on that calibrated monitor. Adjust, until you get what YOU like (or what your client likes). Remember that by default, most of those "corrections" will be "global" for the Image, BUT with Layer Masks, you can restrict/constrain the corrections to just certain areas of that Image. At that point, knowing about the various Masking techniques will be very helpful. Besides the Help file, there are many useful tutorials on various Masking techniques, and many will apply to Layer Masks.
Also be aware that different camera sensors might bias differently, and also with lower-resolution Images, you will likely not have a great deal of Dynamic Range to work with. Start with the best possible, from your camera. If possible, shoot in Camera RAW, and use the "processing" power of ACR (Adobe Camera RAW), to get started. You should be able to create a Preset for your camera (maybe shoot a McBeth Color Checker card, and calibrate that), to get that processing started.
Good luck,
Hunt

Adjust the color calibration for your camera

This question was posted in response to the following article: http://help.adobe.com/en_US/lightroom/using/WS939594D8-4279-41b4-B8E9-B06BC919EC7C.html

The Camera-centric profiles for Canon, Nikon and some Pentax cameras are Adobe’s attempt to mimic the similarly-named in-camera color modes, but they are only approximate so aren’t some magic bullet to make your photos look like the camera-JPGs.
Creating one or more custom profiles for your camera is relatively simple, although you’ll need to invest in a standardized color checker calibration target.
I use the Color Checker Passport from X-rite, which comes with its own software and LR plug-in to create camera profiles, and then Adobe’s DNG Profile Editor also uses photos of a CC to create camera profiles. The profiles from each are a little different so it doesn’t hurt to make some from both products to see if one renders better in a particular situation. You can make one for various lighting situations, even ones that aren’t covered by Adobe-supplied profiles, such as lighting that has a large positive or negative Tint value like Fluorescent and arena lighting.
http://xritephoto.com/ph_product_overview.aspx?ID=1257

Setting while balance for off camera flash

I have a Canon SX20 and an old Astor Light flash system, and when I use the flash white balance on the camera white photographs as pale yellow. I'd like to do a custom white balance but can't figure out how to it with flash. What are my options? I'll try the AWB next to see how that works.

Not sure about the old flash system. I used to carry a collapsible white and grey card around , and I would sometimes remember to include it in some of my shots. It was a pain and now I just fix it in post in Lightroom. Find anything white in the photo and use the dropper tool to sample from it for custom WB. It may not be perfect but you can adjust a little, then sync that shot with all the others in the same spot.
You will have trouble if you are bouncing off a colored wall because it will pick up odd colors. Same with mixed light (flash + tungsten + fluorescent + sunlight, etc..).
Scott
Canon 6D, Canon T3i, EF 70-200mm L f/2.8 IS mk2; EF 24-105 f/4 L; EF-S 17-55mm f/2.8 IS; EF 85mm f/1.8; Sigma 35mm f/1.4 "Art"; EF 1.4x extender mk. 3; 3x Phottix Mitros+ speedlites
Why do so many people say "fer-tographer"? Do they take "fertographs"?

Adjust color rendering for your camera in Camera Raw

According to the help node with the above subject, one can embed profiles into TIFF, JPEG, PSD and DNG files and select them within Camera Raw 4.
I can assign profiles to all excepto DNG files, since DNG files cannot be saved and thus cannot be persistently be assigned a profile (say created with ColorEyes 20/20 camera profiler software). How then can I assign a profile to a raw image? Is the help incorrect or mis-written?
Thanks,
Juan Dent

