I still don't understand what you're on about here. In nearly three
years of usage I have never seen the camera produce something weird in
the way of color. That's assuming, as I said before, that the image is
reasonably well exposed. If I try to bend the bits too much in post
processing exposure correction I may get a color or saturation shift.
But even then it's mostly correctable.
But let's assume that some lavender flower exists somewhere in the world
that reflects enough IR or UV of just the right wavelength that it
sneaks around the camera's filters and records as excessive red or blue
or whatever. What would you have me do about it? And, are you also
implying that such a thing can't happen if I was shooting with Fuji or
Kodak Pro films?
Chuck Norcutt
Ken Norton wrote:
> On 7/5/08, Chuck Norcutt <chucknorcutt@xxxxxxxxxxxxxxxx> wrote:
>> Why in the world would I want to worry about the optical/electrical
>> interface if the output looks good to my eye?
>
>
> Does it? Are you sure? Do you KNOW what is not being captured? Granted,
> the 5D sensor is the cat's meow, but maybe it's because you haven't
> encountered that one problem situation YET that will bite you where the sun
> ain't shining.
>
> A bride will agonize over every detail of a wedding--including getting the
> flowers and dresses to match. Are you sure your camera will keep those
> lavender flowers lavender or are they going to turn blue? No amount of
> post-production will get those flowers correct without localized manual
> toning--on EVERY shot. Why? Because the digital camera's eye to the world
> is the sensor and if the sensor is colorblind, you can only artifically
> colorize it later.
>
> Every model of Canon camera has a different color response. The flip answer
> we always read is "custom white balance". Yeah right. It isn't the
> answer. One reason why the 5D is so popular is because of the skintones.
> Say what? Based on what you and Moose are saying, it doesn't matter since
> you can tweek and tone to your heart's desire during the RAW conversion
> phase. This may be true for some things, but you are bit-bending and not
> all bits will bend the same way without falling over and breaking. The
> beauty of the 5D (and E-1) is that the sensor has a response curve which
> requires less bit-bending than others. This is also why cameras, such as the
> 20D and 30D as well as several of the Nikons don't handle tonal and color
> adjustments as well. And this is also why some scanned films don't handle
> adjustment as well as others either. Velvia is among the toughest to
> manipulate in post.
>
> AG
>
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