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Click something that should be white or grey and the colour cast disappears. The same Temperature and Tint sliders also warm a scene up or cool it down when that is the mood you want.
To fix white balance in a video, open it above, press Pick white (W) and click something in the frame that should be white or neutral grey, such as paper, a shirt, a wall or a cloud. Temperature and Tint are set to cancel the cast, and the whole clip follows. If nothing in the shot is neutral, Auto colour (A) estimates the balance from the frame as a whole instead.
The same two sliders work in the other direction too: move Temperature towards amber to warm a scene, or towards blue to cool it. For a styled result, the Warm and Cool categories in All looks hold ready-made looks such as Golden Hour and Nordic Blue. If the cast is part of a broader problem, start with color correction; for blue-green water, the underwater page is the better fit.
Choose Select video or drop the file on the tool. Pro tools opens on the Basic tab, where the white balance controls live.
Press Pick white (W), then click a surface that should have no colour of its own. Avoid lamps, reflections and anything already pure white in the picture, since they hold no information about the cast.
(enlarge image) Press Pick white (W), then click something on the preview that should be white or grey.
Nudge Temperature (blue to amber) and Tint (green to magenta). On the Parade, the red, green and blue traces over a neutral area should line up.
For a mood rather than a fix, push Temperature a little further, or open All looks (L) and try Warm or Cool, adjusting Intensity to taste.
Check with Before and after (B), then choose Export video and Download video.
Light sources have their own colour. Household bulbs and candles are orange-yellow, typically around 2,700 to 3,200 kelvin; midday daylight is roughly 5,500 to 6,500 K; open shade under a blue sky can climb well beyond 7,000 K. Your brain quietly compensates for all of this, which is why a white page looks white to you in every room. A camera has to guess, and when it guesses wrong the whole recording takes on the colour of the light.
That is why there are two sliders. Temperature moves along the blue to amber line that natural light follows, and Tint handles the green to magenta errors that artificial light adds.
A neutral surface reflects red, green and blue equally, so if the camera recorded it with more red than blue, that difference came from the light. Correcting white balance means scaling the three channels until that surface is neutral again, and because the light fell on everything in the scene, the same scaling fixes everything else as well. Pick white measures the patch you click and sets Temperature and Tint to the values that neutralise it, so you can still see and adjust them afterwards.
A white balance correction applies to the whole frame and the whole exported clip. That covers the usual case, but some footage needs more:
Yes, in most cases. As long as no colour channel is clipped, scaling red, green and blue afterwards gives nearly the same result as setting it correctly in camera. Heavily compressed or 8-bit clips tolerate smaller corrections than high-quality originals.
It was most likely filmed under warm indoor lighting with the camera’s white balance set for daylight, or with auto white balance that didn’t fully adjust. Use Pick white on something neutral, or move Temperature towards blue.
Shade, overcast skies, snow and dusk all have bluish light, and cameras often leave some of it in. Click a neutral surface with Pick white, or move Temperature towards amber until skin looks healthy again.
Move Temperature towards blue, or click a white object with Pick white. If a little orange remains only on skin, lower Saturation for the Orange band on the HSL tab rather than cooling the whole picture.
Drag Temperature towards amber, or open All looks and pick from the Warm category, such as Golden Hour, adjusting Intensity until it feels right.
Usually fluorescent tubes or low-quality LED lights. Temperature won’t remove it because it lies on a different axis. Move Tint towards magenta, or let Pick white set both at once.
Yes. Choose Copy grade (Shift+C), open the next clip and choose Paste grade (Shift+V). That suits clips shot in the same place under the same light.