In this article, CreativeCOW.net contributing editor Jim Harvey reviews Vortex Media Warm Cards and states, "You know you do it. We all do it. Its not something that we brag about. Its not even something that we think about too much. White Balancing. Sure some guys carry a worn out piece of white paper, or they use the foamcore to set the camera. Weve balanced on walls, notepaper, even the fat guys t-shirt. It gets us by and we get on with the show. But as we are all professionals, shouldnt we have a professional system to white balance out gear and do it consistently? Well, we do and we can." Read on to discover an effective answer to your white balancing dilemmas.
Product Review, Cinematography
Click on the link above to find Jim Harvey's review
Hey all you cinematography guys. Take a look at the picture examples of the warm cards in action. See the ballerina? Does it bother anyone (besides me) that although her flesh tones have indeed been warmed up (not something a dancer may want, btw), but the entire background color has been changed from the blue that was what the lighting designer had in mind, to a weird green? Making global changes in the field may not be the way to "correct" your images.
I know that many years ago when I was doing a lot of ENG style shooting, we all experimented with different ways to "warm" up the picture. Everything from putting a CTB over a tungsten light illuminating a white card, to shooting a blue gel from a jungle book on top of a white card, etc. But over time, most of us abandonded these "solutions" because they caused exactly the problems you see in the examples. Some people actually get miffed when their blue suit appears brown on tv.
Better results can be achieved through proper camera set-up, or tweaking in post, IMHO.