White Balance & Post Production

Hi,
My client gave me an interview she conducted to edit. The white balance is horrible. Is there anyway for me to fix this problem during post-production? I've been playing around with color correction and desaturation.
I'd appreciate any feedback.
Thanks
Power MacPro Mac OS X (10.4.1)

How much time do you have to turn this project around? In the Peachpit Apple Training Series, there is a training book titled "Advanced Color Correction and Effects in Final Cut Pro 5" that is an excellent resource for this.
It teaches you how to color correct using the four FCP scopes to get it right.
The Auto White function in Color Corrector 3-Way will put you in the ballpark IF there is a white object in the shot. If not, then you're on your own.

Similar Messages

How to White balance in post production

I am working on a project that was used by two cameras, but one of the cameras white balance is different than the other. Is it possible to match the white balance in post production in final cut express so that the video quality looks very similar (without one seeming bright orange than the other)? Thank You for any help with this topic.

FCE has a Color Corrector in Browser>Effects>Color Correction>Color Corrector.
When you adjust one cameras clip to match the other you can copy and paste attributes to other clips
Al.

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

Precision White Balance Techniques

Hello. This is my first post here; glad to be joining.
I have been using Nikon Capture for years and am moving to Aperture because I find the new Capture NX no longer meets my needs. I have been using a post processing technique taught by a Ron Reznick. Let me say it's not my intention to prosetlyze here, but I am looking for a way, in Aperture, to get precise White Balance.
I've already made a suggestion to permit enlarging the luminance histogram in order to use the shadow area (<64) curve reversal to get precise White Balance but cannot do it with the current Aperture histogram. I have the 30" monitor yet the curve is still only 1" high, too small to use.
Is there a technique one of you use to set the white balance? I asked this at DPReview and was lectured to that it's whatever you want, but that isn't how I understand white balance. I don't have a need to change it to something else; I simply want to set the precise WB which occurred when the image was shot.
Any suggested methods using Aperture?
Thanks in advance, Rich<br>
Mac Pro, MacBook Pro, Mini (2) Mac OS X (10.4.8) 30" Monitor

Rich - I'm using the WhiBal product with excellent success. I shoot the target at the scene (easily carried on a lanyard around my neck) and then process in Aperture with the White Balance tool. BTW, when positioning the tool, I use the loupe option set to show color values to insure that I'm getting the most neutral point....you can learn about the WhiBal gizmo from video tutorials on the web site: http://www.rawworkflow.com/products/whibal/index.html
I hope this is helpful in some way...your discussion of using curves to do this is something new to me, so you may be beyond this point.
Good Luck.
david
MP, PB12 Mac OS X (10.4.8)

Tethered and White Balance question

I am using the latest Aperture and also the latest Aperture Hot Folder to shoot tethered using my Canon5d to my powerbook g4 1.67ghz. The issue is shooting images with the same white balance applied as I shoot. Is there an obvious way to do this that I am missing? Or does anyone have an idea how to do this using Applescript? My main app to shoot is CaptureOne and white balance is quite easy to do using this app. I am trying to integrate Aperture into my shooting workflow not just my post workflow. Any ideas would be appreciated.
- Rudy

i don't know what your canon is like, but the D200 also has the ability to 'read' a white balance setting (probably from the same sort of calibration card that you're talking about... i've never tried one, but often want one). this calibrates the in-camera white balance setting based on the light you're shooting with. this again would hopefully get you close to correct without software post production (this is a theme for me: shoot correctly and then spend less time correcting).
and you've still got the ability to tweak if its not perfect and then lift/stamp those tweaks everywhere else. i like the fact that CapOne had thought of that for tethered shooting, but i also don't like to stretch and pull my image data any further away from the raw data than necessary.
keep us posted on how you finalize the workflow
scott
PowerMac G5 2.5GHz Mac OS X (10.4.8) MacBook Pro 2.0GHz

RGB % values no longer visible in white balance selection tool loupe

When using the white balance selection tool in LR3.3 RC the RGB values no longer show in the loupe window while moving the tool around the picture. The only way I can get the values to show is to stop moving the tool and then click any one of several keys (e.g. Ctrl, or Shift, or Alt, or \, etc.) As soon as I then move the tool the RGB values again disappear until I stop and again click one of the keys. It had worked fine previously in LR3 (?before I updated from 3.2 to 3.3 - that is, the values would show continuously as I moved the tool around the image. Any thoughts about what to do?
Thanks.