Changes introduced with DNG version 1.1.0.0 included new tags AsShotICCProfile (+ AsShotPreProfileMatrix) and CurrentICCProfile (+ CurrentPreProfileMatrix).
If a camera or editor uses these, are the ColorMatrix1 (and if required ColorMatrix2) tags required to be present anyone, for example for ACR to use, while these xICCProfile tags are an optional alternative? How does it all fit together?
AsShotICCProfile:
"This tag contains an ICC profile that, in conjunction with the AsShotPreProfileMatrix tag, provides the camera manufacturer with a way to specify a default color rendering from camera color space coordinates (linear reference values) into the ICC profile connection space.
"The ICC profile connection space is an output referred colorimetric space, whereas the other color calibration tags in DNG specify a conversion into a scene referred colorimetric space. This means that the rendering in this profile should include any desired tone and gamut mapping needed to convert between scene referred values and output referred values.
"DNG readers that have their own tone and gamut mapping controls (such as Adobe Camera Raw) will probably ignore this tag pair".
CurrentICCProfile:
"This tag is used in conjunction with the CurrentPreProfileMatrix tag.
"The CurrentICCProfile and CurrentPreProfileMatrix tags have the same purpose and usage as the AsShotICCProfile and AsShotPreProfileMatrix tag pair, except they are for use by raw file editors rather than camera manufacturers".

Color balance for editing

I am doing most of my editing on photoshop elements 3, I have noticed my photos, on a shared monitor and printed are darker than what I see on my main imac screen. Is there a way to color/brightness adjust for best results. I am aware of the preference/display adjustment you can do. Is ths the best way.

thanks

Sensor analog balance for 2850K color table

Hello
I currently try to create a dual illuminant camera profile using DNG Profile Editor 1.0.0.46 beta for our Aptina CMOS MT9P031 based camera.
Using the DNG SDK 1.4, i'm converting the BAYER pattern images to a DNG with a Embedded Profile which has identity matrices set on the color matrixes and analog balance DNG tags.
D65 shooting conditions:
- High-CRI LED based light source set to 6500K @ 300 lx (spectrum fit 96%)
- CMOS sensor analog gains were adapted to achieve a neutral image at the D65 shooting conditions
a. Do I have to keep all component gains to 1.0 or adjust for the illumination?
b. Does it matter what I apply on the embedded camera profile on the AnalogBalance DNG tag?
Std A shooting conditions:
- Same light source set to 2850K @ 300 lx (spectrum fit 92%)
- CMOS sensor analog gains were _not_ adapted to achieve a neutral image. This obviously results in a orange color tint which can be eliminated using the white balance slider on the "Color Matrices" tab of the DNG Profile Editor.
c. Do I have to adapt the analog gains when shooting for 2850K
Using the converted DNGs from shooting conditions above, I can create the color table for 6500K using the "Chart" tab, but not the 2850K color. I always receive the error message:
"Non-neutral gray patches. The gray patch in row 4, column 3, has a significant color cast. Please reshoot the chart carefully to avoid color casts and try again."
...but when using the whitebalanace slider on the "Color Matrices" tab in advance of the "Chart" tab, I can tune the Std A image to a perfect neutral image. There is no color cast visible anymore.
d. Any ideas what I did wrong?
Kind regards
blad

Hi Eric
Thanks for taking the questions. Some details and clarifications:
Our analog gains are set to give a neutral image at D65 and we keep them unchanged even if the in-camera white balance algorithm detects a Std. A illuminant. This means the unprocessed RAW image contains a very warm color tint. Obviously, there is much more red than green and blue in the image. Is it correct, that then f.e. apply:
oNegative->SetAnalogBalance(0.863, 0.599, 0.389);
-> The values are derived from the red, green and blue components in the 2850K reference image from one of the gray patches on the color checker.
Thanks for the tip with the missing ColorMatrix values. When I specify a ColorMatrix and AnalogBalance as (described above) I am able to create a color table using the chart tab in Profile Editor the reference image at D65. I keep getting the error for the reference image at 2850K. Did I specify the ColorMatrix the wrong way?
oProfile->SetCalibrationIlluminant1(lsStandardLightA);
dng_matrix_3by3 oRGBMatrix( 1.627, -0.448, -0.222,
                           -0.434, 1.787, -0.350,
                           -0.341, -2.014, 3.294);
dng_matrix_3by3 oXYZ_to_SRGB_D65( 3.2404542, -1.5371385, -0.4985314,
                                 -0.9692660, 1.8760108, 0.0415560,
                                  0.0556434, -0.2040259, 1.0572252 );
dng_matrix_3by3 oCA = MapWhiteMatrix(StdA_xy_coord(), D65_xy_coord());
oProfile->SetColorMatrix1(oXYZ_to_SRGB_D65 * Invert(oRGBMatrix) * oCA);
As soon as I open the DNG with values from above in DNG Profiel Editor I get a cold image with a blue color cast and click-white balance tells me ~3350K/28 instead of 2850K/0.
Regards
Daniel

