You will need to upload a sample of the actual camera footage to a fileshare (not Youtube!) for anyone here to be of real help. Otherwise it's just a guessing game. Could be any number of things; White balance, blown reds, open sky, UV, anything.

Thanks for the responses I have put a small part of it at
http://www.andysvideo.com/download/colour.MP4

Thanks again.

In Movie Studio Platinum 13 I just tried using Color Corrector Secondary. This worked pretty fine to turn the pink cars red without affecting rest of the frame. Already tried this tool?

The sun went under a cloud, probably after you white balanced,.
Just use the Sony White Balance filter.

Thanks both I did try the white balance extensively and could not get it to change the car without affecting the rest, but I will play with your two suggestions again tomorrow.

Many thanks.

If you want, download this zipped project file and in the Movie Studio project put your video into the empty timeline track. There is Color Corrector Secondary applied as Track FX. It may need some fine tuning but it should demonstrate how it works.

Though I wonder if not the whole hue shifted a bit and should be rotated leftside.

"
Yes, that was the whole idea. The highlights are too blue throughout, the result of the white balance being off. Choose your target carefully, and the balance will be better.
To the extent that the car paint is reflecting open blue sky, you will not change that except by replacing the color.

Here is another approach which combines hue rotion and color balancing. Actually it affects all colors, though maybe this is what is needed (isn't the backside interiour and the number plate of these Ferraris yellow, indeed?).

Curious to see other's approaches, musicvid, any chance to link a Movie Studio project file which shows how you would solve it?

I would treat it conservatively.
Your hue adjustment works nicely, too.

Thanks, tried your settings but this let the Ferrari still being pink instead of red. I didn't find a different way than rotating the hue (or using Color Corrector Secondary, but this still leaves unbalanced poorly behind).

The red painted cars are reflecting blue light from the open sky with the sun behind a cloud. The prevention is to use a polarizing filter.
Why need to change it to something it isn't? Suggest the OP put it down for a few days and look at it with fresh eyes..
That said, the hue adjustment may give him more what he wants, but it tends to turn the yellow car to green. "Memory colors" become very tricky when the light isn't cooperating.

If you like or own a Ferrari, you'd rather turn a nice girl's skin to deepest cyan than you'd let a Ferrari shining pink. :D
Being serious again, I think the main focus of someone watching such a race is the Ferrari, so when it's about color correcting a clip like the one offered, I personally would tend giving Ferrari it's original color back.

You are right about that yellow car though. I wonder if it isn't a little bit of greenish in reality. Curious what Andy means.

There is a red Ferrari parked behind the corner bar at 10am sharp every morning.

His doesn't have as much polish as the ones on the track, and the color might even show better (save for its age).

If you tilt your laptop monitor screen back you can actually see the cloud reflections in the car's shine in the example above.

I'd like to see your example using Secondary CC. Fairly invasive from my conservative angle.
There is the famous photo lab story about trying to get the poodle's hair to print white (the owner had dyed it green for St. Paddy's Day!)

I've linked an example using Color Corrector Secondary in this post. Though its primary purpose was to remind there is such a tool in Movie Studio Platinum and if there is a case to alter an isolate color, this certain color correction tool could manage it.

Because I found that Ferrari clip very strange in regards of colors I also used Vegas Pro and its control monitors for further invegations. I combined masking and Pan/Crop to isolate certain parts of the frames. So I found the overall white balance is quite fine (though not exactly balanced). In gray midtones (street, silver car, etc.) and white highlights (house fronts, white cars, white plane, etc.) there is minimum aberration from neutral white, Ferrari's wheel rims seem fine balanced (maybe 2 % off). In the very background there is a typical red London double decker bus which has same pink shift as these Ferraris. The colored part of the sky is shifting to cyan.
So my overall impression was a hue rotation to the left combined with a very small white shifting towards yellow-red maybe gives most natural look back.

Wish to see a flesh tone in this clip …

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Marco, all of your links loop right back to this thread.
http://www.sonycreativesoftware.com/forums/showmessage.asp?messageid=521496

Mmh, don't know what's going on. I tested my download links in Chrome, Firefox, Internet Explorer and Edge. Working fine there. Did you disable bb code (in your forum settings) maybe?

If I copy link location and paste into the search bar, I can get it to work.

At that distance from the cars, the bleed isn't that noticeable.

Yes, indeed, but this is just a matter of adjusting fx parameters. Remember all I wanted to do is showing a way.

If you wanna fine tune this certain fx to prevent there's more bleeding then to be noticed in the original, narrow the ranges of hue und saturation of this Color Corrector Secondary fx (and maybe don't smooth that much).
You won't get rid of the bleeding which already is in the original shot (and there is lot).

Yes, thanks for sharing.
There are a number of ways to address the "neutral balance" vs. "memory colors" debate, and my approach since my days at Technicolor in the 1970's remains "conservative correction" and "client education." For that reason, I'll stick with the example nine up as being the least invasive..

I enjoy using Secondary CC for special effects and investigative projects, however.

I have to say I have found the whole topic and comments a real education. I now have a polaroid lens cover as well as a couple of ND filters and now the pressure is off will try experimenting and hopefully learn a bit more.

Thanks Andy