--- •• WORKING WHITE BALANCE FOR YELLOW TINT Z1 ••

Hello Guys,
I'm here to bring some HOPE for those users who won, I mean who got Z1 from the lottery yellow tint issue. I am an XDA user since then and I found a thread saying that the Japanese version of Xperia Z1 SO-01F got white balance settings yesterday and the OP ported it to our Z1 C69xx !
I installed it and CONFIRMED ITS WORKING. Results are farm different from Screen Adjuster app from playstore and such where blue is really noticeably. Navigation bar also changes using this. Although I'm wondering why it has different sliders compared to those on Xperia Z (Hue and Saturation), it will give you a peace of mind that the nightmare has ended.
Here are some screenies:
You need to be ROOTED to have this, no other way. It's flashable through CWM but if you are just ROOTED and doesn't have CWM installed, you can just push the files to the folders and change permissions. (tell me if you need help on this one)
Here's the original thread with the download link from XDA :
http://forum.xda-developers.com/showthread.php?t=2572080
If you're an XDA member, don't forget to hit THANKS to him. Don't forget to give Kudos and / or mark the correct answer
It would be much better still if Sony will provide an official solution for this headache issue.
Reply with results you got or problems you encountered installing, Ill help. That's all. Enjoy.
Solved!
Go to Solution.

Yes, we will add a setting for white balance in an upcoming version of the phones software planned for the beginning of next year (see my response here: http://talk.sonymobile.com/t5/Xperia-Z1/Xperia-Z1-C6903-Display-Issue-Yellow-Hue-Tint/td-p/391521/pa...).
I don't have any Japanese unit so i can't confirm if it has been added there already and what it looks like though.
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White balance for infrared images

Hello there,
I love making infrared photos with my digital camera (Canon dSRL).
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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

Will I get my iPhone replaced for yellow tinting problem

Will I get my iPhone 4S replaced for yellow tinting problem, it's hardly 6 months old phone and this problem is from day one. Screen is not whitish it's yellowish.

If you think there is a problem with the screen, try making a reservation with a Genius.

Adjust white balance for multiple images at once?

Is this possible to adjust the white balance for multiple images at the same time?
Or adjust the exposure for that matter?

Of course, this is similar to the question you asked in this thread:
http://discussions.apple.com/message.jspa?messageID=3964192#3964192
except use White Balance instead of Exposure. For others who might be wondering the same thing:
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Changing white balance for multiple photos

Hello All, and Happy Holidays...
During the holidays I was taking photos at a family gathering, about 125 or so, under tungsten light. I forgot about setting the white balance on the camera to tungsten until half-way through the evening. Is there a way to easily change the colour cast for the initial photos? I'm hoping that there is a "retro" white balance setting since all these images will need the same colour shift. I am using an old old version of photoshop that doesn't have a batch function, though I am waiting for the CS3 - but that could take awhile since its coming through the school.
Thanks in advance!!

SethB:
You can try changing the temperature setting in the Adjust pane of iPhoto to what suits you best. Then click on the copy button (in the Adjust pane) , go to the next photo via the arrow buttons and click on the paste button. That will let you go thru the photos fairly fast applying the same correction to each.
Happy New Year
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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) .
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phtshp.us/10utPuk

Moving the discussion to PS Forums

Iso, Shutter Speed, Aperture, White balance for music videos or film?

Hello everyone. I just started making music videos. I just want some tips or can someone direct me to a good guide for music videos. I know the basics of iso, shutter speed, and aperture already. I read some guides and so far I know I gotta put my shutter at 1/50 or if i'm recording something at high speed, i increase it. is it so? Also, I always put my aperture at the lowest. I have a Canon T2i and Canon lenses 50 f/1.8 and kit lens. I always put my aperture at the lowest 3.5(kit lens) or 1.8. The tricky part is the ISO. I don't know where to put my ISO. I know the lowest ISO is good but sometimes the video looks dark. Do I fix this in video editing programs? Like should I always stay at ISO 100? What about white balance? I use Final Cut 7.
Also, what about during the day and night? Indoors? etc I also have a cheap LED lights.

