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.

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Correcting white balance and exposure

Does FCE offer good ways to fix bad white balance and underexposure?
I just tested the video filter for underexposure and color and they improve things are just pathetic compared to an edit an editor friend did in full Final Cut. So maybe FCE can do better and I just missed or did not see what to do?

You would probably do better with the 2-way color corrector than what you originally did. The 3-way in FCP is a better tool but the 2-way is what comes with FCE.
In general, with the 2-way color corrector you should start adjustments this way:
Click the Auto Contrast button once
Then do Auto Black followed by Auto White (one click each)
Then adjust the Mids if necessary.
After all that, play with the color balance..
To better white balance your shot it often helps to crank the Saturation slider all the way up, then use the eyedropper tool at the lower left of the Balance wheel to select something in your shot that should be truly white (white, not necessarily bright). Since the saturation slider is all the way up, any adjustments you make will be exaggeraged but that helps you get it right. You can make further adjustments to get the whites as neutral as possible and then slide the saturation back down to a more normal level. It takes some noodling, but it can be done.

New to RAW, White balance question

I've been using Lightroom for years, but with my camera outputting JPG images only. I've now started working with RAW (NEF) files from my D90 recently, and am having newbie's difficulties.
LR 2.6, Mac OSX 10.5.8, iMac 24" 2.8GHz
The problem that brings me here is that I just did a shoot without setting a white balance. Shot JPG & NEF, and I see that Lightroom is extrapolating the AWB values the camera came up with onto the NEF files "As Shot". For a series of similar images I have found a white balance that seems to work. I set that on my chosen image, shift-select the rest, and attempt to SYNC white balance to the other images.
It doesn't take. WB's remain "As Shot" for the other images, and all over the place, following the camera. Expanding the items synced to include "Treatment (Color)" doesn't help.
How can I "Sync" white balance with NEF files, please?
Many thanks in advance.

So Lightroom is essentially applying an "Auto WB" on its own when displaying images "As Shot"?
ON EDIT: I ask this because every image has a different, individual "As Shot" WB when first seen in Lightroom.
Hardly seems "As Shot" if LR is going in and altering the WB right off the bat.
MethodPhoto wrote:
The white balance information that Nikon knows about is not information that Lightroom uses.
Camera Raw and Lightroom use Adobe's method of profiling the camera which is different from Nikon's. So you won't get an exact match, however Adobe provide a set of profiles which are intended to match as closely as possible the Camera looks - these are in Develop > Camera Calibration
If you find there are a certain set of adjustments that you repeatedly make then save them as a Preset and you can apply them to a batch of images or on import. (These can include White Balance settings and Calibrations and Profiles).

White Balance color temperature for custom temperature shots

Hello,
I would like to understand why LR and Photoshop too are always show wrong color temperature "As Shot"?
Let say I shoot with 6000K, set manually (Canon 40D, RAW)
Canon itself says it's 6000K in the slide info, fine.
Both Adobe apps says it's 5750K!
What's going on there?
Second question - I know the light was EXACTLY 6000K, but the slide has some green in it. Picking white balance in LR gives me 5900K (which is close to the truth) and +31 Tint, which makes slide neutral.
Of course I can correct Tint manually before the shot by WB Shift in Camera, so the question is: what is the best way - to find more or less appropriate WB shift in the camera, or use WB correction in LR after all?
Thanks
UPD. My suggestion is - Adobe doesn't read custom temperature from RAW file, it's just guessing! Is that right?

The white balance value you see in Lightroom is profile specific. It reads your custom white balance and translates it so that neutrals stay neutral, which is exactly what you want. If it wouldn't do this, your neutrals would shift in color.
The best way to get a correct white balance is to shoot a white balance (grey) card or use one of those filters on your camera to measure it. You can either set it in camera from the grey card or do it with the dropper in Lightroom and sync over the series. The effect will be the same.
P.S. unless you shoot a white balance card, you do not know that the color temp of your light is exactly 6000K. That is quite impossible to know. It might be approximately that under certain standardized conditions but you cannot be sure, no matter what you're told by the manufacturer.

