White Balance below 2000K?

Is it possible to set a white balance in Lightroom for RAW pictures that is below 2000K and -150?
If it is, how does it work?

Try http://robertreiser.photography/articles/proper-infrared-white-balance-in-lightroom/

Similar Messages

Expand white balance beyond 2000K for RAW files

I'm finding, with the mixture of lighting situations I find at weddings (evening venues especially) that 2000K sometimes is not enough for me to get a correct white balance. I'm having to apply a filter on top to get a true white balance.
Is there any reason why 2000K is the current limit? If not, could you expand it past 2000K?
Thank-you!

Try http://robertreiser.photography/articles/proper-infrared-white-balance-in-lightroom/

Aperture 3 White Balance range

I recently took a handful of photos under some garishly unbalanced street lights. I took a greycard shot and used custom white balance in my Canon camera, which caused the photos to come out surprisingly well but not perfect.
When I loaded the photos up in Aperture, I thought that two or three pictures could use some additional tweaking. By making any white balance adjustment at all in the application, it reset the white balance to 2000K -- which is actually above the temperature of the lights.
I can't seem to manually set the white balance to any lower value, and the only way I can get rid of a color cast is to disable any White Balance adjustment (thus using the setting from the RAW file).
Is there any way to extend the range of Aperture's white balance adjustments? Is this the sort of thing that ought to work its way into a feature request?
(Just for conversation's sake, the location in question was the Campbell Community Center's parking lot during a San Jose Bike Party. Anyone from the Aperture team is welcome to take some snapshots there if they doubt the necessity of a wider white balance range...)

Have you tried tweaking it with the curves adjustment? Sometimes you correct colour casts a bit more precisely with a simple "auto split" curves adjustment, or by tweaking the curves themselves manually.
Have a look in the manual starting at p536 and also check out p549 specifically.

Retaining custom White Balance on importing Raw IR files

How can I stop LR from changing my custom White Balance on importing RAW Infra Red files_

LR does interpret camera-embedded WB numbers but it is limited to 2000K on the red end. Is your custom WB below 2000K?
The way around LR not being able to go red enough for IR is to make a custom camera profile with the DNG Profile Editor that includes a negative WB calibration shift, which can further subtract from the normal limit of 2000K. That still won’t help translate a camera number to a LR number, I don’t think, but it would help you apply a LR-computed number to your IR images, normally by eyedroppering your Custom WB raw in LR with the IR profile place.
Tutorial 4 on page 8 of the DNG Profile Editor documentation describes what to do for IR photos:
http://wwwimages.adobe.com/www.adobe.com/content/dam/Adobe/en/products/photoshop/pdfs/cs6/ DNGProfile_EditorDocumentation.pdf
The DNG Profile Editor itself is available in the Photoshop Resources list:
http://www.adobe.com/products/photoshop/extend.displayTab2.html#resources

White Balance Metadata not showing in Adobe Bridge CS6

Hi there, I am running Bridge CS6 on a Mac, and use Canon 5D and 5DMark 111 cameras. I have an issue with Bridge which I can not seem to figure out. Whether I shoot Raw or JPG and I am trying to do some testing for white balance, once I open the images in Bridge, in the little icon panel just below the folders/favourites panel etc I can see the f stop info, speed, metering , ISO etc, but the only icons I get for WB are if use auto - then I see AUTO. But when I do a manual WB like 'cloudy', 'tungsten', or 'shade' etc all I get are the symbols for 'Custom" or "Manual". How do I get the actual symbols for what type of WB i've chosen to show up?
I have purged the Cache - both in the individual folder and the overall Cache in preferences. I have checked that all the boxes are ticked in the preferences panel for the Metadata. So not sure what else to do.
Cheers D

Ok thanks for that, at least I wont be chasing my tail.
I did install the DNG converter 8.3 but I still NEF files as a NEF icon. Any clues to what I may not be doing right there?

White Balance Tool

I am using the following:
latest CS4 version
latest camera raw version
MAC 10.5.5
Can anyone help please - I open bridge, then open a raw file in camera raw. I then use the white balance tool. I go over the image with this tool to see the pixel values - but there are no pixel info showing on the R G B settings on the right (just below the graph). In Photoshop, this tool is working fine.
Is there a preference setting to activate this tool to work properly in camera raw?

