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mercedes benz troubleshooting manual a classWe offer one-to-one personal training and training for groups. More info. In fact, different light sources produce different mixtures of the visible light spectrum. Red hot is pretty hot - whiteAs you'd expect it is hotterThe table below shows the range of temperatureTo do a manual white balance the camera must be shown something white (usually a piece of paper) lit by the light source you will be working in. Beware of white balancing in the wrong light source e.g. by a window and then shooting the interview in a corner of the room lit by tungsten light. Whatever light falls on your subject should also fall on the white paper you use to perform a white balance. It juggles these until the white paper looks Also, do be aware that the camera will be subtlyA small greenPress in to select. I always place daylight ( b lue)This would be useful if you are doing a lotPress the wheelPress to select But, if you select. I've got two EX1's which I have rarely used with ATW turned on. Tonight I wanted to take a quick shot or two and figured I'd try shooting using auto white balance. It looks so bad I can't believe it. I've tried everything, and nothing makes shooting in indoor tungsten look close to decent. However, I got out my Z7U to see if it would handle the lighting issue better than the EX1's -- and it looked good in auto white. Since I normally use a white card to get a custom white balance, it still kind of bugs me that I can't get the EX1's to work in auto. The video shot with the EX1's in full auto or with ATW engaged the tungsten lighting on video looks VERY reddish. Both EX1's are behaving the same way. I've read the manual and changed settings etc.Any suggestions about this would be helpful. IanI don't care what camera it is. My solution? Set one preset to 5500k, set the other to 3500k. Select the closest one, shoot. If it needs to be corrected in post, I can make ONE basic correction and get my footage where I need it to be to start grading.
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With ATW, I've got to keyframe the corrections. I once had to do a cleanup of some underwater footage that was going to a film festival. The shooter had used ATW. I used several hundred keyframes in a 4 minute video to get that thing balanced. I swore that day I would never shoot with ATW and never again agree to correct footage for anyone who had.Something that has always baffled me, although I can understand filmaker wanting perfection etc. I colour corrected a production and had the colours looking spot on when viewed on a studio monitor. I took the finnished film to my client who then viewed it on a TV screen. The colours looked awful, needless to say say his TV screen was not set up correctly. The same holds true for audio, we spend so much time cleaning up sound tracks, do another take because a car or airplane can be heard in the distant. Again when the average person watches this on their TV set, I suspect cars, neighbours, electronic tools etc are all in the background whils viewing. Maybe we all expect too much perfection when 95 of the time the viewer will not notice or be aware of the difference. This not to say we should give up on trying to acheive perfection, just bear in mind we are probably too critical on our own work.This way, even if my WB is off, at least it's consistently so over the whole duration of the recorded event, making adjustment easy in post. The only exception to this rule is when I'm forced to use the Tiffen T1 filter, in whih case I carefully AWB and memorize to one of the WB switch positions. In situations like this, i.e. when the switch is not in the Preset position, I put some tape over the AWB button right after I have measured and memorized the right balance, so that I don't push it inadvertently in the rush of shooting. To answer you question in the email you sent me: yes, I'd say the ATW is now more responsive with the newest firmware, but the improvement is not big enough for me to ever use ATW again. Cheers PiotrHas something changed since the days everyone did this?Has something changed since the days everyone did this? Or at least that's my case. I've learned how problematic it is to do that to footage in camera. Just as I've learned to leave my camera on daylight setting ALL THE TIME unless it would clip the reds. There are much better ways to get my colors than to do a white balance in the camera. Though if I am shooting live, or if I have to hand off right after shooting, I'll do it. If I am going to edit the work, then I don't white balance in camera.I have the WB preset programmed for 6000K and I prefer to allow the color balance to change naturally as the lighting changes. Why would I want to cancel that out. Indoors is another story because there isn't a dependable and consistent light source