Bug report: Wrong As Shot White Balance for Nikon D50 NEF in Camera Raw 7, Lightroom 4

For Nikon D50 cameras Adobe Creative Suite 6 does not read "As Shot" white balance data whether it's specified or not. It defaults to "Automatic". We have the problem only for Nikon D50 and only in Photoshop CS6, Adobe Camera Raw 7.3 and Photoshop Lightroom 4. (Not in CS5. Not for Nikon D5100 or D7000 or Canon S95) .
There is a more detailed posting at photoshop.com.
Lightroom 4.2 / ACR 7.2: WB "as shot" does not read the WB of Nikon D50 NEF, defaults to "automatic"
http://phtshp.us/10utPuk
phtshp.us/10utPuk

Moving the discussion to PS Forums

Image contains camera White Balance setting; LR 5.5 only shows "As Shot", "Auto", and "Custom"

I have a new, Panasonic DMC-GX7. I shot a bunch of photos as JPGs. When viewing their Exif data using Exiftool, I can clearly see the camera's White Balance setting, as well as the Color Temp Kelvin, WB Red Level, WB Green Level, and WB Blue Level. However, Lightroom 5.5 only shows "As Shot", "Auto", and "Custom" when I click White Balance under Quick Develop on the Library tab or WB under Basic on the Develop tab. Exiftool shows the Exif Version as 0230 and the Panasonic Exif Version as 0405. Is LR looking for the white balance information in some other field? Do I need to configure it somehow for my camera? I am new to LR (but not to image processing), so could use some help figuring this out.

The whole question is not so simple as converting to DNG. Yes DNG is openly documented, yes the file can be read, but that does not mean it can be correctly interpreted by other software in the future and the best you can then do is starting the PP of your images from scratch. Imagine a DNG with LR adjustments that in some years you open the file in another software, possibly non-Adobe. Even if the file can be read it will not look the same, as the Adobe specific developing instructions could not be strictly followed. Even if all software manufactures agreed on a common set of adjustments, let's say everybody had a Highlights slider and a Clarity slider and so on, which is unlikely, the results would still be different as the underlying algorithms would be different.
Disclaimer: I only shoot raw and firmly believe it is the best option, but one must be conscious it has some shortcomings related to the future of our images.

"as shot" white balance display

*Where* do I find the "as shot" white balance for a photo I've already developed? I have Googled and searched the menus for 30 minutes, nothing! (not to mention, to mention, I've tried to post here 3 times, and had my message erased almost every time.)

and I guess, just undo after changing to As Shot, or is there someway more elegant?
I don't completly understand that... Do you mean that you just want to quickly review what the WB in your camera was for the photo, but you want to retain the custom WB setting that you made during developmen? If that is the case, yes, undo afterwards seems to be the best thing to do. If I remember correctly, there is no place in the metadata panel where one can view the original WB information (I don't have LR at my disposal at present).
The same should be true for the flash info, but I am not 100% sure about that right now. Look for it in the metadata panel switched to "EXIF". If an information is not there, it is probably not available in LR elsewhere (except perhaps via a plugin).
Note: The WB values (temp, tint) of "As Shot" do not necessarily equal those displayed by the camera of by the camera maker's software. Actual WB values heavily depend on the raw processing and camera profiles used, and because Adobe/ACR uses different ones compared to the camera maker, there may be substantial differences. I think there was a thread somewhere here in the forum about that...

Can you make white balance/exposure adjustments on top of current adjustments across multiple shots?

Hi There,
We have a bunch of shots taken using natural light - the shots all have completely different exposure and white balance adjustments.
Now that the shots feel like they've been shot at the same time of day (and on the same day) we'd like to start adjusting the white balance accross multiple shots - but use the current white balance/exposure from each individual shot as the starting point - not reset the adjustments.
Kind of like baking the current settings or making adjustments on top of current adjustments - or make new adjustments relative to the current adjustments.
Hope that makes sense - is this possible in Lightroom?
Cheers