Tom Hogarty wrote:
We did catch this bug and it will be fixed in the final Lightroom 3.3 release. Thanks for posting your experience.
Regards,
Tom Hogarty
Lightroom Product Manager
Nice to see you here Tom.. Thanks for the update. Is it somehow related to some of the other issues being reported about the TAT tool, just thinking they are both perhaps "pointer" related?
Jay S.

Nikon D2X - DNG vs NEF White Balance Mismatch

Folks, I was hoping someone might be able to help me with a frustrating White Balance issue. Specifically, I have found that my photos often have very different White Balance values -- for both Color Temperature as well as Tint -- when comparing the original NEF and a DNG created by Adobe DNG Converter. (And the images' appearance is reflected by the difference.) If I proceed to correct the White Balance values in the DNG, so that they exactly match the NEF, the images are identical.
You might ask, "Why do you want to convert your images to DNG?" The key reason is that DNG provides lossless compression, which makes a HUGE difference on storage requirements. (Unfortunately, Nikon's RAW compression is lossy, and I cannot afford any image quality degradation -- no matter how slight.)
As far as pertinent info: Camera: Nikon D2X. Platform: Mac OS X 10.4.8, with all updates installed (including the Camera RAW update released a month or so ago). Hardware: MacBook Pro 17" 2.16 (CoreDuo) and PowerMac G5 2.7. Software: Lightroom 1.0 and Adobe DNG Converter 3.7. (DNG Converter 3.6 provides same results.)
In terms of the NEFs, they are uncompressed. (I also took a couple of test shots with compressed NEF, but the results are the same.) In terms of color settings on my camera: Color Mode II, Color Space AdobeRGB. (I know these things theoretically have no impact on RAW files, but I thought I should mention it anyway.)
When searching the Adobe forums, the only directly-comparable issue I found was related to Sony's Alpha camera, using a much older version of the DNG Converter. However, this issue was corrected in later versions. URL of message thread: http://www.adobeforums.com/cgi-bin/webx/.3bbf7680/7
Has anyone else encountered an issue like this? And please tell me that what I am experiencing is not a "feature" of either Lightroom and/or DNG? :-P

Even the professionals are divided on this one, which is why I provided the link I did. It actually supports your statement.
However, my _only_ point was that converting your lossy compressed NEF format photos to DNG will not recover those bits. They are gone forever as a result of the in-camera processing.
Different post-production workflow issues are a completely different thing, and a good reason to switch to DNG (along with the arguments for long-term archival storage).
You did state that your key reason for going to DNG was to take advantage of lossless compression. Ok, but you are taking a lossy compressed original (probably, but this depends on your camera) and converting it to a new format. Regardless of whether that new format is losslessly compressed or not, the original is missing that information. Again, converting to DNG will not recover those bits.
Unless, of course, you have a camera that offers lossless NEFs, in which case conversion and compression might save you quite a bit, as long as you did not save the original NEF inside the DNG.
If you, like me, are stuck with a Nikon that only makes compressed NEFs, then you are stuck accepting lossy compressed NEFs -- NEFs that are quantized in-camera.

Nokia Lumia 900 Camera White Balance "Fix"

I'm not sure if other people have posted about this but I figured out a pain in the @$$ way of coping with the atrocious white balance on the Nokia Lumia 900. I found that each time you change the white balance setting it will take the first picture with the white balance you choose. After that it resets itself to whatever it wants. It doesn't matter what white balance setting you have saved. So eact picture I have to go into the menu and switch the white balance to something else and then back to the whtie balance I actually want. It's totally unbelievable. C'mon Nokia! Flagship phone?! Really?! Do the engineers actually use the device or do they design it and ship the plans off to Asia and just assume everything turned out okay? The White Balance is malpractice. And before anyone asks I am on Tango with the latest Nokia update installed.

Hi. We are sorry to hear this. Try doing the troubleshooting steps provided on the below link:
http://www.microsoft.com/en-us/mobile/support/product/lumia900/troubleshooter/?categories=Phone%20me...
Let us know if this helps or not.