like the sun. All indoor lighting is different and is affected by the walls, ceilings, window, etc. So you either have to WB with the camera... or deal with the hassles of grading footage in post and waiting for it to render. Some people prefer to do it in post. But I prefer to shoot all my footage so that it looks almost perfect right out of the camera. Why mess around with grading and rendering if you can get it perfect in the camera. ANY grading or rendering causes a loss of quality compared to the original raw footage. If I can avoid degrading my footage my simple setting a manual white balance before I begin rocording, why wouldn't I? I can still fine-tune it later if I absolutely feel it is needed. Whether I'm handing raw footage to a client, or doing the editing myself, my shooting techniques are exactly the same. However, since a normal white balance on a white card is usually too cool, I almost always use a WarmCard or the camera's offset white function. Either of those techniques allows me to cheat the white balance fast, easy, and with very predictable results.ANY grading or rendering causes a loss of quality compared to the original raw footage.https://78as.it/earthway-1001-b-precision-garden-seeder-manual If I can avoid degrading my footage my simple setting a manual white balance before I begin rocording, why wouldn't I? And I'd MUCH rather do it in my post suite, at 10bits than in my camera. I've tested it both ways time and time again. For me it's ALWAYS a better proposition to do it in post where I have absolute control. I don't shoot finished work in the camera. Never have, never will. Not saying this approach is right for others, but it's right for me and my workflows.You have to set the camera's color temp to something so how is it that setting it to 3500K vs.I'm not being argumentative, just trying to see if there's something that I'm not considering. Either of those techniques allows me to cheat the white balance fast, easy, and with very predictable results. I like the way it looks when I balance to the warm card 1 but sometimes I don't have it with me and just shoot a white page. Thanks, GarrettI was going to ask the same thing. The WB has to be set to something. We're not talking about an SLR shooting raw files. We're talking about a normal video camera. If the act of white balancing degrades the footage, then I'll have to see some documentation on that from some other reputable source. Until then, I'm not buying it. But I can guarantee you that any extra filtering or rendering in post does degrade the footage. I rarely use offset, but when I do, there is no particular setting that I would use more often than another. It all depends on the situation. I prefer to use WarmCards indoors because it is very predictable.Indoor lighting (incandescent) has a significant lack of blue light. Thus if we leave the white balance setting on daylight, the image appears to shift red, when in fact it's just that there is a lot more red light being emitted than blue. Thus why we gel if we are trying to shift the light blue. If we do a white balance in the camera, all that is happening is we are adding digital gain to to that blue channel to bring it back in balance. This is independent of any luma gain we might add. Other options here are to leave the camera in daylight mode, shoot with an abundance of red and a lack of blue, and correct it in post in a 10-bit environment. Or, we can gel the tungsten balanced light, to get the levels more equal. Or, we can put a blue filter on the lens which actually cuts the red levels down to the levels of the blue and brings them back in line. Of course we need more output if we do this, but at least things are back in balance, and no channel needs gain added. This is easily observed by viewing footage shot outdoors in the sun, especially the morning sun versus footage shot under incandescent light with thee white balance applied. When I started doing this, I started to see why my basic images seemed so noisy indoors even though I was shooting a -3 gain or 0 gain with adequate luma to need ND. It wasn't the light LEVELS that were a problem, it was the light COLOR and the white balance that was causing my noise through blue channel gain. I went looking for answers, and found them on Panavision's site. There was a magnificent breakdown of this by one of Panavisions engineers. I've shared that numerous times on this forum and others. It absolutely explained why I was seeing what I was seeing. So you need not take my word for it. And you don't even have to believe the excellent Panavision presentation. Go shoot for yourself. And examine a frame of your footage in a viewer that can show you the channels independently. The proof was in the evidence for me. And I changed how I do business. Other's who've seen this have changed as well. And all report MUCH cleaner footage.But I already know