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    Quote Originally Posted by puredrifting View Post
    But you shoot Sony, why bother to white balance?

    I kid, I kid... ;-)
    Ah but Venice color ... so nice.

    Honestly when I was wielding the A9II the memories allowed me to shift from 5600 to 3800K with a changed ISO
    instantly ... going from only my LEDs for podcast to mixed lighting in the larger space of the sanctuary for sermons was a gift.


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by puredrifting View Post
    But you shoot Sony, why bother to white balance?

    I kid, I kid... ;-)
    I think the A7SIII color is just as good if not better than any of my Panny cameras, thank you very much

    And certainly, if you've got wonky colors, it's probably even more important to nail the correct balance


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    Quote Originally Posted by puredrifting View Post
    But you shoot Sony, why bother to white balance?

    I kid, I kid... ;-)

    That's hilarious.

    Anyone who doesn't laugh at that, has an all too short memory of Sony colour science. haha.


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    Sigma art 24-70 2.8f on sale for $899 at B&H. Four mounts, Sony E, Canon EF, Nikon F and Panasonic L. This is a flash deal.
    https://www.bhphotovideo.com/find/dealZone.jsp
    Last edited by Ken1212; 12-07-2020 at 12:25 AM.


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    Quote Originally Posted by ahalpert View Post
    Sun setting and the balance of power shifting to candles can cause a gradual decline from 5600 to 2500 a few hundred kelvins at a time.
    Maybe I'm not reading this right, but for me anyway shooting up to then after the sun sets means a gradual INcline from 5600K up to the neighborhood of 10,000K if you are trying to maintain the same color balance...then at the point at which the ambient fades enough that it's beyond matching and it becomes a night look, it's one big shift down to 3200 or whatever your source is (if candlelight then perhaps 2500, although I prefer to let that go warmer vs neutral anyway). Unlike waning daylight, other sources like candles are fixed so I'm not sure I get making a series of adjustments down to that color temp.
    Charles Papert
    charlespapert.com


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by CharlesPapert View Post
    Maybe I'm not reading this right, but for me anyway shooting up to then after the sun sets means a gradual INcline from 5600K up to the neighborhood of 10,000K if you are trying to maintain the same color balance...then at the point at which the ambient fades enough that it's beyond matching and it becomes a night look, it's one big shift down to 3200 or whatever your source is (if candlelight then perhaps 2500, although I prefer to let that go warmer vs neutral anyway). Unlike waning daylight, other sources like candles are fixed so I'm not sure I get making a series of adjustments down to that color temp.
    The situation I'm thinking of is sunlight streaming through windows at a wedding. The candles are already lit, and as the strength of daylight diminishes, the candles make a bigger proportional impact on people's faces. Ambient light outside is not a tremendous factor inside if the windows are along the sides of the room and not the ceiling. It's probably a slow decline in color temp and then a jump, though.

    But, come to think of it, the situation is similar for an outdoors wedding since the candles are close to faces and skin tones are my primary concern. It's the mix of light on the faces that I balance for. the background can be going blue as hell.

    I'd love to let the candles be a little warm. I used to balance the image at wedding receptions as it looked to me eye - which is usually warm from either candles or chandeliers. But I've had multiple wedding film companies complain to me about neutralizing the color cast, especially if I was shooting with another guy who deviated from my color temp directive. It seems crazy to me to go to all the effort of bathing the banquet hall in warm ambience only to "correct" it in camera but it's not my call
    Last edited by ahalpert; 12-07-2020 at 06:49 AM.


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    Quote Originally Posted by CharlesPapert View Post
    Maybe I'm not reading this right, but for me anyway shooting up to then after the sun sets means a gradual INcline from 5600K up to the neighborhood of 10,000K if you are trying to maintain the same color balance...then at the point at which the ambient fades enough that it's beyond matching and it becomes a night look, it's one big shift down to 3200 or whatever your source is (if candlelight then perhaps 2500, although I prefer to let that go warmer vs neutral anyway). Unlike waning daylight, other sources like candles are fixed so I'm not sure I get making a series of adjustments down to that color temp.
    Right on, Charles. I'm not sure why, but this seems to be something that lots of newer / younger DP's get wrong all the time. I've had to convince them to go out and do a manual white balance with a camera that shows K temp in viewfinder on a sunny and cloudy day and then after sunset to "teach" them that "daylight" balance is a pretty broad range.


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    Senior Member ahalpert's Avatar
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    For the record - all I'm talking about is the average color temp on faces produced by a mix of light sources, one of which is candles or warm incandescents, and the other of which is the setting sun and the dimming blue sky


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    Senior Member Peter C.'s Avatar
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    Have you ever thought about buying daylight balanced candles?


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    Quote Originally Posted by Peter C. View Post
    Have you ever thought about buying daylight balanced candles?
    Yeah, I grabbed a bunch of those the other day. get the ones with the blue wax.


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