I try to fix the white balance of my video trip to Singapore, but eventually it turns into red.
I tried on many different type of video clip, from Sony a6500 with Cine 4 profile, iPhone 7 Footages, Canon 80D camera with default color profiles, it will 100% turns into red no matter where I pick from the preview.
Is this more what you want?
Those are called mercury vapor or sodium vapor lights. You can only improve so much. Here's my interpretation done in Photoshop. I set black anchor levels first, then white balance, then individual midtone gammas, keying on the "neutral" concrete.
As you can see, most street lighting is sadly deficient in blue spectral emissions. Even camera filters won't fix that.
Many older school gyms also use sodium vapor lights. I've never found a way to accurately white balance a camera or footage on a timeline under that condition. The best I can ever do is make it look somewhat less horrible -- much like what Grazie did with a color corrector.
I couldn't get the white balance fx to work right either. Not sure exactly how it is supposed to work, but it doesn't seem to sample consistently.
I would recommend instead using one of the many other color fx along with scopes (RGB parade).
@Kinvermark Yes indeed. I’m not at my rig, so used PIXELMATOR. Not the sharpest scalpel in the Box.
Those are called mercury vapor or sodium vapor lights. You can only improve so much. Here's my interpretation done in Photoshop. I set black anchor levels first, then white balance, then individual midtone gammas, keying on the "neutral" concrete.
As you can see, most street lighting is sadly deficient in blue spectral emissions. Even camera filters won't fix that.
I think you can get it close to @Musicvid example with "Vegas Color Balance" used 3x, Shadows, Mid & Highlights and maybe an additional Vegas Color Corrector.
I've noticed with UK documentary type tv shows when they are shooting under sodium vapour light they seem to filter out most of the colours & just use the red end. I never really understood how such expensive broadcast cameras would show such an un-natural red light, but maybe it's for the reasons seen here. It's not possible to colour balance so they just filter out the shorter wave lengths (This is a theory I created in the last 20 seconds, I could be wrong)
Make sure that before you click on the Sample White Point button subsequently, that you reset the fx by selecting Default from the preset list. My mistake in using the White Point effect was thinking that when you click on the button to sample the white point, that a copy of the original image would be used for resampling the selected pixel.
Those are called mercury vapor or sodium vapor lights. You can only improve so much. Here's my interpretation done in Photoshop. I set black anchor levels first, then white balance, then individual midtone gammas, keying on the "neutral" concrete.
As you can see, most street lighting is sadly deficient in blue spectral emissions. Even camera filters won't fix that.
The only way I fix my white balance in post is by using Color Curve or Color Corrector by shifting the blue or red. So I thought White Balance FX in Vegas shall work the same way as Temperature in Adobe Premiere
So I thought White Balance FX in Vegas shall work the same way as Temperature in Adobe Premiere
White Balance and Color Temperature are two entirely different concepts. They are not interchangeable and neither one poses a magic solution for color-deficient lighting. The color temperature of the led headlights (white balance point) in your image are probably 7000 degrees Kelvin higher than your orange street lighting (midtones), beginning to make sense?
That knowledge goes tenfold when there are spectra entirely missing from the lighting source, as yours so exquisitely illustrates. Therefore, we employ a variety of corrections; White Balance alone simply doesn't cut it if there is zero spectral linearity.
As i said, black anchors come first, white Balance comes second, and internal gamma comes last.