Nighttime White Balance
- Thread starter Decius
- Start date
Jay_Blanchard
Well-known member
Re: Nighttime White Balance
ah, magic of the color wheel. just pick the color opposite the one you want to shoot, and that's how you white balance.
in this case, to get the bluish tint, you'll want to balance on orange. vice versa, if you want a warm look, balance against a light blue (see warming cards).
ah, magic of the color wheel. just pick the color opposite the one you want to shoot, and that's how you white balance.
in this case, to get the bluish tint, you'll want to balance on orange. vice versa, if you want a warm look, balance against a light blue (see warming cards).
J.R. Hudson
Spirit Animal
Re: Nighttime White Balance
Well put!
Well put!
Re: Nighttime White Balance
i would say shoot clean and add your color in post. nothing is nicer in post than a clean slate to paint on. unless youve already made up your mind. then go for the look in cam. that way your not rendering just to color correct(although you will probably want or have to anyway.. in the end)
i would say shoot clean and add your color in post. nothing is nicer in post than a clean slate to paint on. unless youve already made up your mind. then go for the look in cam. that way your not rendering just to color correct(although you will probably want or have to anyway.. in the end)
Jay_Blanchard
Well-known member
Re: Nighttime White Balance
ah, the modern videographer's mantra--"fix it in post"
ah, the modern videographer's mantra--"fix it in post"
Re: Nighttime White Balance
lol.. that is very true. everyone is always just digitally fixing things in post, but in this case its not really "fixing" its making it in the first place. what would be fixing is if you went for one color when shooting, and then wanted a slightly different color, or had to shift the color of some scenes to get them to match up correctly what im talking about is originally deciding on the look in post instead of when shooting. its just a different order to the process is all. not a coverup.
lol.. that is very true. everyone is always just digitally fixing things in post, but in this case its not really "fixing" its making it in the first place. what would be fixing is if you went for one color when shooting, and then wanted a slightly different color, or had to shift the color of some scenes to get them to match up correctly what im talking about is originally deciding on the look in post instead of when shooting. its just a different order to the process is all. not a coverup.
J.R. Hudson
Spirit Animal
Re: Nighttime White Balance
Not just the Videographers that do this! It is the standard in film!
Not just the Videographers that do this! It is the standard in film!
Taylor Moore
Veteran
Re: Nighttime White Balance
It is far better to alter color correction in post versus production. Just get your contrast ratios working and your exposure in the ball park, then wank in Post.
You will be glad you did, versus a possibly over chroma saturated image that you need to desaturate...
It is far better to alter color correction in post versus production. Just get your contrast ratios working and your exposure in the ball park, then wank in Post.
You will be glad you did, versus a possibly over chroma saturated image that you need to desaturate...
Re: Nighttime White Balance
A TV set burns at 5600 kelvin. So if you put a 1/2 CTB or Full CTB over your TV light source you can easily fake a TV. Also put your light on a dimmer and bring the level up and down to add to the effect. This way you only effect the one light and not the whole shot. If you want the entire shot to go blue than a reverse white balance is the way to go. Using a gel swatch book, place a 1/2 CTO or Full CTO gel in front of the lense and white balance. The camera will had blue to correct. Take the gel away and presto. Blue tones. I have used this technique often for shooting night scenes.
A TV set burns at 5600 kelvin. So if you put a 1/2 CTB or Full CTB over your TV light source you can easily fake a TV. Also put your light on a dimmer and bring the level up and down to add to the effect. This way you only effect the one light and not the whole shot. If you want the entire shot to go blue than a reverse white balance is the way to go. Using a gel swatch book, place a 1/2 CTO or Full CTO gel in front of the lense and white balance. The camera will had blue to correct. Take the gel away and presto. Blue tones. I have used this technique often for shooting night scenes.