Circumstances don‘t always allow to properly white balance the camera on-set. There are many reasons for that like mixed lighting, discrete increments in the camera‘s Kelvin adjustments — like when shooting in Cine EI mode on a Sony camera — color casts from windows or streetlights or even an incompetent cameraperson. Image credit. cinema5D Even when everybody did their job right on-set, it’s often necessary to properly white balance material. It does not matter whether you are just slapping a creative LUT on your footage to create a look or if you carefully color-grade manually — if you don’t start with a correctly white balanced image you are wasting time. For example, if you want to design Powergrades you need to make them in a way so that they are based on a correctly balanced image or you will be getting inconsistent results. When I started using DaVinci Resolve I struggled a bit to get my shots white-balanced quickly. I frantically twisted colorwheels, and rolled Gain, Gamma and Highlight balls, guided by nothing more than a gut-feeling and an occasional glance at the vectorscope. The built-in color temperature/tint parameters do work in some cases — like the first one I show in the tutorial — but sometimes they are just not precise enough and/or introduce color casts in darker or brighter parts of the image. Getting the White Balance right It was frustrating and time-consuming, so I looked for a more methodical approach. In this video, I share two of the...
Published By: CineD - Saturday, 20 June, 2020