Web cam is blue. how do I correct color balance

When using the onboard web cam, the color tint is bluish. How can I check the white balance for the web cam?

See also:
*http://kb.mozillazine.org/Unable_to_save_or_download_files
*https://support.mozilla.org/kb/Unable+to+download+or+save+files

Built-in "Camera RAW style" color correction for each clip in CS6

Camera RAW has the best sliders for image control. Super easy and ultra natural looking.
I mean if you want to fix White Balance with in-camera like precision or lift shadows or fix highlights Camera RAW is the quickest tool that produces amazing results.
I have compared Davinci Resolve, Phase One (Capture One), Adobe SpeedGrade and Color Finese. And the best "quick fix" results are archived in Camera RAW even with 8-bit TIFFs exported from Premiere's DSLR timeline.
The point is, why can't we add simple sliders for Temperature / Tint / Exposure / Contrast / Highlight / Shadows / Clarity / Vibrance directly to Premiere's clip.
So the user will not waste time to export TIFFs to Camera RAW or DPX to SpeedGrade.
Some more comments.
1. Three Way Color Corrector contains too much submenus and often doesn't produces results wanted.
Wheel-type color mixers are more suitable for Secondary color correction in my opinion.
At first it nice to setup correct White Balance using sliders and only then make some sylish tuning with these wheels.
2. It's a pity that Camera RAW exported sequences tend to flicker sometimes. I guess it's because of photo-like processing style. It adapts to every single image. Would be cool to have an option to disable this adapting feature, especially useful for timelapses. Have anyone encountered this problem with Camera RAW?
Maybe someone knows a plugin for Premiere and AE that has direct slider for Temperature and Tint?

@mandurphy: If you haven't already done so, you might want to submit a formal feature request: https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform&loc=en
You're also welcome to post "Me too" in as many threads as you like, but doing that a hundred times will not get as much attention from the decision-makers in charge of the feature priorities as submitting a single genuine feature request.

Taking the big leap: buying new computer, camera, color software (X-Rite), printers...would love some feedback from those who may know about fine art reproduction. I'm opting for Canon camera options, Mac Pro vs iMac, and in printers, the Epson 7600.

Friends of Digital Workflow, especially photographers,
I'm just about to buy all new studio equipment.
I have two threads to my question:
1. Want some input about iMac vs Mac Pro (with a 27' monitor), which monitor system do you prefer?
2. I am Guru level in the Creative Suite but have little knowledge base for working with Aperature. Want some feed back about pros and cons of the workflow.
I'm also investing in X-Rite Color Suite for Print so that cameras, monitors, printers and projectors may be calibrated. I've used Gretag equipment for years and know profiling quite well. This is an important issue for knowledge about how profiles interface with Aperature.
I appreciate any and all comments.
Merci,
Frederick Park
North Carolina
PS You are welcome to request my personal email or phone number if you feel a lengthy discussion is an option.

