I suppose it is that fine balance between "complex-control-ability" and "hobbling-simplicity". Mostly, these two programming-requirements aren't happy bedfellows/neighbours. I can imagine that this IS the bug-bear of any software engineer, who is hoping for the best for their end-user/s.

For example, on my camera I have WB templates. These were created by Canon, and are supposed to be some of the industries best. And from experience, I can vouch for them coming up trumps for me. But sometimes, when I really need too, I still use WB cards . So here I am, introducing some further "analogue" complexity to what was a straight forward "digital" template. Why? 'cos I wasn't secure/confident enough in the lighting scenario I had in front of me that the "digital" templates would suffice. But that's me making a choice. I chose a narrower band of correction - using WB cards - to capture what is there, that's so I have enough dynamic to use, and thence maybe, correct-able within Vegas. http://madison.thewikies.com/viewtopic.php?f=33&t=40And this is a sample of my tweaking in Vegas.[/link]

Now, back in Vegas, I DO have dozens of previously used WB templates I have used on other projects. These are my "Suck-N-See" templates. I have one that is for that lovely (joking here!) sickly-green martian-look one gets from fluorescent; I have one for the overly cold blue look; I have one for bringing back blue skies and so on. Do I use these as is? Sometimes. Is it a one click? Kinda . . . but I can still go in and tweak!

Maybe this is an answer. Whatever you DO do save as a CC FX chain, so you bring back at your projects in the future. Hey, after all, you can always go back in tweak too . .if you want! However, NOT having this option, you couldn't <wink>

HTH,

Grazie

I've tried the Auto WB in PPro and it is pretty dang good.
I had some footage from a DB camera where they'd left the camera in daylight when they shot a mostly tungsten interior. The white bedsheets provided a nice white reference. Two clicks (one to select the FX and one to select the swatch) and perfection. This isn't a simple versus complex approach, you can then use the usual 6 vector CC tool after the WB is corrected.
From the little I know about CCing one should first get the WB correct and then tweak to taste. Probably in Vegas the Secondary CC tool would be the one to correct WB and then use the 6 vector CC FX.

Bob.

Bob, this is precisely what im getting at. With many ENG cameras there is no colour reference. Rushed shooters make ALOT of mistakes and even though ive created preset 56k an 3200k fix presets, we still have a shift in colour.

Trying to match 2 cameras using blue/white cards for WB can even be a nightmare as one CCD could have easily misfired the reading.

Ive come across MANY multicam projects where a simple WB fix was needed. The issue is how much time is spent on it.
WIth the stuff i shoot, ive only ever ran curves to pop my footage. Im not the best shooter in the world, but i sure as hell knwo the cameras im using.
Sadly i get alot of work from shooters who have no idea. I also get work frm shooters/companies who use Auto WB in the cam so there is an obvious shift as the cam responds to the colour on screen

we NEED something like this, because i can sure as hell tell u know, that even if your shooting a basic wedding with 2 of the same cameras, one cam from aisle and one cam off the side, the lighting hence the colour will be different.

OK, DJ - now I undestand more of your situ. Thanks - G

I'd be a little cautious about sweating too much over WB offsets in some of those scenarios your talking about. For example in a church you've got light of many differing colours coming from different directions so two cameras set to exactly the same WB shooting the same subject from different angles will show different color.
So if you correct say the brides white dress so it's white in both angles then you'll throw out other things in the frame which might look worse. Maybe I'm wrong here, maybe it's just a creative decision, maybe it needs to be judged on a case by case basis, I'm just not certain there's one absolutely right way to do this.

Bob.

i think the best WB solution is a steelcaped boot in the shooters behind... cant do that though, weve got new IR laws now which dont let us whip our staff into shape..LOL

WB like in PP has long been requested by many including moi. Anyone coming from still work with PS will always miss Adobe's superior WB correction.

Oh! And how I miss those yellow seas of rape. I used to live among those amarillian meadows and now all I have is sand and cactus.