your questions are about the very basics of photography.
I would consider to buy a book, which explains photography 'from the ground' ("... for dummies.." not meant as an offence!)
in short:
a scenery offers a defined amount of light.
Your cameras 'film' aka sensor, needs a defined amount of light to deliver a picture.
So, on recoprding, you have to control the amount of light, and the controls are:
aperture - opened or closed
shutter - shorter or longer
speed (ISO) - higher or lower.
Imagine the light as a stream of tiny balls, coming from your scenery: a bigger hole = aperture lets more balls into the cam. A shorter shutter speed reduces the amount of balls. And a higher ISO catches more balls than a lower. ..
Understanding that, you realize that those parameters are crosswise-related: an open aperture + a shorter shutter speed results in the same amount of light on the sensor as a closed aperture and a longer shutter speed.
If the amount of light is still too much, lower the sensitivity = ISO.
If the amount of light is too little, open the aperture, or use a longer shutter speed or raise the sensitivity.
When you set one or two parameters in this equation, you have to adjust the other ones: Video-makers start with the shutter speed, usually set to 1/2 of frame-rate = 1/50 - 1/60 - why? Because it allows a nice looking 'smear' aka motion-blur aka 'film look'.
Now, with a given speed, you can conrtol teh amount of light for the sensor only by aparture; and when you reach limits, by setting ISO.
When you understood this BY PRACTICING, you're next step is the concept of 'shallow focus'/depth of field. And when you understood this BY PRACTICING, you'll will understand the need of Neutral Densitity Filters for movie-makers...
But first things first: buy a book; read your cam's amnual; practice the settings and watch carefully the different results, diff. settings result.
... and it's really just about basics - independently of your device and/or your software.
None of the things mentioned above can be done or 'fixed' in post... (basically...)
happy movie making!

FIX THE WHITE BALANCE FOR IPHONE 4!

Taken under fluorescent lighting. This camera is not useable like the 3GS was. If no fix is coming soon, then I will not be able to return the iphone for the 30 day period....
Message was edited by: Jack Oak

I would say that white balance presets is a missing feature rather than a broken one (although I can't vouch for 3GS quality).
I don't think it would be too difficult however for either apple or a third party app to implement and I fully expect one of the many camera apps to address this in a future update. This camera is so much more useable than the one in my previous first gen iPhone, and this feature of the camera that I believe is missing more than anything else. Even my old SE K750i had white balance!

White Balance and Colour Tints

Hi,
Well, I've had some time to sit and play with Aperture a little bit more, trying to get used to the interface and adjustment tools.
I have to admit that once you get used to them, they work quite well. Unfortunately, the documention that comes with Aperture regarding these tools is, well.....pathetic to say the least.
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Cheers,
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Hi there Glenn - this sounds really interesting, and something I'm dying to find how to do in my copy of Aperture.
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PE White Balance for separate color tables

I'm trying to use 24-patch color checker. I already have image collected. But they are not exactly 6500K and 2850K. Can I use the images to create separate color tables ?

Yes, you can. It is fine if the numbers don't match, as long as they are reasonably close (e.g., for 6500 it's fine if your image is in the 5000 to 7500 range).

White balance temp and tint readings on hub

Maybe I'm missing something. Aperture does not seem to show actual color temp or tint of specific photos on the adjustnment hub. Reads 0 tint and 5,000 k. Is there an option to activate the hub to display tint or temp similar to ACR?
Thanks,
Robert
www.robertholland.com

Maybe I'm missing something. Aperture does not seem
to show actual color temp or tint of specific photos
on the adjustnment hub. Reads 0 tint and 5,000 k. Is
there an option to activate the hub to display tint
or temp similar to ACR?
I have not found a way to view that - basically Aperture always shows "as-shot".

