Thanks Professor. Good to know. I probably would have saved myself a lot of grief if I knew these things three years ago. What I mean by manual white balance is something like a menu feature that would allow me to scroll through the various balances point by point: 3.2 to 3.3 to 3.4 and so on up and down. I was sitting there with a shot with sunlight streaming through the windows and fluorescents keying my subject. I knew, from past mistakes, that if I balanced for sun at 5.2-5.6k, my fluorescents would go orange. And if I balanced for my fluorescents at 3.2k, my sunlight would go blue. I knew I needed a balance somewhere between 4.0-4.9k to get the color. But the camera, on an indoor filter, would either balance for the sunlight or the fluorescents, but not both. I would eventually get it, after many tries, when I would hold my white card in just the right spot where it could reflect both temperatures. On a side note, I was once shooting a candlelight vigil and I balanced the camera to the light of the candles. I think the balance the camera achieved was like 1.9k, really warm. Well when I got back to the station I found that I shifted the yellow sodium vapor streetlights to the cool side, a sort of reddish purple. But the flames of the candles lost all color and were completely white! Considering the subject matter, I think it was about victims of domestic abuse; the white light of the candles took on this ethereal quality. Like the way a flame would look in heaven. Anyway I've always taken note of it because I know it is something I'll use one day in my digital cinematography. I’ll just have to remember to correct any other sources so they don't go the wrong color. I also learned, the hard way, what happens to fluorescents when you kick on the shutter on these cameras. Late in my career I became a fan of shallow depths of field to better guide my viewer to the important parts of the image. (Whether or not this is ethical from a journalistic standpoint is up for debate) I was once shooting an interview under fluorescents and put on the shutter, so I could open up and loose focus on the background. It was nearly impossible to see in the finder, but when I put the tape on the color monitor I was horrified. You could see the light changing color from white to orange and losing and gaining intensity as the camera captured the fluorescents’ cycle. I wanted to shoot the interview again. But as you know, there are very few second chances in journalism and documentary.