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12-10-2007, 10:33 PM   #1
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Year end party with FA 50 f/1.4 -- weird WB tungsten

The following are shot with Pentax FA 50 f/1.4 in mostly iso 800 and iso 1600 and I get many blue pictures in the tungsten preset WB; otherwise, I am happy with the pictures in total darkness in the parties, I shot mostly without use of the built-in flash but for people's shot, I use the built-in flash which aids with focusing light to get focus assistance. Someone please clue me in the easiest method with custom white balance, and I remember others keep mentioning repeatedly on using white coffee filter. Is there a big difference between coffee filter and an index card? Much thanks!

#1
Blue ice


#2
Colorful ice


#3


#4
Wonderful performer on tall legs, stilts


#5
She is so photogenic and people held her hands to take group
pictures, I wish I had an AF wide angle lens to take the vertical shot


#6


#7
Ice Skating


#8
Drinks


#9
My sweeite with performers


#10


More in this flickr photo set

Yahoo YEP 2007 - a photoset on Flickr

My thoughts on Pentax FA 50 f/1.4"
Thoughts on Pentax FA 50 f/1.4 - Hin's Tech Corner

My gear:
Inexpensive gear with Pentax - Hin's Tech Corner

Thanks,
Hin

12-10-2007, 11:45 PM   #2
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I don't think the lighting was tungsten - 3200 K. If you shoot RAW, you can easily correct the WB in post processing. I just leave my K10d in AWB so that the LCD is approximately correct and shoot straight RAW. In post processing (in Lightroom) I use the WB eydropper to set the WB based on a white object/area in the image.
12-11-2007, 06:01 AM   #3
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Yeah, doubt there was "regular" tungsten lighting in a big hall like that. Shoot RAW and correct in post (listen to Canada Rockies )
12-11-2007, 06:15 AM   #4
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You didn't mention which camera you have. If it is the K10, you can easily adjust WB in the camera.

Take a photo, then without doing anything else, press Fn. Select WB and you will get the WB menu superimposed on the photo you just took. Changes in WB setting appear directly in the image. (note they will not correct the image you just took, but will use the changes for all new photos).

With respect to the lighting, I would bet that the overall lighting was actually mercury arc, and that by setting to tungston, you actually amplified the blue tones even more.

With respect to "shooting RAW", you don't need to,, Although you can make adjustments easier in RAW, you can still make a reasonable color correction from a JPEG.

I use PSP X2 and all you need to set color, is a white or black surface, click on it with the pointer (in the AJDUST-->Color Balance function) and let the software set the color for you. You have slide controls for personalizing it because I find making the lighting a little warm is better.

12-11-2007, 07:11 AM   #5
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Thank you all for the inputs

I was using a K100D along with FA 50 f/1.4 in the shooting. Perhaps, K10D don't have WB issues with better adjustment available in K10D. On the contrary, I find my K100D having a lot of WB issues for indoor low lighting environment and hence my questions. I have not explored on raw picture but that is something that I need to remember and start exploring. I shoot all in jpeg. By the way, someone told me about coffee filters before, I am yet to test it in next shooting. And I have never used and seen an index card and is it useful for adjusting custom WB for indoor shooting? Would an index card work better than a white coffee filter. If you have WB issues with K100D, please share your techniques in overcoming the problems especially in indoor -- raw & pp, index card, custom WB and which one you find most effective with the least time involved.

Thanks,
Hin
12-11-2007, 12:23 PM   #6
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JasonS wrote:

I make my living as a video engineer on major events. WB can be a constant struggle on any event with theatrical lighting. To the extent that the broadcast standard utilizes remote camera control hardware that links back to the control area where a person called a "shader" does constant adjustment to each camera's white balance and exposure. Good setups have individual controls for gamma, black levels, and highlights for each RGB channel. Many have presets that you can program for different lighting looks or areas of the stage. Not to mention, broadcast video cameras have a built in filter wheel that must be manually set nearest to the average color temp.
The problem mainly exists due to the mixture of 3200 and 5600k lighting instruments in use by many lighting directors. Plus, in many venues you also have house lights that add their own cast to a scene. Some house lights operate in a very limited spectrum that is very difficult for CCD or CMOS to resolve properly.

Either get used to constantly checking and adjusting WB or shoot raw.

Look at the manual to some of the Sony Broadcast CCU or RCU hardware if you want to see the lengths video pros go through to deal with this issue.
OR, if you control the event, hire a Lighting Director that serves yours needs as master.
12-12-2007, 11:10 AM   #7
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Thank you for detailed information ...

QuoteOriginally posted by JasonS Quote
JasonS wrote:

I make my living as a video engineer on major events. WB can be a constant struggle on any event with theatrical lighting. To the extent that the broadcast standard utilizes remote camera control hardware that links back to the control area where a person called a "shader" does constant adjustment to each camera's white balance and exposure. Good setups have individual controls for gamma, black levels, and highlights for each RGB channel. Many have presets that you can program for different lighting looks or areas of the stage. Not to mention, broadcast video cameras have a built in filter wheel that must be manually set nearest to the average color temp.
The problem mainly exists due to the mixture of 3200 and 5600k lighting instruments in use by many lighting directors. Plus, in many venues you also have house lights that add their own cast to a scene. Some house lights operate in a very limited spectrum that is very difficult for CCD or CMOS to resolve properly.

Either get used to constantly checking and adjusting WB or shoot raw.

Look at the manual to some of the Sony Broadcast CCU or RCU hardware if you want to see the lengths video pros go through to deal with this issue.
OR, if you control the event, hire a Lighting Director that serves yours needs as master.
Thanks for the detailed suggestions especially on the mixtures of 3200 and 5600k lighting. I need to pay attention to the color.

Much thanks,
Hin
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