White balance controls how the camera renders the color of the light. If skin looks orange under a lamp or a white wall looks blue in shade, begin by checking white balance rather than adding saturation or replacing the camera.
We recommend auto white balance for changing casual situations and a fixed or custom setting when consistency across a sequence matters.
Choose the right white balance method
| Method | Good starting use | Watch for |
|---|---|---|
| Auto white balance | Moving between different environments | Color may change as composition changes |
| Preset such as daylight or tungsten | A recognizable, consistent light source | Real lights may differ from the preset |
| Kelvin setting | Controlled adjustments and matching shots | Temperature alone may not fix green or magenta casts |
| Custom balance from a neutral target | Product work or a consistent setup | Target must be under the subject’s light |
Exact menus and supported options vary by camera. If you cannot find custom white balance, check the manual for your model.
Understand the Kelvin control
There are two related ideas that are easy to mix up. A warm-looking lamp has a lower color temperature than blue-looking daylight. But raising the camera’s white balance Kelvin setting generally makes the resulting picture warmer because the camera is applying compensation.
Take a neutral subject and make three frames at different settings. Compare the rendered files on the same screen. That quick exercise is more useful than memorizing a long chart without seeing the effect.
Set a custom white balance
- Put a neutral gray or white balance target where the subject will be.
- Light it with the same source that will light the subject.
- Follow the camera’s custom measurement procedure, avoiding a clipped target.
- Save or select the measured setting as your camera requires.
- Remove the target, take a test frame and check the result.
Do not assume a random white object is color-neutral. Some paper and fabric can introduce their own cast. Recheck after moving the subject or changing the lights.
Fix mixed light at the source
Imagine a face lit by a window on one side and a warm ceiling lamp on the other. Changing white balance to fix one side may make the other look worse.
Try switching off the ceiling light, moving nearer the window or matching the artificial light to the main source. For video, watch for color changing as a person turns or walks. Our lighting basics guide explains how to make a setup more consistent.
Keep color steady through a video
A fixed setting can avoid visible shifts when a bright shirt or colored wall enters the frame. Record a short rehearsal with the same camera movement and lighting changes you expect in the take.
For stills, RAW gives more flexibility to adjust white balance afterward. JPEG leaves less room for large corrections. Neither format makes a mixed-light scene simple to fix, so get the lighting close before recording. See RAW vs JPEG for workflow choices.
Technical reference
Sony’s guide to unwanted color tints explains white balance and the direction of Kelvin adjustments. Use your camera manual for the exact custom measurement sequence.
Frequently asked questions
What white balance should I use outdoors?
Auto or a daylight preset is a useful starting point. For a consistent series or video clip, use a fixed setting suited to the light and check a neutral reference.
Does raising Kelvin make a picture warmer or cooler?
On the camera's white balance control, a higher Kelvin setting generally makes the rendered picture warmer, while a lower setting makes it cooler. This is compensation, not the same thing as describing the light source.
Can white balance fix mixed lighting?
One setting cannot perfectly neutralize different-colored light falling on different parts of a scene. Match or remove a light source where possible.