Hi Frederick,
You're spending a lot of money. I will add my 2¢ -- -- but you must, as I assume you know, fully research your options.
Environment:
Start with your workspace (inc. lighting) and your clothes.
Screen:
The iMac screens are lovely, but not, from what I hear, monitor-grade accurate. For critical color work, use NEC or Eizo monitors. I use NEC, with their SpectraView II software and an X-Rite ColorMunki photospectrometer. At the time, this was the least expensive color-calibrated workflow.
Printer:
Epson's are great, imho. I use a 3880 in my studio and rent a 9900 by the hour when needed. I have read of problems (iirc) with one of the printers in the 7000 line, however. The take-home lesson that I filed in my brain was, "If you're going to spend the money on the 7000 line, just get the 9000 line."
Aperture workflow:
Aperture is a fantastic workflow tool. Since you are adept with PS, you should set PS as your external editor. Use Apertures formidable tools for storing and organizing your Images, and its robust editing tools for either all your proofing, or all but your most demanding editing needs. That said, allow a good bit of time to get the feel of Aperture. It is not at all like Bridge. But your important choice is which RAW converter you want to use. There is, imho, no reason to use Aperture if you are going to use Adobe's (or anyone else's) RAW converter.
Good luck!
--Kirby.

Camera file for Bonito Camera color

Hi!
I have the new Bonito color camera and a NI PCIe-1433 Camera Link Frame Grabber Card.
I would like to know if someone already develop a camera file for this camera (http://www.alliedvisiontec.com/emea/products/cameras/camera-link/bonito.html)
Thks

Hi,
Thanks for posting on our forum. The link that you gave is not telling us what camera you would like to use. Perhaps you could use the following software,
http://sine.ni.com/nips/cds/view/p/lang/fr/nid/14207
Remind first to check that there is no file already created there:
http://sine.ni.com/apps/utf8/nipc.specs?action=search&asid=1102
Regards
Mathieu B
National Instruments France
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Forum Aéronautique, Spatial et Défense. Avec la participation exceptionnelle de Bernard DUPRIEU, Res...

I don't know what is going on with the White Balance (WB) and LR. I had no problem before but recently LR started to change the WB as it is importing photos. I checked the color scale for my photos and LR and both are with sRGB. Now instead of LR cha

I don't know what is going on with the White Balance (WB) and LR. I had no problem before but recently LR started to change the WB as it is importing photos. I checked the color scale for my photos and LR and both are with sRGB. Now instead of LR changing the WB it is giving me a second copy with a new WB. Your advise is very much needed and appreciated. Thank you.

Can you show us a screen capture of this 2nd copy with a new WB in your Lightroom grid? Thanks
Are these second copy photos by any chance photos that had been previously imported?

Filters for Blown out camera and color shots for CS5

What are some good filters to fix blown out camer and color shots in CS5?
Thanks,

Hi Bill, Here's the link the of the blown out footage. http://www.youtube.com/watch?v=4lxJJN2PgqM&feature=youtu.be
Date: Wed, 18 Jul 2012 17:20:37 -0600
From: [email protected]
To: [email protected]
Subject: Filters for Blown out camera and color shots for CS5
    Re: Filters for Blown out camera and color shots for CS5
    created by Bill Hunt in Premiere Pro CS5, CS5.5, & CS6 - View the full discussion
Well, a few Effects, that might help - a little, would be Curves, Levels and Shadow & Highlight, along with the Three-way Color Corrector. However, the success will depend on the footage. Can you post a Vimeo, or YouTube example, as once one sees what you are working with, they may have other ideas. Good luck, and welcome to the forums, Hunt
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Blue color balance with iSight and Java

I have seen this question posted before - with no real answers, only suggestions that had nothing to do with the problem. Here's whats going on - internal camera and any connected Firewire camera works fine on iChat, PhotoBooth, IMovie, etc. Use those same cameras - internal or external- on a Java based web page and the image shifts to a blue monochrome. Not the blue you get with incorrect color balance from lighting, but nothing but blue hues. I can take the same Firewire camera and hook it to my G4 laptop running the same OS (10.4.8) and it works fine on the Java sites. Problem only occurs with Intel iMac and ANY camera. The problem appears to be the way the OS intergrates with Java (via Quicktime, or is QT out of the picture when using Java?)) on the Intel computer.

I have looked on MacFixIt for both Blue Screen in Java and just Blue screen and have not turned up any results.
11:46 AM Wednesday; December 27, 2006
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Question on color balance for DV camera

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