that it won't change my preference for white balancing in-camera so I don't have to fool around with grading unnecessarily in post.But I already know that it won't change my preference for white balancing in-camera so I don't have to fool around with grading unnecessarily in post. Demystifying Additional Information Part 7 is the part that talks about this subject, but the ENTIRE series is WELL worth a watch and hugely educational. Delivered by people who are experts in this field. Enjoy.But I already know that it won't change my preference for white balancing in-camera so I don't have to fool around with grading unnecessarily in post. There is a specific line just to handle this. Even if it's not perfect, it gets you 90 of the way there, and then do your white balance when you only need a half db here or there rather than the nearly 6db that needs to be added to the blue channel under basic incandescent lighting. Of course, you are free to do as you like. I am merely offering an inexpensive suggestion that cleaned up my footage beyond belief. Best of luck. To start viewing messages,Unfortunately this feature does not work correctly. Let me give you a selected example that will illustrate this situation clearly. Being outside during a daylight let say shortly before sunset the camera will setup automatically the respective white balance level. This white balance level will not change if one takes the camera, still being turn on, into the house with an electric light. It causes that the pictures taken in the room are in red color. I would like to add that applying different setups with Shockless White and ATW Speed makes no difference and no change on the white balance. My camera has one of the earliest serial number. Neither uploading the firmware 1.11 nor sending the camera twice to the Prime Support have fixed this failure. Could you please give me your opinion on this situation. Regards ZFYou should manual white balance whenever your scene changed or when you move from 1 place to another. There is no short cut to this though.I was thinking of buying one of those SLR White Balance Cards on a keyring to carry around.THere are settings for Shockless White and AWT Speed in the camera set menu as yo have noted however they do work, just slowely in a lot of cases. Be sure you have AWT visible on the screen otherwise you might actually be in auto. If you are in Auto and press the manual white button, rather than saying 'no you can't do that in auto', it takes a white balance and changes to manual.You ride in manual, and in any scene you can get a pretty accurate white (like auto operates) when you press the manual white balance set. The better way is to use a picture profile and the preset white settings, and change white balance by adjusting the value of the preset setting. You can adjust this dynamically as you are shooting (although it could be a more accessible menu iteam).I use the picture profile preset, and adjust the white balance manually using the menu dial. It's usually around 5600K outdoors, 3200K indoors. When shooting in a home with dim lights, we often crank it down to 2800K to get a balanced image. After a few shoots, you're eye will know when the LCD image is 'right'. At least, that's what works for me. Haven't even brought a white card to the last few shoots. -Ben VMLH.comIt isn't much of a problem in SLRs because of course there is the magic of Photoshop for that picture that needs a white balance adjustment but video with 25 frames a second.thats a lot of wasted time.ATW should change the level of White Balance according to the Shockless White and White Speed settings. This is explained in the manual. However, my camera doesn’t do it. I am interested to know how this feature works in other cameras. Is this only my camera defect or is it a common factory shortage? I have the EX3 and sometimes even when I do a manual white balance it is still off. I also have the Canon XH-A1 and I can do a pretty good white balance and with the EX3 sometimes I have to do a 2 or 3rd try.The camera can obviously do it, the feature just needs to be programmed outside of the picture profile and into the direct menu. Focus, Zoom, Iris, Interaxial. Cheap, but not nasty tripod. So in order to try to address that I’m going to go back to basics and write about some of the basic principles of digital video. The plan is to look at some basic concepts and then expand on these so that even beginners will gain a deeper understanding of these topics. For example an incandescent light bulb, the type with a glowing filament has a low colour temperature while an arc lamp which is much hotter will have a higher colour temperature. Low colour temperature light sources like a filament light bulb are at the red or orange end of the visible light spectrum while hotter light sources like an arc lamp or the sun are at the blue end of the light spectrum. Our