White balance values for NEF file

Hello
I'm using Ligthroom 1.2 with nikon raw files (NEF) taken with D80 camera (firmware 1.01).
The white balance is most of the time set to 5300K on my camera. But in LR, it always shows 4950K, with tint set to -1.
I know there is some compatibility problems between LR and NEF files, but does anyone know if there is a solution (except of course applying systematically the right temperature in LR during import.)?
Thanks
Erwann

I believe the issue is actually that Nikon encrypts the white balance in NEF files of recent cameras. If you
google for it you'll find lots of links to all the problems this caused. Adobe and other RAW software developers have had to reengineer the encryption of this value in order to get a reasonable value and in order to not break the DMCA (draconian US anti-piracy law). Apparently, for some cameras the algorithm is not so good. The alternative for Adobe would have been to use Nikon's RAW rendering library, which for obvious reasons will never happen. The only software I am aware of that correctly reads NEF white balance for cameras after the D2X without using Nikon's libraries is dcraw/ufraw, but they can get away with cracking the encryption. This really is one of the dumber things Nikon ever did.

HELP White Balance Tint Shift

My white balance brick produces a severe color shift. This just started yesterday after the ProApp 5.1 update. When I make an adjustment in the white balance brick the tint slider is all the way to the right (magenta) and shows a slight green tint. When I set the tint to 0 everything goes green. I have tried uninstalling and reinstalling with no success. I'm just about at my last try with this program. I love everything about AP3 but I don't think I can take much more of all the issues. If anyone can offer some support I would greatly appreciate it.

This is a new version, I have never used Aperture before I've been a LR user. I'm certain I'm looking is the correct location, below are the only Plist items that are in the following location <USER>/Library/Application Support/Aperture/
Adjustment Chain
Export
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Import
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Correct white balance

I just join new job. They taped big project with white wall. Three cameras. Two of them are same and one new camera. I am not sure which camcorders but I see those two cameras are apparently off white balance (slight yellow) while new camera show look great. I am not familiar with color corrections. It got me confused which ones that I should adjust for white balance correction like level controls highlighs mids blacks, color balance, color controls.. all those... not sure which is good to correct white balance. Hope that I am able to match with one look so white and great colors.

Try the Magic Wand.
Turn the CC to Visual mode, that's where you see the colour wheels.
At about seven o'clock on the Balance wheel is a little eye dropper.
Here's how to do it:
Have the clip edited into the Timeline then place your playhead over that clip.
Open this clip (the one in the Timeline that needs to be corrected) into the Viewer. Okay, what you have is the same clip being diplayed in the Viewer and Canvas. This is so when color corrections are made in the Viewer you can see the changes in the Canvas straight away. You know if things going the right way or not.
Drag the Color Corrector from the Browser>Effects>Video Filters>Color Correction>Color Corrector and drop it on the Viewer.
A Color Corrector Tab will be available on the Viewer.
Click the Color Corrector Tab and the CC Filter appears.
Click the eye dropper and move the cursor over the Canvas, the cursor should look like an eye dropper if all is well.
Find something that should be WHITE in the Canvas, place the eye dropper over this and click on it. Instant balance correction can be seen in the Canvas.
If this doesn't work then you can use the wheels manually to change the balance.
Al

Sunrise/Sunset and White Balance

I have a question about overriding Automatic White Balance when photographing sunrises and sunsets. A few days ago, I got my first DSLR, an EOS 5D Mk III. I know the ISO triangle after shooting film on my Canon A-1 that I bought 34 years ago, which still works). However, this white balance thing is a fourth dimension. Films are balanced for daylight and the ISO is also dictated. For photographing a sunrise or sunset, to me, it makes sense to set the white balance to 5200 Kelvin (daylight). I got one response from a camera club member who said his photos were all in the 5000 range. Others have said "Shoot in RAW and fix it in post processing". The second response of "Fix it later" just doesn't ring my bell. What about getting it right the first time? Should I set white balance to daylight or some other setting? I can always experiment with changing white balance; after all, I'm not wasting film. Below are a series of sunrises that I took using Kodak Portra 400, -2/3 stop, on my Canon A-1. http://www.flickr.com/photos/ralphhightower/sets/72157633079358301/ Thanks, Ralph
Solved!
Go to Solution.

