White Balance

Andrew Ray Sep 21, 2015

  1. Hi there,

    beginner's question here: does Baselight come with a white balance tool?
    I don't know Resolve, but I think it could be something similar to its color match tool, or the white balance tool in Color Finesse.
  2. yup, a really good and flexiable one... pick something that should be white / grey/ black, set region to sample
    Rainer Bueltert likes this.
  3. I guess my question is, what operator would you use?
  4. Film Grade- Balance exposure- select neutral color.
    Andrew Ray likes this.
  5. If you have a color temperature control in the raw file, use that. If not, start with the Offset controls, balance out the scene as best you can, and then use Primaries, curves, and secondaries as you see fit. The vectorscope and parade scope will help determine overall balance.

    Where this becomes problematic is if you have a baked-in file (like ProRes) where they made poor decisions with color temperature and/or mixed lighting during production. When that happens, you have to punt and manage the look with skill and hard work. I have occasionally been saddled with 6500° material where they used 3200° lighting, and it's contaminated all over the place with yellow ickiness. (That's a technical term.) Trying to pull pure whites out of material like this is almost impossible, but you can make it acceptable to a point. There's always the chance that the filmmakers will embrace the contaminated look as just part of their creative decision.

    But I have had situations in both film and digital where I had four kinds of mixed lighting (tungsten, florescent, daylight, and TV monitors) bathing the actors... and the client still expected to see white walls, white sheets, white uniforms, and so on. Even worse if you're in a hospital scene or something like that.
  6. Marc. Please read the OP question again.
  7. Doh, sorry -- didn't see it was Baselight. My bad. Typing fast inbetween renders.
  8. hi,
    does anyone knows if there is an option to change the white balance of a clip that it's not raw file?

    I'm working on a film and we've alredy graded some shots changing the white balance parameters from the raw file, but a lot of these shots are VFX so when i get the .EXR file with the VFX i get diferent result, obviously...

    Do i have to adjust it manualy? Or there's some way i can add the same ofset to the vfx shots?
    I know i can do it manualy but then i will stop changing the parameters on the raw file...

  9. You can use the temp control
  10. Thanks! I will try it!
  11. Bear in mind that is just a constrained gain control. It does not have the same effect as adjusting temperature in raw parameters.
  12. Nick;
    I understand that's how temp/tint Resolve works, but is that the same in Baselight's temp controls?

    in Resolve i use an L*a*b node to mess with color temp
    Last edited: Dec 18, 2016
    Sanjin Švajger likes this.
  13. How does this help?
  14. Sorry, you're right. I missed what sub-forum this was (I admit I find the new version of the forum slightly harder to navigate on my iPhone).

    Baselight's Colour Temperature operator uses a far more sophisticated (and colour space aware) algorithm than Resolve's, so is likely to give a closer result to adjusting the raw parameters. However there are a few slightly different approaches to white balance, so it may still not be exactly the same.

    I guess the best thing to do is to set up a wipe between the same image with WB adjusted in the raw parameters, and one decoded at defaults/metadata with the Colour Temperature operator applied, and find a good match.

    But obviously it would have been preferable if adjusting the raw white balance as part of the grade to bake that adjustment into the EXRs sent to VFX.
    Marc Wielage and Dermot Shane like this.
  15. Sanjin;

    Here's the wiki page discription of what L*a*b is;
    and the nuts and bolts of it;
    why i use it is because it seems to more closely mimic a camera's tint & temp controls, although as Nick points out, all camera's have their own special sauce poured over top, and no post tools can be a one size fits all tint / temp.

    15 years ago i used tint /temp in Cyborg2k, and after that i used reverse engineered maths from Cyborg2k's tint / temp control to work in DS, (i think Tony jover and Igor Radonvich actualy wrote the color tool i used in DS), so tint/temp is a tool i have been leaning on for a long time

    i find Resolve's tint/temp controls when placed over a ramp to pivot from the bottom, not a bad choice, but not a natural choice to my sensabilities, and not a choice that mimic's the tint/temp in the raw tab, where using L*a*b seens alot closer to an imaganry "median" camera to me...

    And Baselight's tint/temp also seems miuch closer to adjusting raw tint /temp

    i use L*a*b on just about every shot on every show i work on, to me it feels natural and subtle, but i also have the control responce in Resolve set to 5 on the balls, 8 on the rings as any more than that and i loose the subtle varaitions, the control surface maths are clearly not optimised for anything but YRGB, fortunatly that can be edited ;-)
    Last edited: Dec 18, 2016
    Sanjin Švajger likes this.
  16. Dermot I guess I will have to try it myself to see the difference in behaviour. But I'm not sure how you use it. If I understand you correctly; you convert the nodes colour space to Lab and the use the temp and hue controls? Interesting, I've never heard anybody using this method. We all have our quirks I guess:) I also appreciate the effort of finding and linking the explanation about Lab colour space, but I already have a grasp on it, so in spite of that, tnx:) I just didn't understand how exactly it helps. Still don't actually:) I'll try tomorrow and see for my self.
  17. Convert the node to l*a*b and then use the RGB sliders (or control surface), R becomes lightness and GB become tint and temp in a way.
    Sanjin Švajger likes this.
  18. So... as I thought I would have to end up matching the shots manually.

    Thanks guys!!!
  19. Yes. I don't think there is a simple way of translating numbers in the raw parameters to numbers in the Colour Temperature operator. The best you can hope is that if you applied the same change, from the same start value, to groups of shots, then the same correction will work on all of them.

    The correction to "increase by 200K" for example will not be the same for different metadata colour temperatures. That is why the Baselight Colour Temperature operator has Old Temp and New Temp controls.

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