LED stage lighting can be challenging because it’s capable of much higher saturation and brightness than older stage light types. Good to hear you will be shooting the next batch in raw, that will make things a lot easier.
For this next set that you will shoot in raw:
Watch exposure all the time. Use your camera viewfinder’s highlight clipping indicator and RGB histogram to alert you when the highlights are clipping. Dark areas of a stage can fool the camera into thinking it needs to increase exposure, and if it goes too far, the brightest areas will clip — solid white, no detail. The risk with LED stage lighting is that because of its high saturation, it’s very easy for one RGB channel to clip much sooner than the others. Once a channel clips, you can’t easily edit the color. Be prepared to ride the exposure compensation dial as lighting changes, to prevent faces and other important areas from clipping.
When editing an image where color wiped out detail, try changing the white balance. In the same way that wide LED contrast range and changing conditions can fool auto exposure, the very pure and constantly changing colors of LED stage lighting can cause auto white balance to guess wrong or overcompensate. As long as there is detail in more than one RGB channel, it’s often possible to improve a stage shot by shifting white balance away from As Shot.
The above correction would fail if the image had been shot in JPEG, because JPEG throws out so much original data and locks everything down, so highlights cannot be recovered and white balance can’t be moved very far. If the example above was shot in JPEG, it would not be possible to shift the white balance far enough away from blue to make the faces visible.
You can see a lot of these problems in videos of stage performances taken after LED lighting became common, like the stage behind a singer appearing a blinding solid red because the pure red LED absolutely saturated and clipped the red channel, obliterating any detail.
