- When considering a full 360 degree scene,
there's often different types of light sources,
each of them carrying their own light temperature.
So one of the ways that we can work with that
is to create a custom white balance.
- Yeah, it becomes pretty important.
Now, sure if you're shooting raw,
you can do an auto white balance,
but you might get some fluctuations
and it could lead to more post-production problems.
So trying to dial it in right away is pretty important.
Now, you do mention with a 360 you ultimately have to decide
what's the most important part of the scene, right?
- [Voiceover] There's not going to be a way to cover
all of the different light sources, so we can
work on averaging them out.
Usually it's going to take some work in post
depending on the scene.
For example, if we're doing an interior
and there's quite a bit of sunlight coming in.
- Well, let's take a live look through this camera here
and we'll show you the potential problem.
Now in this case, you can see an inside look at our studio
and the white balance is very off here.
Now, there are of course presets and as we try
different settings here, it gets through different options
and you can see that some are bluer than others,
but there's different choices.
But ultimately we want to sorta get this right in camera.
We're just a little hot there,
so we'll dial down real quick.
Smaller aperture and a little bit underexposed
will make it easier to see that.
So let's bring up that white balance again
and you'll notice that different choices
change the temperature.
Some are much bluer than others,
but ultimately we can come down here
and create a true custom one.
Now, you can dial in the different temperature here
manually if you'd like and this control
may vary slightly by camera, but you'd notice
that I could just go through if I know the degrees Kelvin
or wanna roll that from different values
and take a custom value or you can have the camera measure.
In this case, I've got three slots on this camera,
so I just need to come up with something to set it with.
So I'll click set and now it asks me to capture data
in that central area.
But of course, Ron, we need to give it a reference point
here in order for this to work and you've got
something there that'll work quite well.
- I have one option here for setting white balance.
Better in post-processing because I can use this
as a target to select neutral gray, white, or black.
- But for the target here, it will actually work.
And I've got another solution.
Lot of times when I'm running and gunning and I'm shooting
and I don't want to totally break down my camera bag,
I use wraps like this to actually protect the camera.
So without having to remove the lens.
And this one is just actually an Olympus brand,
but there are other ones out there
and you can put non-Olympus cameras in it.
And basically it's cloth to sort of protect the outside
of the camera with a soft inside so that you
don't have to break the camera down,
but you'll notice same thing.
Sort of a nice, neutral gray so we could easily
put that in there and measure it.
I'm gonna hand this off and have the crew person
that's standing in the back of the room, Jonathan,
he's gonna hold this under the lighting
that we want to white balance to.
So just give me a second to get that back there.
All I need to do is get that target.
Now, could you hold the corner just a little tighter, John?
Just pull it a little tighter so there's no shadows.
Perfect and I could just frame that up a little bit
to avoid some of the wrinkles.
There we go.
And I'll push here to capture.
It measures and now I can choose which slot to store it in.
So I could just simply rotate through my three slots
and say to Enter it and store it there.
And it's now created a new white balance.
Go ahead and step back and you can drop that down.
And we're just a little bit bright here,
so I'll tone that down.
But you see that it now has a proper white balance
for the mixed lighting in our studio.
It doesn't matter how you do this
and each camera may be a bit different,
but taking the time to either set this during the shoot
is a great option or Ron, sometimes you're a fan of just
getting it close, but still getting a reference shot.
What could you do during post-production
with these three targets?
- My favorite way of working is at the end
of a single panorama, I aim the camera at this
and I take a shot.
That not only marks the end of a panorama,
but it gives me that reference.
So when they're all processing, I can use this
to set it with usually one click
and then apply that to all the images
that make up that panorama.
- So if you're shooting raw, you've got a lot more
flexibility to fix it in post, but I've gotta tell ya,
even getting somewhere close during the initial acquire
is pretty important because you might miss some details
or have a harder time judging the exposure
or the dynamic range if you don't have
the white balance correct.
But this is just one more thing to pay attention to
when you're getting your camera properly set.