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Can I fix my auto white balance that's adjusting during my video clip using Premiere pro?

New Here ,
Jan 18, 2017

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I left my auto white balance on white I shot one long video clip =/ During the clip, the white balance adjusts itself and the video drastically changes from cold blue to warm red temperature. I know how to adjust white balance on one of those frames using premiere. But if I fix the cold frames, then it makes the warm frames even warmer and vice versa. Is there an auto white balance function in premier that will adjust as the video clip plays? Thanks so much for your help!

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Can I fix my auto white balance that's adjusting during my video clip using Premiere pro?

New Here ,
Jan 18, 2017

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I left my auto white balance on white I shot one long video clip =/ During the clip, the white balance adjusts itself and the video drastically changes from cold blue to warm red temperature. I know how to adjust white balance on one of those frames using premiere. But if I fix the cold frames, then it makes the warm frames even warmer and vice versa. Is there an auto white balance function in premier that will adjust as the video clip plays? Thanks so much for your help!

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Jan 18, 2017 0
Adobe Community Professional ,
Jan 18, 2017

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Use the Blade tool to cut the clip into two pieces at the center point of where the white balance change is taking place. Correct the color in the first half of the clip. Correct the color in the 2nd half of the clip. Place a long dissolve at the cut point you made to smooth out the change between color corrections.

MtD

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Jan 18, 2017 0
New Here ,
Jan 18, 2017

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Thank you, this worked for a short part of it, but my camera dramatically adjusted every 15-30 seconds for like 8 minutes. I've seen this happen a little with iris but I've never seen so much color temperature difference shooting inside when the sun is diffused by several windows. Thanks for your advice.

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Jan 18, 2017 0
Adobe Community Professional ,
Jan 18, 2017

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You can keyframe the Temperature and Tint parameters inside the Effects Controls panel. It's going to be easier than trying to apply an effect to balance the two settings, and you'll be able to set the keyframes at varying speeds depending on how quickly the camera adjusted.

[Please use the "Reply" button under the FIRST POST to ensure replies sort properly.]

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Jan 18, 2017 0
New Here ,
Jan 18, 2017

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I may just need practice doing this because I think I made it worse. Thank you so much for your suggestion. I never noticed I could keyframe color temperature. I'll keep working on it.

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Jan 18, 2017 0
Guide ,
Jan 18, 2017

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i remember setting up some crazy experiment in premiere where it used its own image colors to white balanced itself every frame in realtime with an adjustment layer. I'll have to see what I did. transfer mode color i think.

another alternative I made which 'may' be better than keyframing to death is actually an AE template I made that white balances the same way cameras do and removes the color cast every frame. Works so well, I haven't updated the code in 4 years.

AE CS3

CreativeCOW

I bet Neil's idea could be adapted to make a nice auto w/b preset. Maybe he'll post in here.

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Jan 18, 2017 0
New Here ,
Jan 18, 2017

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Thank you so much for being so helpful. This looks awesome and I wish I had better after effects experience because I'm a little stuck. I downloaded your AE template and imported my video. I dragged my video onto the timeline under the template effects and I'm not entirely sure what to do next to get the white balance to adjust. Thanks again so much. I'm excited to learn more about this.

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Jan 18, 2017 0
Guide ,
Jan 18, 2017

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you right click - replace video.avi in project bar with your own footage; because its linked to many parts simultaneously and not a plugin, just a template.

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Jan 18, 2017 0
Adobe Community Professional ,
Jan 18, 2017

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This is a tough situation. And why should a 38 years professional photographer I never use Auto white balance in a camera. Hard learned lesson it was.

What Chris references is a post about a LUT I made in PrPro Lumetri panel to use in the Basic Tab's Input LUT slot for easier color neutralization.

On a clip with NO corrections, go to the HSL tab and turn off (uncheck) the Hue and Lightness sliders of the key setting controls. Set the mask checkbox to "Color/grey" so only the image signal selected by the key will show color and all else is greyed out.

Grab the white line of the Saturation slider and move it over to the left towards the end. Grab the "width" control triangle and spread it so that the full width of the bar covers the left 25% of the Saturation slider, then take the falloff control and slide that right to about the 40% place.

