1 Reply Latest reply on Nov 20, 2018 12:33 PM by R Neil Haugen

    White Balance in premiere always linked with green/magenta tint???

    Level 1

      I clearly remember in the days of FCP the white balance slider only changing the white balance of a shot between more blue for daylight and more orange for tungsten. I've noticed BEFORE today that Premiere not only has the tint below the traditional slider, but also that adjusting the Temperature slider often necessitates adjustments to the tint... OK, I had a feeling BEFORE today that I don't like that; although it seems like an improvement in some potential cases... but what if I don't want that tint to change at all? What if I want pure temperature change between blue and orange? 

       

      Today it has come to head, and now I am looking desperately for the solution, how to I bypass the tint and get a pure "photo filter" type temperature change on the footage? What I am doing is; matching three cameras... two to the main cam which is more tungsten intentionally, the other two cameras are too blue and I want them intentionally more tungsten... moving Lumetri's temperature to the slider to the orange side makes the image red/magenta... using the tint to minus the magenta moves the image closer to straight white, but, never the tungsten looking orange I want.

       

      So is this a possibility with this mess of a software. I'd rather do it this way than make all layers pure white and then change them to a color grade later... can't I just make my gosh dang shot look tungsten on purpose????

        • 1. Re: White Balance in premiere always linked with green/magenta tint???
          R Neil Haugen Adobe Community Professional & MVP

          The paired sliders for White Balance work on different axis of the color wheel, changing the white points of the three channels. The first works a line between blue and "amber" essentially on theci-line or "skin tone line" of the Vectorscope.

           

          Watch both the RGB Parade and Vectorscope YUV while adjusting it. In the Vectorscope the trace will slide up/down that line. In the Parade will show the Red and Blue channels white points changing as you adjust, with no change in Green.

           

          The Tint control works at a 90* hue angle to the Color control. In the Vectorscope it moves the trace on that angle to the i-line.

           

          In the RGB Parade you see that it changes the top of the Green channel against the combined movements of R and B.

           

          The Basic tab's  White balance is a control for the white points, mainly affecting the highlights of course.

           

          Sometimes you need to change the entire scale, and for that the better tool is the Creative tab's Highlight/Shadow tint controls. Find something in the lower quarter of values in RGB Parade that should be neutral, the same in all three. Balance that with the Shadow tint control. Then find something in the top third of values,  balance that in the Highlights control wheel.

           

          Do your neutalization this way, using the scopes. Balance the scales in RGB Parade and check that the little brighter blob of trace that should be neutral grays/bkacks in the Vectorscope is centered in the scope.

           

          Then when all clips are mostly neutral, work one to taste, then use the Color Wheels and Match tab with Comparison View set for the Program monitor. That should get you 80% to 90% of the way there.

           

          This has become actually a very responsive and capable grading tool. I think you problem is simply not knowing how to use it. I suggest you go to my blog, I've a series of posts showing what the tools do and how to use then.

           

          Neil

           

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