Well, I have tested it again and the preference to start Bridge at log in, seems to be doing it. I ticked this off, closed down and started Bridge manually and the tool fully works OK with my work space. But could be something else, I don't know, but starting Bridge at log in on my computer seems to be this.
The saved work space I have set up as follows - on the left side of screen I have placed my favorites, folders, collections panels at top left, then underneath these, I have placed filter, metadata, keywords panels. I have no panels on the right and just have big thumbnails on the main area.
Anyway, thanks again, I can live with this now, I just start Bridge manually :-)

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

Adobe DNG converter is corrupting NEF files. The color is way off and it's not the camera white balance.

I was using the converter for a few months and it was working fine. Now it will convert the files, but the color is really messed. I know it is not the white balance, because the same files convert fine to TIF files through Nikon's software. I am using this converter for Nikon d610 NEF files. Here's a sample DNG and the same image in TIF. Can anyone help? Thanks!

When you use the DNG Converter to make a DNG from an NEF, the DNG Converter applies the default Camera Raw settings. When I open your DNG it looks fine, but when you open it, it looks off. That is because you've some how set your Camera Raw defaults to have a bunch of customized settings specific to a particular picture, instead of having them all be normal settings. Below you'll see what Photoshop is saying the settings of the DNG-Converted-JPG are, with the non-defaults marked in bold. The main problems are the WB being custom and a bunch of HSL setting changes.
Here is what Photoshop reports that the JPG was created using:
      <rdf:Description rdf:about=""
            xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/">
         <crs:RawFileName>hug_8290_0215_1.dng</crs:RawFileName>
         <crs:Version>6.0</crs:Version>
         <crs:ProcessVersion>5.7</crs:ProcessVersion>
         <crs:WhiteBalance>Custom</crs:WhiteBalance>
         <crs:Temperature>5732</crs:Temperature>
         <crs:Tint>+26</crs:Tint>
         <crs:Exposure>0.00</crs:Exposure>
         <crs:Shadows>5</crs:Shadows>
         <crs:Brightness>+50</crs:Brightness>
         <crs:Contrast>+25</crs:Contrast>
         <crs:Saturation>-4</crs:Saturation>
         <crs:Sharpness>90</crs:Sharpness>
         <crs:LuminanceSmoothing>0</crs:LuminanceSmoothing>
         <crs:ColorNoiseReduction>25</crs:ColorNoiseReduction>
         <crs:ChromaticAberrationR>0</crs:ChromaticAberrationR>
         <crs:ChromaticAberrationB>0</crs:ChromaticAberrationB>
         <crs:VignetteAmount>0</crs:VignetteAmount>
         <crs:ShadowTint>0</crs:ShadowTint>
         <crs:RedHue>0</crs:RedHue>
         <crs:RedSaturation>+11</crs:RedSaturation>
         <crs:GreenHue>0</crs:GreenHue>
         <crs:GreenSaturation>0</crs:GreenSaturation>
         <crs:BlueHue>+12</crs:BlueHue>
         <crs:BlueSaturation>+2</crs:BlueSaturation>
         <crs:FillLight>0</crs:FillLight>
         <crs:Vibrance>-6</crs:Vibrance>
         <crs:HighlightRecovery>0</crs:HighlightRecovery>
         <crs:Clarity>0</crs:Clarity>
         <crs:Defringe>0</crs:Defringe>
         <crs:HueAdjustmentRed>0</crs:HueAdjustmentRed>
         <crs:HueAdjustmentOrange>0</crs:HueAdjustmentOrange>
         <crs:HueAdjustmentYellow>+1</crs:HueAdjustmentYellow>
         <crs:HueAdjustmentGreen>+5</crs:HueAdjustmentGreen>