Now go to the top of the Lumetri panel tab, the three little bats to the right of "Lumetri Color" and right- click, select "Export .cube ..." and give it a name probably beginning with 1 so it will be the first LUT in the drop down list saved in the Adobe/Lumetri/LUTs/Technical folder.

To use ... in the Basic tab, click the drop-down slit for the Input LUT. Your new mask LUT should appear... select it.

Set the Lumetri Scopes making sure the Vectorscope YUV is open, and adjust Temp and Tint to center the biggest mass of signal on the Vectorscope trace on the crossing of the two lines at the center.

Now go to the Input LUT slot and select "none". Hopefully your clip will be fairly close to neutral.

Neil

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Jan 18, 2017 0
New Here ,
Jan 18, 2017

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Thank you so much! It's loading now. I really appreciate you taking the time to help.

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Jan 18, 2017 0
Adobe Community Professional ,
Jan 18, 2017

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Note I just edited my post ... I'd been working with someone on another similar LUT I've made for neutralizing the shadow tones, and mis-wrote on the reply to you saying to use the Lightness/Luma slider. NO!

Feeling very silly, because the whole reason to do that is to get a mask that passes through only the very low saturated colors, which normally the lowest saturated items are close to neutral ... all the things that should be black, white, or various tones of grey.

Sorry about that!

Neil

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Jan 18, 2017 0
New Here ,
Jan 20, 2017

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Thank you 😃

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Jan 20, 2017 0
Adobe Community Professional ,
Jan 20, 2017

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Hope it's of use.

Neil

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Jan 20, 2017 0
Explorer ,
Nov 12, 2020

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I have exactly the same problem, but using key frames is simply not an option. I need a funciton in Premier that allows me to choose a reference frame then have premier automatically adjust white blalance to match across a 4 hour video.

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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Try Comparison View its under Color Wheels and Match in Lumetri.

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Nov 12, 2020 0
Explorer ,
Nov 12, 2020

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How will that automatically adjust whitebalance (temp) throughout the entire project?

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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Do one clip and then put the lumetri on a adjustment layer.

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Nov 12, 2020 0
Explorer ,
Nov 12, 2020

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Again, How will that automatically adjust whitebalance (temp) throughout the entire project? I have 4 hours (dozens of clips) with temp changing multuiple times in a single clip.

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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Ah, temp changing in a single clip will have to be done manually.

I know of no software that will do that automatically.

Cutting the clip would be IMO the easiest way then add a cross dissolve to smooth it out.

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Nov 12, 2020 0
Explorer ,
Nov 12, 2020

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... hence my refrence to "key frames" not being an option. Niether is chopping dozens of clips into dozens more.

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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Alas, cannot help you any further.

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Nov 12, 2020 0
Explorer ,
Nov 12, 2020

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... and not just to beat up on you, but you didn't help to begin with. I rarely use community based support because those trying to help often don't have the time to read the full thread and understand the issue. Everyone just ends up wasting even more time, but thanks for trying. One thing you did say about using a "cross dissolve" is something easy to do when maybe there is one or two suttle temp changes.

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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Guessing you are just pi..ed off as someone forgot the lock down the WB and you are the chosen one to fix it.

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Nov 12, 2020 0
Explorer ,
Nov 12, 2020

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Yep. Our best guess, a GoPro frimware upgrade reset it and it was not checked.

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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here's an idea.  many years ago, I was on site for a shoot in a hospital exam room.  even though we had a monitor on set we didn't see that there was an issue with the color temperature of the flourescent lights cycling red to green to red to green.... etc.  The only place this was really noticeable was on the white patient gown, the doctors white jacket, paper on the exam table, and the walls.  That's right, just about everywhere except the skintones.  I banged my head for a few days trying to keyframe the cycle (I can't remember whether this was avid or fcp7).  And then the light went on so to speak.  I reduced the saturation to 0 and limited the effect to high luma areas.  bingo.  Don't know if this will help you, but figured I pipe up.  

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Nov 12, 2020 2
Adobe Community Professional ,
Nov 12, 2020

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There is no software that I know of that would auto-WB video in post. Not Resolve, Baselight, nada. And I'm very sorry to say so, as if there was, I'd have in on my rig in a heartbeat. (Well, depending on cost/usability too ... )

 

Had a job once that had been shot with a GoPro set on full auto ... I was supposed to salvage the thing. Slo-mo of someone walking around inside a large museum, walking around rooms and rooms to halls to rooms, with different lighting constantly shifting as both the ambient light was shifting over time and the different areas had different types of bulbs.