own visual system will adapt to these varying colour temperatures but a video camera needs to be set to the correct colour temperature to reproduce colours correctly. The colour temperature of a light source is measured in “degrees Kelvin” or “K”. Lower numbers will be at the red end and higher numbers at the blue end. So a filament light bulb will glow orange at typically 2,300k while the mid day sun will be around 5,500k and the light from a clear blue sky is around 9,000k. If you shoot with a camera set for a low colour temperature i.e. 3,200k outside on a sunny day your pictures will be very blue. If you shoot with a camera set for a higher temperature like daylight, typically 5,600k under filament lamps the pictures will be very orange. It normally works by assuming that the brightest parts of the scene are white objects and will try to correct these objects so that they appear white. As a result ATW is often easily fooled especially by bright slightly off white walls. As ATW is always active if the scene you are shooting changes then so may the white balance and this can be seen as a colour shift during the shot. ATW can be a little unpredictable and trying to later correct a shot where the white balance changes part way through can be very difficult. One advantage with ATW is that if you move from one place with one colour temperature to a place with a different colour temperature, for example moving from an interior room lit by filament lights to outside daylight then the ATW should compensate for the change in colour temperature automatically. On many pro cameras ATW can be assigned to the white balance “preset, A, B” switch “B” position. Normally this preset will be for 3,200K (Tungsten filament lamps) or 5,600K (average daytime exterior). Many more recent Sony cameras will have a switch to select preset white and then a further button to alternate between 3,200 and 5,600K. Preset white is useful when you have a multi camera shoot to get all cameras matching or for setting the white balance when shooting under coloured lights such as stage or concert lighting where ATW would really struggle or manual white balancing may give an incorrect colour balance. It’s is also often the white balance method of choice on projects that will be colour graded in post production as it gives a constant setting from shot to shot, scene to scene which colourists often find easier and faster to work with. This is where you have a 3 way switch marked “Prst” (preset) “A” and “B”. When in the “A” or “B” position (assuming ATW has not been assigned to the “B” position) a white balance memory is used to determine the colour balance of the camera. To get the correct colour balance the camera needs to be sample and memorise the colour temperature of the light in the scene you want to shoot. This is done using a white or grey card or object. It doesn’t really matter which you use provided the card or object is not coloured in any way and can be correctly exposed. Be careful what you use, a lot of paper is dyed slightly blue to make it appear brighter. If you have a choice the best thing to use is a grey card designed for photography or video exposure and white balance. Place the card at the center of your shot, you want the primary light source for your scene to be falling on the card. Point the camera at the card, it should fill at least 50 of the frame and expose it so that it is around the middle of your exposure range, not bright white and not dark grey, right in the middle. Then with the white balance switch in the “A” or “B” position press the “white balance” button (often found on the front of the camera under the lens or close to the white balance switch). If you get a “NG” or error message you may need to adjust your exposure up or down a little. Look at the pictures on a colour screen and check that they look OK. You can store two manual white balance settings one in the “A” memory and one in the “B” memory and switch between them as needed. For example if you are shooting a sunset the colour temperature of the actual light might be around 2,000 to 3,000K. If you were to white balance the camera to match this it would neutralise the orange glow of the sunset making it much less colourful. So to shoot a sunset you might want to have the camera set to a higher colour temperature to accentuate the orange sunset light. Setting the camera to preset 5,600k might work, but perhaps this takes things too far and makes it too orange. In this case you might want to dial in an in between value for your white balance like 4,400K. Some cameras will allow you to do this by changing the preset white value (in picture profiles or scene files on most Sony cameras). Alternately some cameras will allow you to add an offset to your manually set white balance, but do remember if you do this to remove it again once your done with it. If you use a card