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Very well said. WB in landscape come down to really what you want it to be , it does not have to be 5500 kelvin and most times that can be too blue. Simply work with the color temp in your favorite raw convertor and work to taste. Portraits and people a different scenario altogether.Bear in mind that if you take a picture at sunset and use the LCC for white balance, you will be producing a scene as it would look under neutral light. This may not be what you want. I know it's the same with a gray card, and it's completely obvious, but it can be confusing when your sunset pictures suddenly look mid-day.
In that sense, it's very good for breaking one from the "picture as accurate representation" mindset. What the heck *should* those dunes look like? You get to decide!
--Matt
What Graham said. And stated another way:
1) LCC measures the color deltas across the RAW image to create the LCC correction frame -- as such it has no direct effect on final WB.
2) By droppering the *corrected* LCC frame with the White Balance dropper, you can use that as a measure for a very accurate WB for that image, but you then need to apply that WB setting to the original image.
Very well said. WB in landscape come down to really what you want it to be , it does not have to be 5500 kelvin and most times that can be too blue. Simply work with the color temp in your favorite raw convertor and work to taste. Portraits and people a different scenario altogether.
:ROTFL:Guy and Jack only shoot at sunrise and sunset, or before or after, so their WB is always skewed
The LCC white bal step is not critical, and moreover, LCCs CAN AND DO sometimes impart slight color shifts when stitching, requiring a WB tweak. It is caused by the shift pattern on the sensor at any given point changing when the lens shifts, thus imparting a different LCC correction at the stitch seam. Note that I view this a defect in the LCC tool, but for now it seems an incurable defect... The color shift is usually subtle, like 5 points in one channel, 2 or 3 in the others with the IQ180, and can be seen in even toned areas like a sky or building siding. (The color shifts are lesser on the IQ160/P65+ but still present and measurable, though lesser enough it makes these backs a better choice -- at least for color fidelity -- if one plans on stitching extensively ---- IMHO only!) Here I will adjust the color temp of one of my IQ180 frames to the exact same point in the other stitch image to bring the two as close as possible -- usually this requires a very minor (1 or 2 step) Kelvin change and maybe 1 step on tint to bring both halves to within 1 or 2 points on each color channel. Normally the stitching software can blend them anyway, but this extra step insures superior color accuracy across the final if that's important, like it can be in an architectural shot.I use a style that sets the default ICC profile to Daylight. I use this in the import dialog for all images.
For the LCC, set the WB for the corrected LCC image. I then select the other images that need the same WB and use the copy settings & apply (It's the double arrow on the White Balance tab).
If I'm applying that LCC AND the WB to the selected images then I'll use the global copy adjustments & apply functions (Arrow up/down on the main toolbar).
You can obviously do this all manually as you described but this is quicker.
I don't get it. I know of the problem, I have seen it, I have told Phase about it and it's still there. I AM very happy with my IQ180, but it is sad, that Phase can't fix such a problem....The LCC white bal step is not critical, and moreover, LCCs CAN AND DO sometimes impart slight color shifts when stitching, requiring a WB tweak. It is caused by the shift pattern on the sensor at any given point changing when the lens shifts, thus imparting a different LCC correction at the stitch seam. Note that I view this a defect in the LCC tool, but for now it seems an incurable defect... The color shift is usually subtle, like 5 points in one channel, 2 or 3 in the others with the IQ180, and can be seen in even toned areas like a sky or building siding. (The color shifts are lesser on the IQ160/P65+ but still present and measurable, though lesser enough it makes these backs a better choice -- at least for color fidelity -- if one plans on stitching extensively ---- IMHO only!) Here I will adjust the color temp of one of my IQ180 frames to the exact same point in the other stitch image to bring the two as close as possible -- usually this requires a very minor (1 or 2 step) Kelvin change and maybe 1 step on tint to bring both halves to within 1 or 2 points on each color channel. Normally the stitching software can blend them anyway, but this extra step insures superior color accuracy across the final if that's important, like it can be in an architectural shot.