Color temp, white balance,

[david o]

I just come back from a shoot, interior, and I always have to deal with different color temp. that I can deal with in post-processing but on this one I am in big trouble...

at the far right of the image the wall of the room is suppose to have the same color as the one above the fireplace and as far as my knowledge go I can match the color...

I am  not the best with PS but usually I deal pretty with such situation... and here even if I try to concentrate only on that part to bring that color back I just can't...

Any help

thanks

the RAW image is here for download

[adion]

Mm, as far as i can see form the picture, you have white balance region by region because you have 3 different kind of lights(sunlight from the window, tungsten from the hanging lights and what seems like halogen from the ceiling in front of the fireplace) in your picture. Si this is really a big pixel by pixel (almost) job.  

[david o]

I tried to blend images with different white balance set up, it's ok for the tungsten and fluo, but that room with daylight, if I just concentrate on it I can't bring that color back...
I am in trouble and I really want that job to look as it as to be... and may be because of the light green mixed with the blue daylight is a tricky stuff to deal with but it never happen that bad...
thanks

[laughfta]

I tried to blend images with different white balance set up, it's ok for the tungsten and fluo, but that room with daylight, if I just concentrate on it I can't bring that color back...
I am in trouble and I really want that job to look as it as to be... and may be because of the light green mixed with the blue daylight is a tricky stuff to deal with but it never happen that bad...
thanks
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If this is close to what you are trying to match? ( I am a little confused because earlier you said the wall on the right side of the image).

If so, it shouldn't be too hard. I duplicated the image and sampled a spot in the corner over the fireplace, then tried to match the color on a spot of similar luminosity over the couch with a color balance layer. I then dragged the original image over the dup, added a mask, and painted the whole "blue"room out and adjusted the opacity a little. If done with more care, I think it would be very close to what you want.

[david o]

I didn't look yet but to answer you yep the right I was talking about is the other right...  
I look at it right away
thanks

[david o]

looks really good,
I think I am due to dig a little bit more on how far I can use PS...
at least to prevent such panic...
thanks a lot!!!!
 

[sniper]

How about this, it only took a few mins in PS.  Wayne

[david o]

How about this, it only took a few mins in PS.  Wayne
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perfect you even remove the yellow tonality...
I guess I should really extend my days to 24 hours efficiency to catch up with PS...
I feel really really bad

did you used the same tk ?

[sniper]

I used a tungsten WB in raw, then opened it in PS made a levels ajustment layer, a very quick selection around the left area then made a levels ajustment for that (the selection made a mask) same for the roof, then roughly selected the middle and used hue/sat to lower the yellow.  
Take your time and you'll do a much better job I'm sure.  Wayne

[david o]

I used a tungsten WB in raw, then opened it in PS made a levels ajustment layer, a very quick selection around the left area then made a levels ajustment for that (the selection made a mask) same for the roof, then roughly selected the middle and used hue/sat to lower the yellow. 
Take your time and you'll do a much better job I'm sure.  Wayne
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so really nothing that I don't know but everything that I don't know how it can/should be used...
thanks

[paulbk]

And here's my version.
Convert with DPP.
White balance using ceramic bowls on the shelf.
About 3 minutes in Photoshop, mostly to take some of the glare off the silver platter.

[Jonathan Wienke]

The best way I've found is to do separate RAW developments white balanced for each light source, and then stack them and blend them together using the brush tool on layer masks. This image has 5 light sources:



Incandescent lighting upstairs, fluorescent lighting downstairs, sodium vapor streetlights outside, tiki torches on the patio, and dim twilight from the sky. No single white balance setting comes anywhere close to working for the whole image.

[fike]

Working with layer masks and painting in an effect is a very powerful technique and can be applied in many different ways: white balance, saturation, levels/curves, sharpening, graduated neutral density, etc....  Spend some time working with painting in effects on separate layers.  I generally use a moderately large brush with a very low transparency (I forget if that is the right name) of about 30%.  The objective is to get a brush with a very soft edge that doesn't fully paint the black color until you go over the same space a few times.

Very powerfule technique.  Play with it until you have it right, and it will be your friend for a lifetime.

[Jonathan Wienke]

Vary the brush size to adjust the width of the transition from one layer to the other, set hardness to 0, and vary opacity to taste. As fike says, learn that and PS will become much more useful to you.

[david o]

I am a little used with painting TK and blending different white balance, but may be not enough, and sure not as I tried for few hours and nothing happened... I turned nuts when I finally figured out that I did set the brush on white...
 

and as said already, in RAW I usually get rid of problem sliding saturation and hue carefully.

I'll post my result...

[david o]

I am getting close...

[sniper]

Looks pretty good to me mate.  Wayne

[Schewe]

I am getting close...
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Here's the problem of mixed light sources...if you _DON'T_ have any differences–meaning you neutralize the whole scene so it looks technically correct, then to most people it will look odd because we've been sort of trained by the last 50 years of color photography that daylight is cooler and tungsten is warmer. So, if you completely eliminate that, it looks artificially correct but is perceived as phony.

I would be inclined to to keep the tungsten light a bit warmer and let a bit of coolness come from the daylight...additionally, I see the entire balance as being a bit too cool (both inside and outside). The other thing I'm seeing is that the highlights seem to be pretty hot (too bright). What you've done with color balance can also be done with dynamic range as well. Try taking a darker processed version and stacking it on top and blend only the darker highlights into the extreme light areas to regain some texture. Note, I'm not talking about the window...if anything, the window on the right looks a bit better than the one on the left. A lot of times you really DON'T want to have a lot of tonality outside of the windows for the same reason that we've been trained to expect inside to be a lot darker than outside and when it isn't it tends to look "wrong".

[Tim Lookingbill]

I agree with Schewe.

Just to add I'm viewing your image in Raw Developer (Mac only) using their built-in profile of your camera and frankly it looks gorgeous as is. Just a bit too warm and dim, though. IMO you should base shadow levels at the point where you can see lattice detail in the black fireplace grilling.

But as with image rendering in general on a forum topic like this you're going to get a lot of different takes on how it should look. It's up to you how much work YOU THINK it needs.