ColorLab
SCL-CL-021CL: IN (Instant)

Instant · Sony Asia

Instant (IN) Creative Look recipe by Sony Asia, Asia Pacific, from Sony's Alpha Recipes collection.

  • HighlightMidShadow
  • RedSkinYellowLeafSkyPink

Derived from the settings, not a camera preview.

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White Balance Shift

GMBA
6500K, B2.5-M5
Temperature6500KColourSet above neutral — renders warmer

The colour temperature the camera balances for. Set it higher than the actual light and the image renders warmer; lower and it renders cooler.

Shift A/BB2.5ColourBlue push — noticeably cooler

Fine adjustment along the amber–blue axis, on top of the temperature. A warms the image, B cools it. Up to 7 each way, in 0.25 steps.

Shift G/MM5ColourStrong magenta tint

Fine adjustment along the green–magenta axis. This is the tint control — it corrects casts that temperature alone cannot reach, such as fluorescent light.

Overall tone

Overall this lands close to neutral on the amber–blue axis — the Kelvin setting and the A/B shift very nearly cancel each other, so the white balance adds no warmth or coolness. A firm magenta tint sits over that — skin lifts rosy.

Not a contradiction: Temperature and Shift A/B are the same amber–blue axis in different units. 6500K sets a warm base and B2.5 pulls it back to about neutral. Read the pair, never either number by itself.

How Temperature, A/B and G/M combine

Three dials, one result. Temperature declares what light you are claiming to shoot under, and the two shifts nudge the outcome off that declaration.

The part that trips almost everyone: a higher Kelvin number produces a warmer picture, not a cooler one. The number describes the light, not the output. Tell the camera the light is 8000K — very blue — and it compensates by adding amber, so the file comes out golden.

That is why Temperature and Shift A/B are really one amber–blue axis in two different units, and why a warm Kelvin paired with a B shift is not a contradiction. It is a broad warm base with part of it deliberately pulled back. The two dials are not equally fine across the range: a single 100K step is worth about 15 mired down at 2500K but only about 1 mired up at 9900K, so the shift is the finer control down at 2500K and the coarser one up at 9900K. On a low-Kelvin base it buys precision the Kelvin dial cannot give on its own.

Shift G/M is the second axis, and Kelvin never reaches it. It is the tint control: G cancels the green cast of fluorescent light and open shade, M goes the other way.

Camera settings

Creative Look

LookINColourInstant base — matte texture, contrast and colour suppressed
Contrast-3ContrastContrast eased slightly

The higher the value, the more the difference between light and shadow is accentuated.

Highlights-5ContrastBright areas pulled well down — highlights protected

Adjusts the brightness of the bright areas. Higher values make them brighter.

Shadows+6ContrastDark areas opened well up — shadow detail stays visible

Adjusts the darkness of the dark areas. Higher values make them brighter.

Fade1ContrastSlight milky lift across the frame

Adjusts the degree of fade — a milky lift on the whole image. Larger values make the effect greater. Never negative.

Saturation0ColourColour as the Look defines it

The higher the value, the more vivid the colour. Range is -9 to +9 — much narrower than Picture Profile saturation. Cannot be adjusted on the BW or SE Looks.

Sharpness4DetailModerate edge definition

Adjusts sharpness. Higher values accentuate contours; lower values soften them. Never negative.

Sharpness Range3DetailSharpening across the middle range

Sets the range the sharpening applies to. A larger value applies it to finer outlines. Runs from 1 to 5 and is never negative.

Clarity1DetailMild local contrast in the mid-tones

Adjusts the degree of clarity — local contrast in the mid-tones. Larger values make the effect greater. Never negative.

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