with a slight blue tint then the camera will think the scene is bluer than it really is. If you use a card with a slight orange tint then the camera will think the ambient light is warmer resulting in a final image that looks cooler (more blue). Instead of using coloured cards (often called warming or cooling cards) you can achieve exactly the same effect by doing your white balance through a blue or orange lighting gel or filter. For example a person sat close to a window, lit by a filament light will be illuminated by the orange 3,200K light from the lamp as well as the blue 5,600K light from outside. This can result in some strange colours and the scene may look odd (of course you may deliberately choose to have this colour contrast to enhance your scene). Some light sources contain peaks and gaps in the light spectrum that they emit and this can result in odd colour reproduction. A common example of this is fluorescent lights used in homes and offices that often have a pronounced green tint to them that white balancing alone will not remove. October 3rd 2012 Notify me of new posts by email. Learn how your comment data is processed. Jason OBrien on There Is No Such Thing As A “12G” SDI Cable. Elvis Ripley on ProResRaw Update For Shogun 7 and FX6 Jeff on There Is No Such Thing As A “12G” SDI Cable.You Can’t Change The white Balance Of the Camera Or ISO in Post. Ulysse paya on Raw Myths. You Can’t Change The white Balance Of the Camera Or ISO in Post. Most Viewed Posts And Pages. For FS5, FS7, F55, A7S, A7R. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with Ex1 White Balance Manual. To get started finding Ex1 White Balance Manual, you are right to find our website which has a comprehensive collection of manuals listed. Our library is the biggest of these that have literally hundreds of thousands of different products represented. I get my most wanted eBook Many thanks If there is a survey it only takes 5 minutes, try any survey which works for you. Reply to this Discussion.On my Z5U, I can literally dial up any color temp I want. How do you do that on the EX1R. Is it possible? Thanks, Michael Palmer June 23, 2011 at 8:38 pm Choose a Picture Profile and got to Set scroll down to White and set temp there ben traylor June 23, 2011 at 8:41 pm Yeah, I read that from searching. You may have been the one to post it. You answered my question. Thanks Mike. I was hoping I could adjust white balance on the fly instead of setting pic profiles. It’s no big deal, just a personal preference. It’s no big deal, just a personal preference.” Sure. You have an option to make a WB whenever you want pushing a button under the lens. Tweak the PP every time you wanted to make a WB would be very little practical. Every camera able to make a WB have that function.You are pointing to how to preset the “Color Temperature”. I was pointing to what is the WB operation when is the camera who sets the temperature.Good Luck Michael Palmer Viewing 1 - 9 of 9 posts Log in to reply. Public All Members My Connections Only Me Public All Members My Connections Only Me Reply to this Discussion. Adobe After Effects Expressions Roberts Adi on How do I make this shape disappear Adobe After Effects Joe Marler on Overlays Appearing on my Footage Mysteriously Apple Final Cut Pro X Recent Discussions Is it possible to sequence layers automatically. ALL RIGHTS RESERVED We use anonymous cookies to give you the best experience we can. Reply to this Discussion.After importing the footage to Final Cut X, looks like the camera was overexposing and the skin tone is overexposed. The colors are horrible and so pale. The iris was on automatic but i used a Z7u and NX5u before and never had an overxposing problem before. The white balance was set manually but the ballroom had the lights changing so the white balance came out toooo yellowish and even when set to auto white balance the camera did a horrible job. I bought this camera after a lot of research thinking it’s going to offer the best picture but i’m very disappointed. I tried to look for a good profile picture but all the ones posted online are for specific situation and not gun and run situation. Any help would be greatly appreciated. This is my first time here and this is my first post John Young August 30, 2012 at 3:14 pm Welcome Rawad. Auto settings can sometimes be a gamble. I shoot a lot of EX-1 and sometimes use auto-iris (mostly to calibrate the shot, then switch back to manual iris), but very rarely use auto focus, almost never use auto white balance. I would suspect that your trouble might be somewhere in the way the camera was applying the auto settings, butI would want to know some more information about your footage. It sounds like you are indoors. Is that right? What lighting conditions are you dealing with. Any chance you can show us a still frame of the problem footage. John Rawad Rhayem August 30, 2012 