One of the main things I do is using the White Balance Setter in my Sony Cameras that gives me the "best white balance" taking a sample of the whitiest color in the scene. But with films simulations that can be challenging considering the Color Phase and all the specific settings each profile has. But.. I was wondering... If 5600K is the "most accurate" WB in daylight. And let's say Vektro 100: 4000K A5-M0.5 in daylight That means it has shifted from -1600K and +5 in A and +0.5 in M So if I usually shot in a studio with a setting of 6200K and M1 If I wanna get the Vektro 100 with the same WB, Should I "-1600K and +5 in A and +0.5 in M" to the 6200K So: 4600K A5-M1.5 Should be the equivalent in Vektro 100? If that's the case, I wonder in with K temperature were this FIlm Simulations Created taking the based footage. and if not is it possible to use the WB Setter with any film simulations? Or that feature is not usable with the recipes?
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Yeah, you got it straight.
All film simulations are daylight balanced, besides Cinestill, which is made for nighttime.
So basically, you add or subtract the difference in temperature for your given environment.
This is what you would normally do in digital photography, adjust your kelvin to your environment. Bluehour, Daylight, Sunset, Nighttime. All require different Kelvin if you want to get proper colors.
Just like you said, if the studio lights are 6200K, that is 600 K higher than Standard Daylight, so to get the same color as outside, you need to lift the temperature by approximately 600K.
And that applies to all context when light is changing. If you want consistency in your look, you need to adjust temperature as you shoot, or you will do it in post editing. This is what you would also do when editing your images in lightroom. If you took pictures during a wedding, or whatever, and want all of them to be the same mood, you will need to adjust temperature and tint to match the colors. Because light keep changing throughout the day. It's exactly the same concept, but inside the camera.
Of course, your eye is your guide, if you feel it's too hot or too cold, then adjust accordingly. Also, if you've hit one of the extreme ends, like 2500K-9900K, but you still feel it needs more warmth or coldness, then you start pushing more of your desired color using the color filter.
Hope this make it easy to understand.
'Can I use AWB?' - Yes and No.
I answered this in multiple forum posts, ( Here Here & Here ) and I recommend reading these answers as well for a better understanding. With most of these film simulations you can use AWB and still get better color out of the box, but the real magic happens when you use both the picture profiles with the color settings, because their role is to shift and calibrate colors. If you want to get the same results I am showcasing on the Blog, you need to use the kelvin and color filter adjustments.
I've made a straight comparison Fujifilm vs Sony film simulations, to showcase how these color settings will bring you closer to the Fuji Look. You can Check out the Blog Here.
Also, AWB does not give you consistency, it's going to change from scene to scene, and it's not always supper accurate, it all depends on what kind of colors hit the sensor.
If you shoot a sunset, it might try to over balance those red tones which you love and make the scene look very cold. So you lost the magic.
And film simulations which have the Color Phase bellow -1 will look bad without the Kelvin and Color filter adjustments.
So, if AWB is not recommended.
Can you recommended some value for the popular scenarios, besides from daylight like: overcast/cloudy scene, bright beach scene, indoor scence This will really help, as not everybody knows how to pick the correct Kelvin value
What about using an expodisk or a white balance card to adjust the white balance with incident light ? What effect would it have on the film simulation ?