White Balancing
- Thread starter temerson
- Start date
V
vervor
Guest
This is tricky and you can't really tint an image in the true sense of the word, but you can make the camera expose it more blue-ish (colder looking) or warmer (reddish/warm look) - - you need to play around with it, but I carry various light-blue chips around and will expose them as my white balance card instead of white when I want it to look warmer than a normal white balance would get (say, morning light or very bright outdoor light coming indoors and you want it warmer instead of blue-ish - esp against a room or something that is already white). If you want a real tint you can previsualize the white areas or whatever colors you'll be effecting in post (where you can do a real tint) and then shoot, or you can use colored filters or gels like you mentioned before.
J
Jon Amerikaner
Guest
I think a great way to do that would be in the production design. You could try pushing the white balance in different directions but that could be tricky. You could try different filters and even color correction in post. It depends on what color you want to get. Lighting might work but everything in the shot: skin, blacks, whites, will reflect the light color. Realize that if you add filters, white balance differently, lighting, or correct in post, the entire image will be affected. The best way I think is with production design. By saturating your costumes and sets you can get the color you want without affecting things like skin tone, highlights, and shadows.
A
Agenda Productions
Guest
Re: how abt post??
Re: how abt post??
But if you have the 'shoot for post' attitude it sticks with you. Why not try and do in camera, gel the lights, white balance to different colors, a bit of trial and error. Unless your working with a professional colorist your standard 3 way color correction in Final Cut Pro is not going to give you the same looks as that if you had of done it one set.
Last year with a film i shot, the whole time the director said, 'ill fix it in post', why fix it in post if you can put in a little extra effort and FIX IT THERE.
James.
Re: how abt post??
bollywood said:
But if you have the 'shoot for post' attitude it sticks with you. Why not try and do in camera, gel the lights, white balance to different colors, a bit of trial and error. Unless your working with a professional colorist your standard 3 way color correction in Final Cut Pro is not going to give you the same looks as that if you had of done it one set.
Last year with a film i shot, the whole time the director said, 'ill fix it in post', why fix it in post if you can put in a little extra effort and FIX IT THERE.
James.
S
sinjinza1984
Guest
Those who are shooting for post obviously try to get the best footage that is possible to try to assist as much as possible with editing. However, it is normally recommended that unless you are one hundred percent of what you are doing, and how it will come out, that you white-balance normally and then correct for the right look in post. If you've made a mess up of the original footage, you're going to have to try to correct it in post (or even worse, have to reshoot).
If you really want to white balance in an unconventional manner, try to use the compliments of your three primaries to do the white balance instead of white. For example, use yellow if you want to create a blue bias.
If you really want to white balance in an unconventional manner, try to use the compliments of your three primaries to do the white balance instead of white. For example, use yellow if you want to create a blue bias.
A
Agenda Productions
Guest
If you are always 100 percent sure of what you are doing you will never even pick up a camera and press record. I'm not saying, dont shoot for post, But filmmaking is all about trial and error, making mistakes and then through repetition becomes skilled enough to not make the same mistakes. If you dont try and do something outside your reach you will never improve.
James.
James.
bollywood
New member
i dont mean compromise...
i dont mean compromise...
i dont mean to say that u should compromise on shot material u have, but atleast u should be aware abt the possibilities and flexibility that pre-thinking of post-production gives you.. its very true, that if possible you should try and make things as easy as u can for the editor, and being an editor myself, i know that its nothing short of HELL trying to correct and polish horrendous material...its just awareness of the vast possibilities that post can give you..
i dont mean compromise...
i dont mean to say that u should compromise on shot material u have, but atleast u should be aware abt the possibilities and flexibility that pre-thinking of post-production gives you.. its very true, that if possible you should try and make things as easy as u can for the editor, and being an editor myself, i know that its nothing short of HELL trying to correct and polish horrendous material...its just awareness of the vast possibilities that post can give you..
D
DiscoverAlaska
Guest
8) 8) 8) 8)
Let me ask something that may be stupid....
In still photography you can just set the white balance in Kelvin numbers... like, if I want a warmer picture I will set a value, like 6000k... and that´s it!
Why you don´t have this option with video??? it would be so much easier!
In still photography you can just set the white balance in Kelvin numbers... like, if I want a warmer picture I will set a value, like 6000k... and that´s it!
Why you don´t have this option with video??? it would be so much easier!
Z
Zev
Guest
What I would suggest trying if you have gels availible would be to white balance without any gels on the lights. Then C-47 your gels up. If you do it this way you can make more exact adjustments.
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