         <crs:HueAdjustmentAqua>0</crs:HueAdjustmentAqua>
         <crs:HueAdjustmentBlue>-9</crs:HueAdjustmentBlue>
         <crs:HueAdjustmentPurple>0</crs:HueAdjustmentPurple>
         <crs:HueAdjustmentMagenta>0</crs:HueAdjustmentMagenta>
         <crs:SaturationAdjustmentRed>-2</crs:SaturationAdjustmentRed>
         <crs:SaturationAdjustmentOrange>+14</crs:SaturationAdjustmentOrange>
         <crs:SaturationAdjustmentYellow>+25</crs:SaturationAdjustmentYellow>
         <crs:SaturationAdjustmentGreen>+26</crs:SaturationAdjustmentGreen>
         <crs:SaturationAdjustmentAqua>0</crs:SaturationAdjustmentAqua>
         <crs:SaturationAdjustmentBlue>+32</crs:SaturationAdjustmentBlue>
         <crs:SaturationAdjustmentPurple>0</crs:SaturationAdjustmentPurple>
         <crs:SaturationAdjustmentMagenta>0</crs:SaturationAdjustmentMagenta>
         <crs:LuminanceAdjustmentRed>+40</crs:LuminanceAdjustmentRed>
         <crs:LuminanceAdjustmentOrange>+13</crs:LuminanceAdjustmentOrange>
         <crs:LuminanceAdjustmentYellow>+3</crs:LuminanceAdjustmentYellow>
         <crs:LuminanceAdjustmentGreen>+15</crs:LuminanceAdjustmentGreen>
         <crs:LuminanceAdjustmentAqua>+3</crs:LuminanceAdjustmentAqua>
         <crs:LuminanceAdjustmentBlue>+4</crs:LuminanceAdjustmentBlue>
         <crs:LuminanceAdjustmentPurple>0</crs:LuminanceAdjustmentPurple>
         <crs:LuminanceAdjustmentMagenta>0</crs:LuminanceAdjustmentMagenta>
         <crs:SplitToningShadowHue>231</crs:SplitToningShadowHue>
         <crs:SplitToningShadowSaturation>32</crs:SplitToningShadowSaturation>
         <crs:SplitToningHighlightHue>45</crs:SplitToningHighlightHue>
         <crs:SplitToningHighlightSaturation>33</crs:SplitToningHighlightSaturation>
         <crs:SplitToningBalance>+74</crs:SplitToningBalance>
         <crs:ParametricShadows>-39</crs:ParametricShadows>
         <crs:ParametricDarks>-7</crs:ParametricDarks>
         <crs:ParametricLights>-15</crs:ParametricLights>
         <crs:ParametricHighlights>+14</crs:ParametricHighlights>
         <crs:ParametricShadowSplit>25</crs:ParametricShadowSplit>
         <crs:ParametricMidtoneSplit>50</crs:ParametricMidtoneSplit>
         <crs:ParametricHighlightSplit>75</crs:ParametricHighlightSplit>
         <crs:SharpenRadius>+1.0</crs:SharpenRadius>
         <crs:SharpenDetail>25</crs:SharpenDetail>
         <crs:SharpenEdgeMasking>0</crs:SharpenEdgeMasking>
         <crs:PostCropVignetteAmount>-24</crs:PostCropVignetteAmount>
         <crs:PostCropVignetteMidpoint>50</crs:PostCropVignetteMidpoint>
         <crs:PostCropVignetteFeather>97</crs:PostCropVignetteFeather>
         <crs:PostCropVignetteRoundness>0</crs:PostCropVignetteRoundness>
         <crs:PostCropVignetteStyle>1</crs:PostCropVignetteStyle>
         <crs:PostCropVignetteHighlightContrast>0</crs:PostCropVignetteHighlightContrast>
         <crs:GrainAmount>0</crs:GrainAmount>
         <crs:ColorNoiseReductionDetail>50</crs:ColorNoiseReductionDetail>
         <crs:ConvertToGrayscale>False</crs:ConvertToGrayscale>
         <crs:ToneCurveName>Medium Contrast</crs:ToneCurveName>
         <crs:CameraProfile>Adobe Standard</crs:CameraProfile>
         <crs:CameraProfileDigest>51B4314CF8312BA027EF3FC60481FB35</crs:CameraProfileDigest>
         <crs:HasSettings>True</crs:HasSettings>
To fix the problem you're gonna need to reset your camera raw defaults:
And then be careful when saving new camera raw defaults with the menu item just above, that your image has the camera raw defaults applied to it, except whatever small change you want to be the new default.