trshaner wrote:
I've never used the Quick Develop tool:
Convince me why it's better
Quick Develop is for artists, not scientists/engineers - sounds like you know how to use it.
Ya know, some people use Lr with the histogram closed so as not to get distracted by the technical aspects. I could adjust an image using the histogram only, without looking at the image!
FWIW, amount of temp/tint per increment is fixed for RGB files. I never figured out how it decides the increment for raws, but I'd very much like to know it, in order to normalize relative adjustments when a mix of raw & rgb files are selected.
PS - I think the original philosophy was:
1. After importing, take a quick-dev pass in lib module and adjust all the basics in the ball-park, then:
2. Fine tune in dev module one by one, if need be and schedule allows... (yes I know there is auto-sync in dev module, but it adjust things absolutely, and the context of this discussion is relative adjustment).
Via that workflow, there's not so much switching back and forth between lib & dev modules for access to the quick-dev panel during development.
FWIW, it doesn't suit me well-enough either, which is why I invented Gazoo .
Cheers,
Rob

Correcting White Balance with no white in shot

Does anyone have any tips for correcting white balance when the footage has no white objects to act as a reference? This was the classic mistake of shooting outdoors with an indoor setting. We were rushing to utilise a gap in the rain!
Also, is there any way to tell Premiere how to correct WB via a sort of colour matching, by pointing it towards a correctly white balanced still of the scene?
Thanks
Davyd

This is a really tricky thing. There's a lot of ways to approach it. I had similar problems with a WB correction mismatch between presets on my 7D and 70D. No white in either shot.
I exported a few frames in to PS first to get a rough idea with what I was dealing with.
Use the Info window to check something grey.
Alternately, if there is nothing grey, you can use skin tone patches. This is a common tool used by skin retouchers in PS. Grab a small sample or two from the desired skin tones, either from a 5x5 grab with the eyedropper or just grabbing a small section with the lasso tool and Gaussian Blurring that to heck and back. Once you get a bit of a palette of skin tones you like, you can use that as a reference for your work with the Fast Color Corrector.
To be honest, I feel the FCC is a little underpowered and I wish I had my AAVC 6 Channel HSL tool from Vegas when color correcting.
As a Photoshop geek, I am a little uncomfortable with the video color correction toolset.
To export a frame, click on the viewing panel and hit Ctrl-Shift-E.
Try opening the frames in Adobe Camera Raw and you can get some temp and tint values that can also help you with your Prem Pro toolset.
Remember to watch out for channel clipping when making dramatic changes in WB.

White Balance panel just shows, Auto, As shot and Custom but im shooting Raw?

In my White balance panel, its only have 3 option to choose from, but the rest is nowhere to be seen like the cloudy,daylight,shade, flourescent and tungsten. but im shooting raw in my camera, i dont know why there is no enough options to choose from.

If you click on an image that is showing you no white balance options, and look the two boxes highlighted in red in the image below, what do those two fields say?

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.

Can you remove the camera white balance setting in Aperture

I have a Canon 7D and use Aperture for processing and storing my images.
With the Canon I shoot both video and still and frequently adjust the white balance in the camera. I make a frequent mistake in leaving the wrong white balance setting on - eg when taking video indoors in the evening I set the white balance to indoors (the Canon seems poor at white balance decision making on video) and then I forget I'm not using auto white balance and switch to taking a photo with flash. The result is a horrible blue photo - which if I don't spot the problem at the time seems very hard to correct afterwards.
I use the Aperture white balance adjustments frequently but unless there is a patch or white or grey I an use the dropper on, I find this particular situation seems to be right off the scale of what I can fix in Aperture. I end up with sliders at the extremes of the scales and no intuitive sense of what numbers to type in manually to try and get realistic colour - so I often end up discarding these photos even if the shot itself is something I'd like to use.
So my question is given I'm importing RAW, is there a way to show the phoo without the (wrong) white balance setting I applied in the camera, to let me choose white balance from scratch?
Or if not, do you have any advice about how to adjust from this very bluey unrealistic colour of image?

