In this earlier article, I mentioned trying out Paolo Ciconne’s Trucolor preset. I am pleased to say that I have used Trucolor on my XH-A1s for the last three weddings with great success. The colors and flexibility of this preset are amazing.

After reading Paolo Ciccone’s article on his TruColor preset for the Canon XH-A1, I began to rethink whether it is better to use a camera preset to obtain a certain look, or to get that look in post. The goal of the TruColor preset is to set the camera’s response as close as possible to neutral. To do this he used a calibrated target and monitored the output on a waveform monitor and vectorscope.

I like the idea of not introducing any bias into the image that I am capturing on tape. In photography, I almost always shoot raw, rather than jpeg, because I feel that it is better to be able to preserve as much data as possible, even if it means doing more work in post-production to get the right look. Nothing is “baked in”. In wedding video where we are often working under pressure and have little control of lighting, this makes a lot of sense. In Hollywood no expense is spared to get just the right lighting, and they can always reshoot. But they still have colorists who tweak the film in post.

As Final Cut Studio now includes an excellent color grading tool, there isn’t any reason to not to create the desired look in post. As long as we shoot with the right white balance, and exposure, we should always be able to get the look that we want, and if we don’t like it, we can easily change it.

I have been following the forums on Video University regarding the latest high definition camcorders from Sony, The EX1 and the Z7. These are remarkable cameras. They both record to flash memory rather than tape (the Z7 also records on Mini DV tape), and have many compelling features. But they are also expensive. B&H lists both cameras around $6500. With the EX1 you have to invest in some pricey memory cards to even record video which pushes the price up another $1500 - $2000. The Z7 uses (in addition to tape) the less expensive Compact Flash cards found in many DSLRs. But the reliability of these for HD video is unknown.

I am not going that route. We will be using the Canon XH-A1 ($3400 at B&H). The reason is cost effectiveness. While the A1 does not have the low light capability of the Sonys, it is still decent. It doesn’t record to memory cards, just tape. If we were doing a high volume wedding business, it might be different. The same with corporate video. It just doesn’t pay to spend that much money on equipment whose features we will not use. I want to make a profit in this business.

There is nothing that we can’t do with an A1 that we can with a Z7 or EX1. Yes we will have to use more light at receptions, but I have found that even the Sony PD170 whose low light capabilities matches the EX1, needs extra lighting sometimes. The XH-A1 is a capable, configurable HDV camcorder that does everything that we need to create beautiful wedding videos.

Getting the right white balance is one of the challenges that we have to deal with when shooting a wedding. Video cameras like film do not compensate the way our eye-brain system does for differences in reddishness or bluishness of light. If we set the camera for daylight and move indoors, we end up with video which is excessively red. The same happens if we have the camera set for tungsten light and we move outdoors. The resulting video is too blue.

Professional video cameras have a variety of ways to set the white balance. We can use a preset (usually either tungsten or daylight), set the balance to a specific color temperature, or we can balance to a white card, letting the camera’s electronics calibrate to a known standard. There is also an auto white balance in which case the camera makes an educated guess based on the light coming through the lens.

The problem that is often encountered is that the color temperature of the light that we are shooting in, may vary considerably with a single room. Take a church for example. There is daylight coming through windows, but they are often stained glass, thus coloring that light. There is also incandescent light from lamps inside the church. If we were shooting a movie we would light the interior so there is little variation in color temperature, using whatever Hollywood techniques are required to get it right. If you have ever seen a film being made, you know how much effort and special equipment is used to light a scene.

But wedding videographers don’t have that luxury. We have to work with whatever available light there is. Particularly when filming a wedding ceremony, we don’t want to use additional lighting. So what do we do? The bride might be coming down an aisle that is mostly lit by light coming through the windows. The altar area on the other hand might be largely incandescent lighting. Every situation will be different.

The first step is to analyze what you are dealing with. I usually eyeball the location. I decide first what the primary source of light will be in different parts of the room. I then decide how I will compensate.

Here are some ways to compensate for mixed lighting.

• Set the camera to one setting, either tungsten or daylight and leave it there. Then correct in post. While this has the advantage of setting the white balance to a known setting, it often requires considerable work in post to compensate, and the results will never be as good as if you had it right in the first place.
• Balance using a white card. This will give the the correct balance for the location where you are holding the white card. The problem is that it may not be correct for other parts of the room. Also if lighting changes you will have to set another white balance, not the easiest thing to do in the middle of a wedding ceremony. When I set white balance this way, I do it at the spot where most of the action is taking place, usually the altar.
• Use auto white balance. While modern cameras often do a good job with auto white balance, they can be fooled. It is like any other automatic setting, you are giving up a degree of control over your camera. That is not to say never use it. Many times using auto white balance will give you the best results in difficult lighting conditions. Just use caution and don’t rely on it.
• Set the white balance manually to a certain color temperature. Not all cameras let you do this (you can’t on a PD-170, but can on an A1). If you have the experience to know what setting to use and a good eye, this will often give you the best results. You can also change this setting on the fly as your subject moves from one area to another.

If you have a camera that allows you to preset multiple white balances, you can do this for different locations and switch between them as needed. As I mentioned, there is never one right way to white balance, you have to look at each situation individually.