This is helpful to know about. There are some colors, once embedded that can be a challenge to correct without distorting other colors in the shot. I have the GP 3 black, not the 3+, and if I am going to get a second camera, I'd clearly stick with the 3 at this point.

Mike

Oh, I wouldn't worry about it, Magenta is a complimentary primary, very easy to deal with in any colour corrector worth it's salt.

From its introduction, GoPro footage was notoriously cyan. Flesh tones and reds were really hard to work with, especially with footage shot at altitudes.

I think this may be GoPro's attempt to deal with that sensor issue; although they may have overdone it a bit, the redder example would seem much easier to work with in post.

fix this in Post instead of "In cam" with it's white balance choices

why this is -possibly read on -Kodak was known for warm and cozy film stocks that emphasized healthy flesh tones. Occasionally a stock came out that went a bit too far, as was the case with an early high speed stock that made shadows a bit too red, and it wasn’t hard to create moody cool looks, but generally Kodak stocks had a lot of red and orange in them.
Fuji was much, much cooler by comparison. I’ve been been told that the Japanese prefer cool tones the way we prefer warm, and this stock seemed to reflect that. Blues and greens predominated, and while flesh tones didn’t look unpleasant they didn’t look overly warm and healthy the way Kodak’s did. They just made people look… normal. For some — those who were tired of Kodak’s warmth — Fuji was a wonderful alternative.
French company Agfa-Geveart made stocks with very muted color palettes. Kodak was known for fairly vivid color, with Fuji a little less so, so Agfa offered a strong counterpoint by offering low contrast stocks with subdued color palettes.
Eventually Kodak made most of its stocks neutral in color response and similar except for grain, in order to maximize control in the DI process and ensure that its stocks cut together seamlessly. Some DPs like this, but others switched to Fuji so they could create stronger looks in-camera. Now Kodak is the only real choice for color negative film as Fuji no longer makes film and Agfa stopped in the ’90s.
Video cameras are very similar. Each company has a base look, and in some cases this look has evolved over time.Sony was the electronic version of Kodak film, while Ikegami was similar to Fuji film.
...about the RED Camera line (not confuse with GoPro,tho!) -their images work best with overall color correction. A lot of movies and TV shows shot on REDs seem to use overall color casts to express mood, and while this isn’t unusual in filmmaking it seems to happen more with RED footage.

I would say this: if you only had the 3+, you might just accept the magenta tint as part of the protune workflow. But if you've got both cameras, the 3+ seems consistently tinted in protune mode, whereas the original 3 (black ed.) is much closer to neutral and therefore quicker and easier to work with.

Interestingly, the 3+ looks very close to the 3 in auto WB, even in protune mode, but if you choose any of the fixed WB settings, ie daylight/6500K, the colors are still off.

I do find you can correct the 3+ footage to make white things white, and color very nice overall, but that magenta tint does seem to goof up a secondary color somewhere else in the image when you try to compensate. I'd be happier working with a neutral image to start with.

Andy,
Upload a short example of your 3+ Protune footage somewhere (not converted).
Both with and without auto WB. Also some comparable GoPro 3 if available. I would like to look a little deeper.

LESS then optimal testing - just a quick point shoot pan. gopro 3+ black

Normal (2.7k video mode)
https://copy.com/pebxA7bs2w4i

Protune (cant remember if RAW was active, maybe was) 2.7 edit: Raw was on
https://copy.com/ApynP6tIrbPG

I see a couple of jpegs; no footage though?
Also, would need to be shot in full daylight.

those were frames from the video, I'll upload the footage if you like... doesn't the frame show enough diff? I tried 4K also, not that impressive, but I don't have a 4k display either.

actually, I'm bored so I will right outside here in Vegas and get some footage

Sorry, thought those were from Andy.
Glad to look at your unconverted footage, as well. I ask things for a reason.
;?)

one is gopro AUTO, other is Protune RAW. Sorry, forgot to try non RAW protune

https://copy.com/UcqTpzyQtCcD

https://copy.com/Dhe7dEYiz4Bj

Looking at the vectorscopes and in Photoshop, it seems it may be a deliberate choice to reference the Protune white balance at about 6500K, rather than adjust for typical "monitor" temperature, which can be up to 9300K.

Like the flatline gamma, it appears to attempt to capture every bit of information possible, rather than exclude or favor any for the sake of viewing "conventions." This has been the philosophy of Protune Cineform from the beginning.

That said, if you're really into log editing and 32 bit grading, this "reddishness" should give one more to work with in Pro 12. Otherwise, shoot "normal" GoPro, or be prepared to make some manual WB adjustments in conversion or post.

Are there default Kelvin values in RAW mode, without using auto WB?
I'm going to see if I can grab the EXIF data from the RAW file provided by wwjd, to see how close I am in my guesswork. Maybe have some time this weekend.

with Protune on, you get the following choices for WB: Auto, 3000k, 5500k, 6500k, then CAM RAW. no other manual settings than that really that I find.

I notice in my vegas scopes the reds were lifted on the lower part of the RGB Parade compared to the non protune raw one.

Sorry for the delay -- GoPro just wrote to tell me they've updated the camera's firmware, so I've been playing with the new (2.0) version.

As far as I can tell, the magenta tint remains in the camera raw (neutral) WB setting, maybe a little yellowish in the 5500 (daylight) setting. All of this is Protune mode.

The 2.0 update is VERY interesting. One way to look at this is GoPro is giving up on trying to explain what Protune is. Basically 2.0 defaults Protune to a high-bitrate with everything else back to normal. You've got to dig in the guts to turn sharpening off, and switch to the log-shifted curve.

Anyhow...I'm going to upload footage from the previous firmware version, so you can play with it. One is Hero3, one is Hero3+, both set to 1080/30P Protune/Camera Raw.

I'll keep playing with the new update, and upload footage if/when I've got something interesting...

http://www.sierradescents.com/GOPR0058.MP4
http://www.sierradescents.com/GOPR0058+.MP4

Yep, that's a shift in the default WB point.
The one we're used to is too cold, the new one is a tad warm on my calibrated monitor.

But remember, outdoor WB can change quite a bit with latitude and altitude, not just cloud cover and time of day.

I'm interested in your comment on editing headroom.

I always assumed getting the WB as close as possible in-camera yielded the largest editing latitude, because the colors were ideally optimized to the scene.

How would shifting the balance toward magenta improve the final result, if you still want white = white?

I would expect that the process of correcting tinted footage results in a destructive edit. No?

It all depends on your point of reference. Lots of DSLRs run pinkish too.
Daylight WB is <=6500K, not >=6500K like most monitors are set up.
So maximum headroom in the container, once again, is by not honoring viewing conventions; which in this case might theoretically be depleting reds, and having the effect of limiting usable bit depth in that channel.
That's just my guess. Of course, I may be OTL.

musicvid, did you notice all the banding in the sky in both clips? I am thinking ProTune is maybe not a replacement for higher color depth codecs after all. Or could it be a sensor issue?

You mean your native clips? Yes, they will show banding because they are impressed on an 8 bit canvas.

Unpack them to 10 bit in Cineform and see if a lot of that goes away (of course you'll still be viewing on an 8 bit monitor.