White Balance Effect

CS6 Production Premium Suite
Win7x64
Nvidia GForce GTX 470
Intel i7 930 @2.8GHz
12 GB memory
Canon XA10
Does Premiere have a White Balance effect like Camera Raw which adjusts the white balance Kelvin?
If not, why not since Camera Raw has one.
Is there a third party that does?
Thanks in advance.

I use an Expo Disc to manually set the white balance for the Canon XA10. However, the lighting was suddenly changed while shooting. Unfortunately, the XA10 greys white balance changes while shooting. The speaker would have gone ballistic if I asked her to stop for a moment to change to auto white balance. So I was forced to shoot with a manual white balance setting that looked great before the lighting change but looked awful afterward. Hence, the need to make white balance adjustments in post production.

White Balancing a Dslr

Guys, I;m trying to figure out something with my canon T3i, my intended aim after to recording my footage is to color correct it and grade afterwards in Post Production, to somewhat give it that cinematic/film look in terms of its color.
I know most people say to shoot with the camera in a flat profile, but i want to know after setting a flat profile, do I still need to white balance the camera? Or should I just factory reset the camera and then set the flat profile, use one of the custom white balance in the camera depending on what I'm shooting and then shoot the footage?
Because I run into so many problems when I try to white balance these Dslr's using the a white paper or something.

The Profile and white balance are two different things.
The picture profile involves sharpening, contrast, brightness, saturation and hue.
White balance is removing unwanted color casts.
You do not want to do that in post, maybe slight corrections.
How to set white balance is explained in the manual. At least in mine (Nikon).
Besides the camera comes with a whole bunch of white balance preset.
If you know the color temperature of the lighting you can set a Kelvin value.

Correcting the white balance?

I have some clips that are slightly blue on the white. Was wondering whether there was a way to correct the white balance in post-production (FC2)? Thank you.

I'll add to Andy's reply.
If you open the Scopes and select the Parade scope, look at the relative traces of red, blue, and green. A well balanced shot of an evenly composed scene will display on the Parade scope with fairly similar red, blue, and green traces.
So, while you keep an eye on the Parade, move the little circle in the white color wheel slowly away from blue until the red, blue and green traces are mostly even. Then look at the traces in the zero to 20 unit range and do the same thing with the black color wheel. Then again with the mids wheel while looking at the traces in the 40 to 70 unit range.
That should get you close. After that, it's an art. Make further corrections S-L-O-W-L-Y, with very small changes at a time, until things look right on a properly calibrated external video monitor.
But before you do all that, look at the waveform monitor scope and adjust sliders at the base of the whiles and blacks color wheels until the trace shows video going from 0 to 100, or close to it, depending on the scene. (Sometimes, a properly displayed shot just doesn't go all the way from 0 to 100, and should not be made to do so. Most times, this will work - do it before the rest of the color correction.)
NOTE: This is a too-short explanation of basic color correction techniques. If this doesn't make sense, seek the details elsewhere. The Peachpit Apple Training Series book, "Advanced Color Correction and Effects in Final Cut Pro 5" is really good, though it hasn't been updated for FCP 6 (not that it has to be - no changes.)
http://www.amazon.com/Apple-Pro-Training-Advanced-Correction/dp/0321335481/

White Balance Correction

Hi all,
This might be a question which is too "simple" for Aperture but here goes...
I am used to using Adobe or Nikon products to edit my RAW images, in those apps you could change white balance as if you were in camera (ie: daylight, shade, flash etc...). In Aperture it seems the only way I can adjust white balance is to click somewhere in the image which is white, is this correct?
Appreciate it.
MBP 15'' 2.16 Mac OS X (10.4.6)

I think it what would put Aperture in a
better position would be to use the same system as
the competition
How can Aperture surpass the competition by copying them? The current system is workable for saving presets. I am looking for something much better out of Apple in the next revision of Aperture than just 'copying' the competition.
Aperture is innovative and ground-breaking software in many areas. We will have to wait a bit longer for them to fill in some weaker spots in a application.

White Balance in Camera raw

Every time I open an image from Bridge in CS6, into camera raw the white balance always defaults to fluorescent. How can I change default opening to read as"shot as"?