It might be helpful to just think of the digital camera's white balance capabilities as a built-in and very complete set of color conversion and color correction filters, such as we used to use with film. Now, for your convenience, all those filters are right there, inside the camera.... much easier to carry around and use!
If shooting during Golden Hours, the camera's Automatic White Balance (AWB) can tend to overcorrect and remove some of the lovely golden nature of the light. One solution is as others have recommended, to shoot RAW and make your adjustments later. This is no different from making the adjustments in-camera, at the time of exposure, and can make for much greater control and precision. It's not really a "fix it later" thing... It is more a matter of doing fine-tuning and optimizing the image (more on this below). RAW simply retains all the data from the original capture and is a good thing to use, anyway.
All digital cameras essentially capture a TIFF image file with a lot of proprietary data attached and an embedded "preview/review" JPEG... that's what the RAW file is. If you make JPEGs in-camera, a lot of data is thrown away, following the directions laid out by the settings in the camera. If, instead, you save the entire RAW file, you can change those directions later in post-processing... or just make a JPEG from the image "as shot", using the exact same set of instructions as were set in the camera at the time of exposure. One of the beauties of RAW is that so long as you store the original image file, you can always go back and re-process it another way, if you wish. This is particularly helpful when new to digital and uncertain about your settings. Something you might want to do is shoot RAW+JPEG initially. That way you have both the full data stored, along with the potential to make changes if you wish, plus the JPEG produced according to your camera settings. The JPEG can serve as a post-processing learning tool, using it as a point of comparison with your own RAW file conversions.... and as feedback about your camera settings. (Don't trust the image display on the camera's LCD screen... it's not calibrated and is too subject to ambient light variations. The histogram display is generally more informative, but even that is subject to the camera's settings, since it's done from the embedded JPEG and not directly from the full RAW file.)
But, I agree, it's also good to "get it right the first time". Or at least come as close as possible.
The most ideal way to do that would be to set a Custom White Balance for every shot. Use a standardized target, bathed in the same light as your subject/scene, and take a shot of it... then tell the camera to use that as reference. However, it's just not practical to do that.
Nor is it a good idea to set one particular color temp and use it for everything (i know photogs who do that and have had to work with their images.... it makes for a lot of extra work!)
Thus there are all the "presets" you can choose among, looking for one that's most appropriate for your particular situation... And there is AWB, which allows the camera to try to choose for you. Outdoors in daylight I've found Canon AWB to be pretty darned good. Shots in the shade can be a little overly cool. And indoor shots with tungsten or other artifical light are when a Custom WB is most likely to be needed.... especially with weird, uncalibrated lighting such as sodium vapor and mercury vapor lamps.
To set an accurate Custom WB, get yourself a gray card or similar (I use Lastolite EZ Balance targets, which are sort of like a foldable/flexible gray card). This also can be helpful arriving at an accurately metered exposures. Something else I use in certain circumstances are Warm Cards... these have slight tints that "fool" the camera into slightly tinting the image.... a light blue/cyan target will cause the camera to render a slightly warm color balance. Warm Cards would be particularly helpful shooting during the Golden Hours, if wanting to retain some of the warmth of the light at those times of day. It's more accurate doing this than simply manually setting a particular color temp, although that's possible too.
And, yes, you should spend some time getting to know how your camera handles color. Each model can be a bit different. You'd do well to shoot a bunch of test shots with AWB, Custom WB and, if you wish, the various presets... to see how they perform.
Of course, you don't always have time to think about or make settings... sometimes to catch fleeting light you have to run to catch an image quickly, shoot RAW and "fix it later" in post-processing!
If you haven't already done so, you might want to calibrate your computer monitor. As concerned as you are about rendering accurate color or manipulating it the way you want it, in case you are unaware of it... your computer monitor is lying to you. All computer monitors are different, none are really very accurate and virtually all are way too bright. If you make prints using an uncalibrated monitor, you will usually find them coming out too dark. This is because an overly bright monitor causes you to adjust the image too dark. If you don't already have them, you might want to get computer calibration software and hardware and use them regularly (about once every month or two, usually... monitors change over time and with use).
The way the calibration device works is by first running a test on your particular monitor, and then providing a profile that the computer will use when rendering images on the display. Some of the more sophisticated calibration suites can also be used to develop printing profiles (unique for each ink/paper/printer combination), projectors and other viewing devices. (I use a Datacolor Spyder, one of several different calibration devices/softwares available).
Hope this helps!
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & PRINTROOM

--- •• WORKING WHITE BALANCE FOR YELLOW TINT Z1 ••

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