Hi i usually dial in the white balance, but see that using a white balance card is obviously more accurate. One quesiton, when using a prime, e.g. a 25mm voigtlander, how should you be white balancing with that? If it's framing an actor a bit furhter away, usually holding a white balance card in front of them won't fill the entire screen, so is it better to bring the card closer to the camera and balance, or up the camera and quickly move it closer to the actor and white balance there?
Best way to white balance on the AF?
- Thread starter tommygdawg
- Start date
Rolf Silber
Veteran
In black & white......
Bern Caughey
Veteran
As Barry stated, Flo's, & HMIs, are the worst with the presets. In natural daylight I've been less religious about white balancing, & sometimes dial it in.
I'll test ExpoDisc in daylight.
Maybe pickup some WarmCards too. I've been using old Wratten Gel filters during WB for that need, but they're getting too beat up.
gkantziper
Esteemed Member
1/4 Warm Card or white card for tungsten situations - put one in "A" and the other in "B" and then compare PRST, A and B. You'll choose PRST a lot of times as it can be more pleasing under "pure" tungsten.
White card for daylight situations. Warm cards are typically too warm in daylight for my taste.
For mixed temperature / interesting effects situations, use a cinegel swatchbook over the lens and balance on a white card. Especially good for removing a little green by balancing through a 1/8 plus green gel.
Or, if you are in a difficult situation (i.e. sodium vapor factory lighting) and Auto WB won't give you a good balance sandwich blue + green + whatever works to customize WB.
https://secure.bhphotovideo.com/c/search?Ntt=rosco+book&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=
Books are a lot cheaper than a matte box, filters, etc...! I never understood the DPs weighing down their rigs with baseplate, rails, box, filters to add a 1/4 coral! Eyewash for client, I guess? That can make more sense than gelling all the lights to A/B a look for the director! But switching from WB memory A to B to Preset works faster than anything.
All that being said, in a bizarre mixed light situation, I have occasionally used ATW PLUS ATW Lock when the picture looks pleasing to the eye!
White card for daylight situations. Warm cards are typically too warm in daylight for my taste.
For mixed temperature / interesting effects situations, use a cinegel swatchbook over the lens and balance on a white card. Especially good for removing a little green by balancing through a 1/8 plus green gel.
Or, if you are in a difficult situation (i.e. sodium vapor factory lighting) and Auto WB won't give you a good balance sandwich blue + green + whatever works to customize WB.
https://secure.bhphotovideo.com/c/search?Ntt=rosco+book&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=
Books are a lot cheaper than a matte box, filters, etc...! I never understood the DPs weighing down their rigs with baseplate, rails, box, filters to add a 1/4 coral! Eyewash for client, I guess? That can make more sense than gelling all the lights to A/B a look for the director! But switching from WB memory A to B to Preset works faster than anything.
All that being said, in a bizarre mixed light situation, I have occasionally used ATW PLUS ATW Lock when the picture looks pleasing to the eye!
groveChuck
U-matic Member
with a polarizer :grin: