Peter, have you tried gray cards etc to get the white correct?
Without proper testing (just on my laptop right now) it seems to balance out correctly as far as i can see.

Paul.

No. But a grey card would be slightly yellowish in direct sunlight, wouldn't it? ColorLab would make this true grey, which would therfore not match.

This may not really be the heart of the matter. Maybe Colorlab is assuming the wrong colour mapping between RGB values and brightness for my camera.

"windscreen which has no tint."

All automobile windscreens have U/V tinting. The UV glass that is used for automobiles is called the laminated glass. It is made of 2 layers of glass and 1 plastic layer in the middle and is able to filter out 95-99% of UV A and B rays in the front window.

Well, the windscreen recorded clips looked natural to me, whereas the side windows often give a green tint that is not obvious when you are in the coach. I have even found that different window panes in the same coach have different amounts of tint. Correcting this automatically via ColorLab by clicking on something that I think should be white, like a sign background or road line, usually results in a scene that looks "cold" by comparison, but more importantly, by comparison to the same scene when recorded outside the coach.

Are you suggesting that a windscreen may actually give a "warm" tint to my recordings?

"like a sign background or road line, usually results in a scene that looks "cold" by comparison, but more importantly, by comparison to the same scene when recorded outside the coach."..

Well, my thinking is this is correct. I am assuming you do not AAV colour correct the outside or plain glass scenes? if this is right then yes, your corrected green tint will be corrected to perfect white and thus your outdoor whites will look warmer.
My suggestion would be:
Set in camera white balance for every location before shooting - no real need to colour correct at all then. OR colour correct all the scenes to perfect white... OR just colour correct the green tint scenes but artificialy warm it up, maybe add slight red/yellow. AAV can do that too (i think!).
Does that help? - i not sure this is anything to do with the function of AAV, its looks correct here.

Paul.

Paul,

Here is a previous discussion about this plugin. There have been others (see the forum Search feature). My own experience with it hasn't been great so I use the traditional Vegas Color Correction tools, but others disagree.

John

John, thanks for the link - suprsied no one chimed in earlier. I actually thought this was a new (ish) plugin not going back to 2009!! wow. Well its now release candidate 2, so hopfully any crash is gone.
Have to say, no issues at all here, downloaded and installed easily.
And the issues raised on the other thread are mentioning install or crash errors. No real talk about white balance not being correct.
Its a great little plugin, dont think there are any issues at all really. Well, i have not seen any yet, put it that way.

Paul.

I have used it fairly often and never had any instability.

I use the Frederic Baumann plug-in for white balance correction and it works very well.

"Well, the windscreen recorded clips looked natural to me, whereas the side windows often give a green tint that is not obvious when you are in the coach. I have even found that different window panes in the same coach have different amounts of tint"

You may have run up against a problem for which there is no solution.

White balance either in camera or post can only correct for errors in the balance between R,G,B parts of the spectrum of light illuminating the subject.
The tinted glass may be filtering out a quite narrow part of the spectrum of light reflected by the scene. Some "tints" can pass certains parts of the spectrum and reflect others.
In the case of tinted window glass it is almost certainly designed to filter out IR to reduce the amount of heating. IR cut filters generally will also cut some of the red end of the spectrum and leave a green cast that cannot be fully corrected using either WB in the camera or in post. You could try holding a white card outside the window and doing a WB on that. I would not be surprised to hear that you still end up with a cast in the color.
Also some kinds of filtering (dichroic) is dependant on the angle of incidence of the light to the filter, just to make the problem even more challenging.

Bob.

Bob, just thinking here, could he use a custom colour RGB curve to correct the missing red from the filtering? Maybe a sharp peak at the point the red (near IR) dips. Wonder if thats a solution. But would still need a white card reference shot. But im a little confused about the narrowness of the filtering.. So maybe not.

Edit: think this is wrong, should be thinking in terms of frequency not amplitude. If its a narrow band missing, its almost like a reverse of colour keying needed to home in on the missing band and replace with white... oh dear, it sounds bad.

Paul.

Colours are frequencies. Think of it in the sound world if you like. If the light transmission of a tinted window has a notch at a certain colour (frequency), say in the red part of the spectrum, and there are two equally bright red objects, one corresponding to the notch and the other not, then when the scene is coded to RGB, the two red objects will have different brightnesses, and there is no way to restore the balance.

"Colours are frequencies".. yep, thats right. electromagnetic waves just the same stuff as radio signals.

So... and i am just 'typing aloud' here .. hehe..
So if you had an RF notch filter, which cuts a certain frequency, as long as that notch filter does not have a massive Q factor, then you should in theory be able to 'boost' that notched frequency and restore it to its original level. Only down side being, it would introduce noise.
So... is it possible to 'boost' an exact frequency in the spectrum? In radio, yes you can using tuned circuits with gain, but in colour.. and furthermore in Vegas.. can we do that?
If so, boost it. Would have to match closely the notch of the removed spectrum in order to counteract it.

<end of typing aloud> :)
Paul.

The problem is that once you have recorded in RGB (or YUV equivalent) all the reds and oranges get lumped together in one basket, the yellows and greens in another and the blues and purples into yet another. You can't correct colours (except laboriously by hand) within a basket, only between baskets.

If each object actually has a band of colour that overlaps two or more of the RGB baskets then you have some hope of rebalancing objects. However, if they have sharp spectral lines, or the colours do not overlap, then it is not practicable.

Peter, i still dont fully get it, to my thinking its just a filter (band stop). But lets leave it there because the thread is getting OT. And to be honest if both you and Bob say this cant be done, then who i am to question that! I believe you guys :)

So, back to AAV, after more testing i really cant find anything wrong with it. Its using the GPU fine, and am getting BEST FULL playback rates from AVCHD 1920x1080 footage with it enabled. The white balance seems spot on, and fader levels are very fine, not course but rather quite subtle to adjust. Really liking the 'input range' and output range 16-235 settings. This is a good work around for me as the Sony levels (posterize on fades) issue gets fixed. I can used the output levels in this plugin and the fades are fine!
So all in all, no complaints. Anyone else using this?

Paul.

I use it quite a bit. One of my favorites.

I find it quick, easy and accurate. Used it for several years.

Kent

I like AAV also, especially for quick corrections of skies and grass.

@paul_w. About the "video EQ"-like process you spoke about: I'm not sure if the end result would be different from the masking techniques used in secondary color correction, but some past programs (Jaleo for one, and I think Avid's old Media Illusion) would allow for boolean compositing modes where you could manually insert the code for the logical operation to be performed. I know we used that a few times in Jaleo by creating a specific solid color layer that would pass only that color from the original image to allow for precise correction.

+2 thumbs up for AAV

i've color-corrected/graded 1000's of clips just using AAV and the primary CC in Vegas... those and the Secondary CC are excellent.