Help with RAW files and custom white balance.

ive long had this issue with RAW shooting and adobe photoshop and lightroom, my main subject is a saltwater reef aquarium that is lit by artificial lighting, i shoot canon and use the custom white balance setting to get everything looking proper and it works good.. to an extent.. if i shoot jpg the photos all turn out as shot, if i shoot RAW the white balance in adobe programs is totally messed up and you cant fix it.. if i use DPP by canon, its perfect and looks just as shot or just a a jpg would look.. my question is how can i get adobe lilightroom to render my RAW files correctly.
below are all 3 images, first one was converted and exported to jpg in canon DPP without any adjustments and is what the photo should look like, second has been exported from photoshop, and 3rd i added a link to the actual RAW file. why cant my lightroom interpret these properly?
heres a link to the actual RAW file
https://www.dropbox.com/s/5a39ctllwgrem7a/_MG_8971.CR2
this was a raw converted in canon dpp, and its what the aquarium looks like, and is what the photo should look like. just to note, any other editing or viewing program besides adobe products all render the image correctly.
this is what photoshop and lightroom do to my Raw files, theres no way to adjust anything to get even remotely close to correct..

The white-balance Temperature of this image as computed by the camera is way beyond the 50,000K upper limit as you can see when you open the file in LR or ACR, so Adobe cannot reach the As Shot WB temperature number and stops at 50,000K which is still too blue -- although EXIFtool says: Color Temp As Shot : 10900, so maybe Adobe's wildly high 50,000K number is based on a faulty camera profile that exaggerates blues:
However, using the Camera Standard makes things not nearly so garish blue, and it is possible to use Photoshop to neutralize things even more:
However, as you say, other raw converters do ok with this image despite the high WB temperature, so I think the Canon T3/1100D profile needs some work, but probably won't get it since it is not a high-end camera.
For example, here is the default conversion from LibRaw that is part of RawDigger, and in my opinion is an improvement on the camera rendering though perhaps lacks a bit of saturation:
As another example, here is RawTherapee's conversion, after I neutralized the auto-tone and color values it applies by default, and appears to be a bit too saturated but that could be easily adjusted:
I would agree that Adobe is doing something wrong with this camera in this lighting. A clue is the bright green color of the top-central coral which seems to be yellow in the non-Adobe renderings.

Can I modify 'Load Files into Stack.jsx' for custom white balance?