Kirkby - thanks for the quick reply.
Didn't know you could drag inside a value field - that's helpful.
But being able to get different numbers on the slider isn't the root of my problem.
In a specific example I have two photos - one taken with white balance set to flash and the photo was with flash, where after a bit of tweaking to get the colour I want the temp slider is at 5000K (and tint 0). The second photo has my shooting error with interior lighting white balance but taken with flash. The two shots were taken from almost the same point of the same view (but different people in frame). The shot with the white balance error comes off camera horribly blue coloured. I can fiddle with the two sliders - I take temperature to 20000K and tint to 40 to do the best with it I can, and with those settings one of the two faces is approaching flesh colour but the wall behind the subjects (which is a light blue in reality) is now appearing light yellow in places. I just can't get a good looking colour effect no matter ow extreme the slider settings.
I may have phrased my question badly - as I totally agree you can't show a raw without a colour setting - so maybe I'm better asking to be able to use a different colour setting on the raw data rather than having to start with adjustments on top of my white balance mistake.
Given the two shots were in the same place against the same background and the same lighting (both with flash) it seems to me I ought to be able to get a similar colour effect on both and I just can't. To illustrate here are the two photos (the one on the left was shot with flash wb and in Aperture I'm viewing it with 5000K and 0 tint, the one on the right was shot with indoor wb and in Aperture I'm viewing it with 20000K and 40 tint and it looks terrible!)
https://www.box.com/shared/qle3t6ovyhrd1egez3vc

Lightroom: Why does auto white balance no longer work after changing the camera calibration profile?

I'm using NEF raw files from Nikon.
Lets say for example I import a NEF file into Lightroom (v4) and click on 'auto' for white balance. The white balance in the image is adjusted correctly (somewhat). However, if I then change the camera profile (in the camera calibration section) from 'adobe standard' to 'camera standard' then the white balance in the image becomes very wrong. I then have to set the white balance back to 'as shot' and correct it manually instead.
Why would 'auto white balance' no longer work just because I change the profile from 'adobe standard' to 'camera standard'?
Any ideas?

Works as expected here...
Which Lr version and what OS??

White balance for infrared images

Hello there,
I love making infrared photos with my digital camera (Canon dSRL).
When I take an IR shot, I usually set the custom white balance inside the camera, so that false colours appear correctly. If I open the CR2 RAW file using the software provided by Canon (Digital Photo Professional) the image appears correctly; on the contrary, if I use Adobe Camera Raw (which I prefer to) it seems that my custom white balance is not properly displayed.
So I'm wondering if this is an issue of CR or there is something to do that I don't know. Can you help me?

This tutorial by Sean MacCormick shows how you can edit the camera profile so that White Balance for IR images is brought within the adjustment range that Camera Raw and Lightroom http://lightroom-blog.com/2009/05/creating-ir-camera-profile.html

White balance

What is the best way to correct white balance shifts post production.
If shooting underwater, there is either a big jump to very blue, or to red.
Will I have to select different underwatercolour ranges and correct them each, or is there an easier way?
Is it best to use 3 way colour corrector, or other effects, or a combo?
I also have Adobe after effects 6.5, is there something in there recommended, as superior?

Underwater footage is fascinating stuff but it will not necessarily respond to conventional color correction. Unless properly lit, filtered or balanced the colors simply do not exist; there's no color data to correct.
The #1 advice form the kenstone.net articles: Shooting underwater successfully requires knowing what you're doing long before diving.
http://www.kenstone.net/fcphomepage/lighting_below_thewaves.html
The loss of color is deceiving. The human brain compensates for much of the color loss and even at depths below 30 feet, your eyes will still see some red. But a fact which we must understand is that the camera is really dumb. It has no brain, so therefore it will not compensate. To overcome this problem, artificial light sources must be used.< </div>
When working in water with a greenish tinge, as in the west coast of our continent from Seattle north to Vancouver Island, a magenta filter will produce good results. For blue caribbean waters, I always prefer my red color correction filter. < </div>
POST PRODUCTION FILTERS. As in topside video work, occasionally we misjudge the lighting conditions and must attempt a repair within Final Cut Pro. There are a few filters in the browser which I have discovered work well with underwater video footage. The Proc Amp filter can be used to put some vibrancy into an otherwise washed out shot. The RGB Balance filter is another which if used sparingly can save an otherwise interesting piece of footage from the cutting room floor.
But these filters are definitely no substitute for getting it right in the first place. The best angle of attack is to concentrate on the basic principals of lighting so that your footage can go untouched from the camera to the timeline.<
bogiesan

White Balance "As Shot"

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