 

And of course as other people with brightly colored or light or dark clothing walked close by, the color or brightness could spike or dip ... only to reset a few moments later to something not quite what it was before.

 

Client wanted me to simply color-correct and do a bit of brightness smoothing, which naturally didn't come near meeting their needs when they saw the tests I sent. And they were horrified that I was saying it was going to need keyframed color & brightness. But ... ain't no other way about it. And off we went.

 

But with that much keyframing, you need a control surface that can both move around the UI and give you fast control over the image. Working with a mouse would take for flipping ever. Some of the brightness I was able to keyframe-control while playing back at about half-speed. And of course, got faster as I got used to the typical changes that would happen.

 

For color, I put markers where it changed, then went through hitting the markers and trying to smooth things, not for perfect but just for within a range on the scopes. And no jarring visual changes.

 

A Tangent Elements panel like the one I've got would be good, but a Wave 2 or if in Resolve their mid and upper panels would work well. Without a surface, I hope it's only a few clips, not hours of video or hundreds of clips.

 

As this media was (yuck) GoPro 8-bit, naturally some of it was fairly decent image-wise, and some was well under or over exposed. So it was easy to make some clips look better than the next one could ever look ... and I had to be aware of over time blending the better ones "down" to more match with the best I could get from the bad ones. Always nasty to make a great clip less great, but ... it's better to have an 'even' look than one that shifts between good image and crud.

 

I have full sympathy for you. I wouldn't like to be in your shoes, I been there.

 

Neil

 

 

 

 

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Nov 12, 2020 1
Explorer ,
Nov 12, 2020

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Similar problem with WHITE and in fact a LED spot going bad complicated the issue too (perfect storm). So, your suggestion may work, but what do you mean by "high luma"? Essentially are you using bright areas that are white anyway to "mask-in" the reduction of saturation and therefore make the temp shift less noticeable?

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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just using secondaries to limit the correction to bright areas (high luma) and lowering the saturation to zero.

On the shoot I was talking about, you only really noticed the shift in the white areas which given the location was a whole lot of ugliness.

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Nov 12, 2020 0
Explorer ,
Nov 12, 2020

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"On the shoot I was talking about, you only really noticed the shift in the white areas which given the location was a whole lot of ugliness" Same here. What are "secondaries" ?

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Nov 12, 2020 0
Adobe Community Professional ,
Nov 12, 2020

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The lumetri panel allows you to limit the area affected by the color
correction by hue, saturation and/or Luma/brightness

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Nov 12, 2020 1
Adobe Community Professional ,
Nov 12, 2020

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What grenadier is talking about is the HSL Secondaries tab of the Lumetri panel.

 

It's a two-part workflow in that tab.

 

The upper half is where you set a "key", the area that will be selected and affected by the controls down below in that tab. And the lower part are the controls to change the pixels selected by the key.

 

You can start a selection by eye-dropper which is a good way to start, and then improve the accuracy for your needs with the three sliders for Hue, Saturation, and Luma. But to see what your key is selecting, you need to set the mask ... I typically click it on, and set to color/gray. Then where my key is going to be selecting pixels to change, I will see the color. Everything else of the image is simply gray.

 

Now you can slide any of the key sliders sideways to change the center of the area chosen, modify the width of the three sliders to expand or shrink the area that slider chooses, and modify the feather, the width of the area that will be semi-selected.

 

Once you have the area selected you want to work on, you can use either a single color wheel/Luma slider control, or click on the three-wheel icon to get the full shadows/mids/highlights color wheel/luma controls available.

 

And below those are controls for saturation, contrast, sharpness ...

 

So you start a key, set the mask to check and modify the key, then uncheck the mask to see the change the controls below the key are modifying the image.

 

Neil

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Nov 12, 2020 1
JAH_1 LATEST
Explorer ,
Nov 12, 2020

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grenadier, Neil, Thank you,
Looks like this is going to work pretty well. One thing that really surprised me is how effectively the mask works as you play back the footage in how it reveals the temperature changes. You actually see part of the image that was manipulated by the camera’s AWB setting.

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Nov 12, 2020 1