I've been wondering whether its possible to change Adobe's 'Load Layers in Stack' script so that it loads RAW files with the white balance adjustments I have made in Camera Raw ('ACR').
At present, the script loads the files as layers with the default ACR (or Lightroom) settings. This means that any white balance adjustments to the file in ACR are ignored and the RAW file is loaded with the WB 'As Shot'.
It IS possible to save new ACR default settings, but this doesn't really help because I don't want the WB to be a constant value. The changes I make in ACR are usually subtle and 'by eye'.
I would like the script to be mindful of these changes when opening the RAW file.. does anyone have any suggestions?
The script is below.
// (c) Copyright 2006. Adobe Systems, Incorporated. All rights reserved.
@@@BUILDINFO@@@ Load Files into Stack.jsx 1.0.0.1
// Load Files into Stack.jsx - does just that.
// BEGIN__HARVEST_EXCEPTION_ZSTRING
<javascriptresource>
<name>$$$/JavaScripts/LoadFilesintoStack/Menu=Load Files into Stack...</name>
</javascriptresource>
// END__HARVEST_EXCEPTION_ZSTRING
// debug level: 0-2 (0:disable, 1:break on error, 2:break at beginning)
//$.level = (Window.version.search("d") != -1) ? 1 : 0;          // This chokes bridge
$.level = 0;
// debugger; // launch debugger on next line
// on localized builds we pull the $$$/Strings from a .dat file
$.localize = true;
// Put header files in a "Stack Scripts Only" folder. The "...Only" tells
// PS not to place it in the menu. For that reason, we do -not- localize that
// portion of the folder name.
var g_StackScriptFolderPath = app.path + "/"+ localize("$$$/ScriptingSupport/InstalledScripts=Presets/Scripts") + "/"
                                                                                                    + localize("$$$/private/LoadStack/StackScriptOnly=Stack Scripts Only/");
$.evalFile(g_StackScriptFolderPath + "LatteUI.jsx");
$.evalFile(g_StackScriptFolderPath + "StackSupport.jsx");
$.evalFile(g_StackScriptFolderPath + "CreateImageStack.jsx");
// loadLayers routines
loadLayers = new ImageStackCreator( localize("$$$/AdobePlugin/Shared/LoadStack/Process/Name=Load Layers"),
                                                                                                      localize('$$$/AdobePlugin/Shared/LoadStack/Auto/untitled=Untitled' ) );
// LoadLayers is less restrictive than MergeToHDR
loadLayers.mustBeSameSize                              = false;          // Images' height & width don't need to match
loadLayers.mustBeUnmodifiedRaw                    = false;          // Exposure adjustements in Camera raw are allowed
loadLayers.mustNotBe32Bit                              = false;          // 32 bit images
loadLayers.createSmartObject                    = false;          // If true, option to create smart object is checked.
// Add hooks to read the value of the "Create Smart Object" checkbox
loadLayers.customDialogSetup = function( w )
          w.findControl('_createSO').value = loadLayers.createSmartObject;
          if (! app.featureEnabled( localize( "$$$/private/ExtendedImageStackCreation=ImageStack Creation" ) ))
                    w.findControl('_createSO').hide();
loadLayers.customDialogFunction = function( w )
          loadLayers.createSmartObject = w.findControl('_createSO').value;
// Override the default to use "Auto" alignment.
loadLayers.alignStack = function( stackDoc )
          selectAllLayers(stackDoc, 2);
          alignLayersByContent( "Auto" );
loadLayers.stackLayers = function()
          var result, i, stackDoc = null;
          stackDoc = this.loadStackLayers();
          if (! stackDoc)
                    return;
          // Nuke the "destination" layer that got created (M2HDR holdover)
          stackDoc.layers[this.pluginName].remove();
          // Stack 'em up.
          if (this.createSmartObject)
                    selectAllLayers( stackDoc );
                    executeAction( knewPlacedLayerStr, new ActionDescriptor(), DialogModes.NO );
// "Main" execution of Merge to HDR
loadLayers.doInteractiveLoad = function ()
          this.getFilesFromBridgeOrDialog( localize("$$$/private/LoadStack/LoadLayersexv=LoadLayers.exv") );
          if (this.stackElements)
                    this.stackLayers();
loadLayers.intoStack = function(filelist, alignFlag)
          if (typeof(alignFlag) == 'boolean')
                    loadLayers.useAlignment = alignFlag;
          if (filelist.length < 2)
                    alert(localize("$$$/AdobeScripts/Shared/LoadLayers/AtLeast2=At least two files must be selected to create a stack."), this.pluginName, true );
                    return;
          var j;
          this.stackElements = new Array();
          for (j in filelist)
                    var f = filelist[j];
                    this.stackElements.push( new StackElement( (typeof(f) == 'string') ? File(f) : f ) );
          if (this.stackElements.length > 1)
                    this.stackLayers();
if (typeof(loadLayersFromScript) == 'undefined')
          loadLayers.doInteractiveLoad();

This is part of the script looks interesting - is there a reference where can I find more hooks? Perhaps there is one that relates to WB?
// LoadLayers is less restrictive than MergeToHDR
loadLayers.mustBeSameSize                              = false;          // Images' height & width don't need to match
loadLayers.mustBeUnmodifiedRaw                    = false;          // Exposure adjustements in Camera raw are allowed
loadLayers.mustNotBe32Bit                              = false;          // 32 bit images
loadLayers.createSmartObject                    = false;          // If true, option to create smart object is checked.
// Add hooks to read the value of the "Create Smart Object" checkbox
loadLayers.customDialogSetup = function( w )

Premiere Elements 13 Eyedropper for white balance, gray, and black NOT WORKING. Help!

I'm using Premiere Elements 13.1 on an iMac, and trying to adjust the white balance on a clip with ZERO success. The main reason for this is that I cannot utilize the "eyedropper" selector; I know what should appear white, gray, and black, but cannot select those items.
In the Three-Way Color Corrector there are Eyedroppers to use to specify areas of known color range. I have tried without success to select ANY of the eyedroppers...
I have clicked on it - NOTHING
I have held the left mouse on it and attempted to drag it onto the frame - NOTHING
I have right-clicked it - NOTHING
The eyedroppers are not greyed out and they do respond when clicked. I have hit Reset button galore. I have restarted the program.
I have held my mouth funny - NOTHING :-)
When my cursor is hovering over the tool, it changes to an eyedropper. If I click, nothing happens when the cursor is moved - the cursor changes right back into its regular arrow shape. The cursor does nothing to the image if an item is clicked....there is no change to anything on the monitor.
I am a longtime Photoshop user but new to Premiere Elements. This dropper seems to work nothing like the PS ones. In fact, it doesn't work at all...so far.
Can someone please tell me what I need to do to simply select the eyedropper and take it onto the image and select the white (or gray or black)??? Before I go bananas (may be too late)? THANK YOU!

