I’m using an A7c. My question is about light source temp and FS Kelvin. The different FS’ have unique temps. For example, Vektro 100 is 4000 Kelvin and Senova Light is 8000 Kelvin. So if my environment light source is 3500, does that mean I shouldn’t use Senova? Or do I simply choose the FS and change my WB Kelvin to 3500?
I’ve been playing with the different FS’ ands I think I’ve stumbled onto a good workflow. IInstead of using the Kelvin WB, I use the custom WB settings. This allows me to match the light source temperature. I carry a neutral card, so I choose a custom WB and match the light source. I’ve already saved the color filter to so three custom WB settings, so it just takes moments to set my temp.
Hope that makes sense.
So then, am I using the FS as intended?
OK... so then let's say I'm using Vectro 100, which is 4000 Kelvin. Since the best light meter I have is the custom WB, I'd use that to determine the temp of my light source. So let's say the source is 3500; I'd subtract that from 5500 to get 2000. Then I'd reduce the Kelvin WB from 4000 to 2000. And that should get me close enough for my eyes to take me the rest of the way. Thank you.
If your Light source is 3500K, then you need to subtract 2000K from each recipe to match it, because most film simulation are daylight balanced (5500K), unless mentioned otherwise. meaning they’re designed for 5500K light—even if their values look different, like 3500K A7G1 or 8000K B7M1.
I explain this in detail in my video—definitely check it out: Watch here
It has also been previously answered here & here
How to Adjust for Different Lighting
Subtract the difference between your light and 5500K from each recipe.
If you max out the WB scale (2500K–9900K) but still need adjustments, use the color filter. A general rule: 1.75 levels on the color filter ≈ 1000K shift.
However, WB and the color filter aren’t the same—adjusting one won’t behave exactly like the other.
The role of the WB and Color Filter is to shift and push colors, because we have limited tools in camera compared to our RAW editor. That's why we have different values for each recipe. These two help us push colors in different directions creating different looks.
AWB and gray cards don’t work because each film recipe has a specific balance between Kelvin and the Color Filter. When you set WB with a gray card, it adjusts for neutral white but ignores the color filter settings, which can throw off the look. This often results in an image that’s too warm or too cool, rather than matching the intended film simulation.
For example, if a recipe is 3500K A7-G1, but you set WB with a gray card and it changes to 5200K A7-G1, your image will look much warmer than expected.
The method mentioned above seems quite technical, but once you get the logic, you’ll adjust by eye—just like I do. I don’t calculate numbers before shooting; I simply check the image and tweak the Kelvin and color filter based on how it looks.
For example, if I go indoors and the colors feel too warm, I might lower Kelvin by 500—or leave it if I like the look. The numbers are just a guide; in the end, it’s about adjusting until it feels right while keeping the original tones in mind.
Hope this helps! Let me know if you have questions, and don’t forget to check out the tutorials for more clarity!