Hi there! Because the forum you originally posted in is for beginners trying to learn the basics of Photoshop, I moved your question to the Camera Raw forum, where you'll get more specialized help.

White balance settings always display 5000K 0 Tint

Been searching on this, found a few things, but nothing helpful.
In the past few weeks, it appears that Aperture is no longer interpreting my cameras white balance settings properly. The colors themselves are fine, however, the adjustment applet always shows 5000k with 0 tint. I'm not quite sure when this started, but it's quite frustrating. This appears to be happening on everything newly imported. (I can only verify JPG at the moment, as I'm seeing this on a Canon S95 and 60D, which both don't have RAW support yet in Aperture).
Anyone ever see this happen, or no of a solution? I'm using Aperture 3, latest updates etc. on OS X 10.6.4. My older files all appear fine, it's just these recents, from these two cameras. Unfortunately, I've sold my other gear, and don't have an older cam around to test. Either way, other products, Adobe, seem to be reading things properly.
Thanks for any input.

So all these files are JPEGs?
Note that white balance works very differently with JPEGs and RAW files. There really is no "white balance" information in a JPEG, and you can't adjust them the same way. That's one of the big advantages of RAW files. I suspect once Aperture supports the RAW files for those cameras, then you'll get proper white balance. Until then, with JPEGs you're kinda SOL. It's a bunch more work. But that's the nature of the medium.

Can Bridge report in-camera settings for White Balance?

No matter what settings I choose in Bridge Preferences, I cannot get it to tell me what was the White Balance (WB) setting of the camera when raw images were shot.
This seems an odd omission because Camera Raw is passed this information and displays images correctly, although it doesn't report what WB value it was given, only that what you are viewing, prior to any editing, is the default "As Shot".
I'm referring to raw files shot on my Canon 300D, Nikon D700 and Canon 5D Mark II.
Currently I'm using PsCS6 (13.0.1.2 x64), Bridge CS6 (5.0.2.4 x64) and ACR 8.1 on a Windows 7 x64 8GB system, but the same omission existed on the same Windows system with ACR 7.x in CS6 and all releases of PsCS5, Bridge CS5 and ACR 6.6 and 6.7.
On the opening dialog of Bridge Preferences, at the bottom you can choose whether or not you wish to 'Hide Empty Fields'. Selecting or unselecting this option does not have any effect upon Bridge's inability to report WB when, from within Bridge, you select File Info from the File menu or by hitting Ctrl + I.
The only locations in Bridge Preferences I can find that need selection (and which I have selected) for Bridge to supply WB information upon invoking File Info are here:
Preferences\Metadata\Camera Data (Exif)\White Balance; and
Preferences\Metadata\Camera Raw\White Balance
I have also selected Preferences\Metadata\File Properties\Supports XMP, and yet Bridge fails to give the in-camera WB in the Camera Data tab of File Info.
I have been able to locate references to WB in the following tabs of File Info:
File Info\Advanced, where there appears, under the sub-tab 'Exif Properties (http://ns.adobe.com/exif/1.0)', an entry such as 'exif:White Balance:1'; and
File Info\Raw Data an entry such as '<exif:White Balance >1< /exif:White Balance>'.
However, these are just code numbers, not names like 'Cloudy' or 'Shade', and they are not only inconsistent (both showing the code 1 for an unedited image I know was shot with Auto WB and another unedited image I know was shot with Flash WB) but also it would appear that the codes may refer to the WB as modified by ACR - because an image I know had its in-camera WB of Auto altered in ACR shows a code of 'Custom' rather than 0, 1 or some other number.
So what am I missing? Does anyone know how to make Bridge Preferences display the in-camera setting for WB, and if so, under which tab of File Info do you look for the answer once you have set up Preferences properly?
Message was edited by: Andrew_Hart
Just corrected my current Photoshop version

I'm afraid that you just haven't addressed the question that I asked in my original post.
I still like to think I have but if you for whatever reason need this info showing in the metadata you probably be better of trying to alter it your self or find a way to address Paul personally (maybe via a private message).
I have not heard from him for a long time and a small google search provided me with this forum post, hope it helps you, maybe you can also persuaded Paul to come back, he is very missed!
http://www.ps-scripts.com/bb/viewtopic.php?f=2&t=5508

White Balance & Post Production

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