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Color balance measurement in gymnasium settings

Doug Kerr

Well-known member
We often hear (justifiably) about the difficulty of obtaining a proper color balance situation in a sports arena or gymnasium. The problem is exacerbated by the fact that often the general lighting has an "ill-behaved" spectrum (although that has been greatly mitigated by modern gymnasium lighting systems).

Of course, it would be conceptually best to make a determination of the chromaticity of the incident illumination "on the floor", but that is often difficult if not completely impractical.

Fortunately, the typical gymnasium situation is one that exhibits an approximation of "global illumination" (at least to the lower part of the stands). Accordingly, we should be able to get a useful measurement by using a diffuser on the camera and measuring from the stands (the lower part if necessary).

In this case, we are usually not really dealing with the dreaded "mixed light" situation (or if we are, we are basically doomed). Thus the acceptance pattern of the diffuser is not of any real consequence - the incident light on the diffuser will likely have about the same chromaticity regardless of the direction from which it arrives.

Attaining an acceptance pattern such as the "cosine" pattern (theoretically desirable for measurements made at the subject location, especially in the face of serious "mixed light)) in a diffuser is not simple (often requiring such things as a lenticular or prismatic "front end"), and the diffusers that strive for that are typically relatively costly.

But in this situation, we can use a simpler diffuser not having that feature. For example, the recently-introduced Color Parrot diffuser (now known as the ColorRight diffuser) makes no effort to even approach a cosine acceptance pattern (by intent, according to the manufacturer), and can probably be purchased at less cost than a "cosine" diffuser (such as the ExpoDisc or the Phoxle SpectraSnap), at least if we are considering lenses with larger first element diameters.

Of course, chromatic neutrality is still a need in this situation (as for any white balance measurement) and our testing suggests that the current version of the ColorParrot/ColorRight scores well in that department.

So cosines be damned. Full speed ahead!
 

Nill Toulme

New member
Yes, BUT... in most of the high school gyms I shoot (and some of the stadiums), the lights cycle. This means (with any shutter speed higher than either 1/60 or 1/120, I forget which) you get a different color balance with each frame. Note the colors of the light spill on the back wall in the two frames below, taken 1/8 second apart.


1D2-31217.jpg



1D2-31218.jpg


Nill
~~
www.toulme.net
 

Asher Kelman

OPF Owner/Editor-in-Chief
Nill,

Why do the lights cycle? I understand different light colors in different parts of the gym, but what is this cycling?
 

Doug Kerr

Well-known member
Hi, Asher,

Why do the lights cycle? I understand different light colors in different parts of the gym, but what is this cycling?

The lights of course are operated by AC. In an incandescent lamp. the energy into the filament cycles at twice the line frequency (120 times per second in the US) but the thermal inertia of the filament keeps the luminous output almost constant over that cycle (and the chromaticity with it).

In a fluorescent lamp (and many other kinds of "discharge" lamp) there is no such inertia. Thus their luminous output varies at twice the line frequency, and the chromaticity also varies over the cycle.

Thus, the instant at which the shutter opens (assuming a rather short shutter time) subjects us to a variable luminance (and variable chromaticity) from any given lamp. A longer exposure of course averages the effect over several luminance cycles, diluting the phenomenon. **

To mitigate the effect of this phenomenon (which can cause bothersome "stroboscopic" effects for human direct viewers), in a two-lamp fluorescent fixture, for example, the two lamps are energized with a phase difference (done by circuitry in the "ballast"), so that when one is at its peak of luminous output the other is near its minimum. Thus, for the entire fixture, the luminous output (and chromaticity) is less variable than for a single lamp.

In arena illumination, it is common to run the lamps in three groups, with their phases all different (usually drawing upon a three-phase power feed). You can in fact nicely see the effect of that on the leftmost and rightmost portions of the rear wall in Nill's lovely samples (which are mainly illuminated by separate fixtures). In one frame one side is "warmer" and the other ""cooler"; in the other frame, it is nearly the opposite.

But you will not see as serious an effect on the players, who are illuminated by the joint illumination from several fixtures (much more so than for the two wall segments).

Thus, this phenomenon, while problematical, is often less of a problem on the typical "scene" than we might fear.

** In fact, if we can have the shutter time be exactly a multiple of half the supply circuit period (which is the "cycle of life" for the entire phenomenon), we should get an "averaging out" that should dilute the phenomenon even at moderate shutter times. For example, with a 60 Hz supply, this should in theory occur for a shutter time of (exactly) 1/120 sec, or 1/60 sec, or exactly 1/40 sec. But in reality things are not usually that cooperative.

Best regards,

Doug
 

Doug Kerr

Well-known member
Hi, Nill,
In fact, in practice it is a real nuisance. Quite often I will have two or three frames of a player in sequence, each with a noticeably different color balance.

Indeed. Time to pass out 550EX's as slaves around the house.

Many of the arenas around here (including rodeo arenas) have house strobe systems which the house photogs trigger.

Best regards,

Doug
 
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