Re: Does MF color slides scanning in 24 bit still make sense
Re: Does MF color slides scanning in 24 bit still make sense
- Subject: Re: Does MF color slides scanning in 24 bit still make sense
- From: Ben Goren <email@hidden>
- Date: Wed, 20 Jan 2016 12:03:28 -0700
On Jan 20, 2016, at 11:42 AM, Martin Orpen <email@hidden> wrote:
> We’ve never had any problems with colour reproduction using Nikon sensors like the D800E & Illumitran.
Indeed, color should be basically a non-issue with film input scanning, with some minor caveats.
If the goal is a colorimetric reproduction of the original scene, so long as you’ve got a good profiling workflow, it should all “just work.” No combination of film chemistry and digital color capture is going to be a problem, though you could conceivably struggle with noise in some really really bad edge cases that don’t exist in the real world. As with any input profiling, the fidelity is going to depend a lot on how the (in this case original film) primaries behave and whether or not there’s a reliable way to map them to the standard observer, but the digital component isn’t going to be a factor; the colors are already being spectrally quantized by the film and that’s pretty much the end of the story.
If the goal is to digitally reproduce the color of the final print (slide, whatever) that you would have gotten with traditional techniques, you’re going to need a different workflow...but, again, you shouldn’t face any significant fundamental limitations. From a simplified perspective, you just need CMY (no K) primaries matching those of the film with appropriate response curves and you’re done. Transformations to any other color space from that are straightforward.
b&
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