at 3:24 pm yes i was shooting indoors, The lights were dimmed and we had a lowell on camera light.The Ex-1, ex-1r, ex-3, and 320 and have never shot anythong on auto. I have used the push auto iris and push auto focus to get basic set up and then adjust acordingly. Most of the time I set my gain for that will allow f stops at 4.0 or 5.6. When out doors in the daytime I am usually at -3 or zero with gain. There have been times that I had to bump the gain up in low light situations to 9dB with the iris almost wide open and still got superb images with little or no noise. White balance is ususlly set up with warm cards and the picture profile I use is by Doug Jenson called Doug 1. I would recommend getting his dvd on the ex-1 with the ex-1r update. It is excellent and you will learn a lot about the camera from Doug. Ronnie Martin Kato Video Productions Rawad Rhayem August 30, 2012 at 7:25 pm I will look for the picture profile setting from Doug Jensen and hopefully that will fix the colors. But i meed to determine if my camera is defected or not when it comes to overexposing and that’s what i asked if any had the same problem but i guess everybody here uses manual Iris. I love the feedback and appreciate the time you take to write a reply John Young August 31, 2012 at 2:01 pm If you are getting really bad overexposed shots, a picture profile isn’t going to solve that. I also highly doubt that your camera is defective, and that is what is causing the issue. It sounds like what you are looking for is an simple easy answer to your problem. But a hundred different things could be causing this problem. We are trying to help you out. Just give us some more info and we might be better able to do that. Thanks, John Michael Slowe August 31, 2012 at 4:23 pm Rawad, I endorse what has been written here about this camera, I’ve now shot four documentaries on my EX 1 in varied circumstances and found it produces great quality pictures (and audio). I tend to rely on the picture shown on the side screen when setting exposure and find it to be very accurate. I have not altered any settings for the screen since I got the camera new. Surely you are looking at the screen, did it show over exposure. Did you notice zebra markings on your screen which should have warned of over exposure. Michael Slowe Rawad Rhayem September 1, 2012 at 7:02 pm ok i uploaded a picture from my footage. The walls in the background are overexposed even though the lights were not that high in the ballroom.For example: if your shooting format is 1080i 59.94 (60i) then shutter is set to 60 fps.The lower the shutter speed the brighter your picture will be because there’s more time for the light to hit the imagers. This means that setting the shutter speed higher is also another way to darken the image in addition to adjusting the iris. Ran into a perplexing situation tonight that I'd never noticed before and can't for the life of me understand. Multiple EX1s, I did a manual white balance and it read and set my camera to 5100k. Instead of manually white balancing each camera with the card it seemed like it would be easy enough to just set all of them manually to 5100k in the picture profile instead of running around to each camera with the card. The result was that setting it to 5100k was totally green even though getting the white balance off of the card set the camera to 5100k and was perfect. Why wouldn't 5100k be the same on either or. Confused on this one. Tried this on all four EX1s that were there and it was the same thing. White balance off the cards set it to 5100k, setting it to 5100k manually made it green. Here is a little vid to demonstrate what is happening: Sony EX1 White Balance Issue Demo password: sonyforums - Ray Underground Planet CT is a poor description of light and when you do a manual WB the EX seems to do more than just assume the CT of a black body radiator. It also explains why doing a WB in real daylight can give perfect results but gives extreme numbers for the CT with the EX cameras. Bob.However I just tried that on mine and the colour is fine (not green or any other deviation). First I thought you might have set white offset, but it isn't possible to confuse those.Not an usual situation. So that camera set the gain on the green channel back a bit to compensate. The other cameras didn't as they were only set to match a theoretical light without the green. Nothing broken, nothing unexpected once you understand how the EX cameras do a WB and they do take their time about it. Bob.Even if the lighting has somewhat excess green (e.g. commercial fluorescent) I wouldn't expect the result described. I agree that a WB from a card may compensate for the green while indicating 5100K, and the manual setting would not do so. But totally green?Ran into a perplexing situation I know you shoot mostly bands Ray. Were you in a club? What kind of lighting did they use?