Still not working. I think the root cause of the problem is the mechanics of using the tool itself; I hope this screen shot shows up below ...
Here I have APPLIED EFFECTS open, and have selected Midtones (Greys) to be expanded so that the eyedropper and other details appear:
Now, just below where it has a box and "Impacted frame area in white" (which I know is a checkbox allowing the area effected to be seen), there is a little color box and an eyedropper.
What EXACTLY do I do to select (activate) the eyedropper and subsequently tell the program what I feel should be grey in the selected clip?
As mentioned before, I can click it and the cursor briefly changes to the same shape as the eyedropper. But as soon as I move the cursor a fraction, it changes back to an arrow (normal cursor) shape. Even then, going to the area I need to select in the image, and then clicking it, does exactly nothing to the appearance of the image shown -- even if the colors start way off. No correction at all. It is as if the tool does nothing. The color wheels below all this DO work however - it's just the eyedropper that doesn't do anything. This just cannot be Adobe's intention. I am convinced there must be some flaw in how I am selecting the tool itself. And the user guide - needless to say - is worthless in explaining the mechanics.
So very frustrating. This appears to be the only thing wrong with the program - nothing else seems amiss.
NOTE: To add insult to injury, this promised white/gray/black balance feature and the three-way-color corrector is the SOLE REASON I purchased the software. Funny.

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.

Inaccurate White Balance Of 808 In Low Light - Any...

I find the white balance and exposure of the Pureview 808 in indoor low light shots to be erratic, mostly inaccurate in most shooting modes. Although the predecessor N8 produces a noisier and darker image that is lacking in clarity (in low light), I find its white balance to be more accurate than the Pureview 808.
In low to dim lighting, the white balance on the Pureview 808 always appear to be cooler than actual conditions apart from the image being slightly over-exposed.
Below are my observations on the Pureview 808 (only in low light):-
1) In "Scenes", Night mode will produce an image that is slightly brighter than actual conditions, slightly overexposed. White balance is off.
2) In "Creative", Auto, Incandescent and Fluorescent modes, - as above.
3) In "Creative", Sunny and Cloudy modes will produce an image that is truer to actual conditions. White balance is more accurate in these modes.
The N8 in Night mode (with white balance in Auto) produces a more accurate white balance than the Pureview 808, though the image suffers from noise and is slightly under-exposed.
Not exactly a criticism of the Pureview 808 as the overall image quality in low light at high ISO levels is still pretty remarkable with excellent clarity and low levels of noise. It's just the minor issue in the white balance which seems to be always off in low light.
In good light, bright sunny conditions outdoors, no issues.
For those who own the Pureview 808, may I ask how do you cope with this slight anomaly in the Pureview 808? Will there be software update in future to address this flaw?
Any information would be appreciated.

It is unfortunate that sample images cannot be posted here. I have some sample images which not only demonstrate the inaccurate white balance of the Pureview 808 in low light but also the erratic exposure which seems to render an image in low lighting conditions to appear brighter than what it is in real life, an over-exposed image.
Below is the link to CNET's review which also highlights the inaccurate white balance of the 808.
http://asia.cnet.com/shootout-nokia-808-pureview-vs-panasonic-lumix-dmc-lx5-62216561.htm

Why does my infrared custom white balance not load into Lightroom or CameraRaw?

The preview shows the correct WB, but the full render removes WB and any monochromatic color profiles.
Correct WB that I want. As seen from back of camera
Once the full preview loads. DO NOT WANT.
White balance is at 2000, the coolest it can go. I cannot recreate the custom WB that is in camera. I can make all of the B&W, but I want the custom WB so I can do a proper channel mix in PS.
Thank you for any help.

You can use the DNG Profile Editor to add a negative bias to the WB settings in an existing camera profile and save it as a new profile (for IR) so you can adjust the effective WB lower than 2000K:
http://stevencastle.wordpress.com/2010/07/17/processing-infrared-shots-in-adobe-camera-raw /
It still won’t pick up what the camera did, but you can adjust things lower, at least.
If this one page doesn’t make sense Google for (DNG Profile Editor IR white balance)

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?

White Balance below 2000K?

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